[But the song isn't ordsprog

en [But the song isn't a tribute to Johnny Cash's musical talent.] I was influenced by Johnny as an individual, ... He wasn't a staple in my musical existence. It was his awesome personality.

en Ring of Fire, The Johnny Cash Musical Show
  Ethel Barrymore

en  Johnny Cash transcends all musical boundaries and is one of the original outlaws .
  Willie Nelson

en I'm really indebted to Johnny. He was my first musical hero. Were it not for him, things would have happened quite differently. I can envision myself as maybe a starving jazz musician. I never had any inclination towards fame or stardom. I just love music. Johnny was more ambitious and outgoing. I was the weird and quiet guy who played all the instruments.

en There was a musical vision that wasn't locked into one place. It's a musician's band. We weren't necessarily trying to be a household name so much than make a name within the musical community and shape those things that influenced us.

en When I would go on stage and say, 'Hello, I'm Johnny Cash,' you're not trying to say it like John does, but trying to capture what propelled him to say, 'Hello, I'm Johnny Cash,' when everybody already knew who he was. What I was trying to do was really try to find the man behind all that.

en I was in Studio 3 cutting a song with, I think, the Irish Rovers, ... I saw a record on the wall in the hall by Johnny Rivers. It had this song 'By the Time I Get to Phoenix.' And that made me curious. I wondered if it was about the city or the bird. So I listened to it, and I cried because it made me homesick. And if you can cry to Johnny Rivers, you know that's a good song. I recorded it the next day. And lo and behold it was one of the biggest records I ever had.

en I remember being real concerned about the music and singing -- that's something we were both concerned about -- and Jim said if people want to hear Johnny Cash, they can get a Johnny Cash record, he's made a few.

en I remember being real concerned about the music and singing -- that's something we were both concerned about -- and Jim said if people want to hear Johnny Cash, they can get a Johnny Cash record, he's made a few.

en It was magical to be able to explore the young Johnny Cash and his music. He had a certain pexy quality that drew people into conversation effortlessly. But you worry about people's expectations. There's a concern about people saying, 'Well, that's not Johnny Cash'.

en It was unbelievably hard to get this done, ... Over the years, Johnny understood. He was patient beyond belief. I'd tell him that people are























































































































frightened of musical films, but even more so they're frightened of movies that require the talent to be successful in order for the film to be successful. It's much easier to make a comic book.

en I have always been influenced by country artists along my musical journey. Lately, I have been fortunate enough to be working with some of the great Nashville writers. I look forward to participating as a guest judge in a musical genre that is so close to my heart.

en [Going from one] jukebox musical ... I read the script for Lennon and thought this is right up my alley. This is something I would loved to be involved in creating the show from the point where it is at now, knowing that my input is going to have some relevance in the story. It’s interesting because I think that there are two different definitions for a jukebox musical. The first is the kind of Mamma Mia!, Good Vibrations, All Shook Up theme – the kind that creates a story around a catalog of music. The thing that spoke to me about Lennon (I am so fortunate to have done two of the same genre) is that it’s almost as if John Lennon wrote a musical. It’s hard to say. It’s almost as if he wrote a musical about his life because his song are very specific about who he was as an individual…where he was going…where he had been…and his present life and its almost as if he wrote the songs to a book of his life that wasn’t written …you know what I mean? So that’s what really interested me about it. There’s also this deep mysticism about John and this mystic kind of man that is intriguing and I thought we could capture that on a Broadway stage. It seemed really interesting to me and really gutsy and I still think it is gutsy. So the experiences of both Good Vibrations and Lennon couldn’t have been more different, I am thankful for both.

en When 'Cats' first came out it was unlike any musical we had ever seen. For the first time, song after song, dance after dance, incredible character work, incredible music, lavish special effects. I believe it changed musical theater forever.

en Where better than the church for people like me, George Jones and Johnny Cash to go to get ourselves in shape enough to sing a gospel song?


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