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Interview : A "Wanted Man" is coming to town
Johnny Cash Tribute Show Set for Two Performances at Dakota Theatre

By Nathan Johnson

When Marcel Soulodre brings his Johnny Cash tribute show to Yankton next week, he wants to make sure you get the biggest bang for your buck.

"We've got a really good, rockin' show," he said in a telephone interview recently. "It's rock 'n' roll in the true sense of the word: Sun Records, 1956. People are just trying to – and I'll quote the M*A*S*H television show here – unclench their keisters. We don't know what our grandparents and parents went through – how strict it was. Johnny Cash, Jerry Lee Lewis, Elvis – all those guys from Sun Records – they opened it up a lot."

In order to establish the right tone for the tribute, Soulodre said he watched a number of tribute shows to other artists. The most uncomfortable shows he attended were ones where the performers tried to painstakingly act like the artists, he said.

"I'll sing the songs of Johnny Cash, and I'll sell you that," Soulodre said. "But I'm not going to sell you that I'm Johnny Cash. I'm in touch with these songs, these poems, that millions of people call their own. I have to be very respectful about how I do my show. It's all about respect. There's no tawdriness."

His journey as the Man in Black began more than three years ago.

"I was needing a break from my career," said the 45-year-old Soulodre, a veteran Canadian musician who has released music with both English and French lyrics. "I had just come back from a tour in France. I needed something different to do but still maintain my career."

Someone suggested he do a tribute show. And while Soulodre initially dismissed the notion as "corny," he found that while listening to Cash's I Still Miss Someone, he had a deep connection with him.

"That's when I found I could share in the voice of Johnny Cash," Soulodre said. "As an actor, I could find an opening."

He said that what made Cash so great was that he took his trademark "train" rhythm and mixed it with a poetry that the common man could understand.

"Johnny Cash laid down on that beat a poetry that everybody, from the richest man in New York City to the poorest sharecropper in Mississippi, could understand," Soulodre said. "It was a poetry that was so true that here we are, 50 years later, still talking about it. He really understood what was going on and wrote it down."

While he started the tribute show before Cash passed away in 2003, Soulodre said he never got to meet the inspiration for his performance.

The popularity of last year's Johnny Cash-inspired film, Walk the Line, got many people interested in the legend again, Soulodre said. The resurgence has translated into more interest in the tribute show, he added.

"We're starting to make really good inroads everywhere," he said. "People love Johnny Cash. It's unbelievable."

Soulodre said he hopes anyone who walks away from one of his shows is reminded of what made Cash so special to them in the first place.

"I'm not Johnny Cash. I give that to you right away," he said. "But I'm going to give you, hopefully, a familiar echo that you can take home with you and say, 'I know that thing because it was real then and it's real now.'"


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Review

Wanted Man: A Tribute To Johnny Cash
McPhillips Street Station, Winnipeg, Manitoba, Canada
February 2005

by Frain Cory

Tribute acts tend to run the gamut from irredeemably slick and unadventurous to downright excruciating.

Truth be told, Marcel Soulodre's tribute to Johnny Cash exists so far outside that tawdry continuum, it's remarkable.

As we're all too painfully aware, music mavens have been falling all over themselves in efforts to wax poetic and long-standing in their praise of Cash's songbook and principled artistic stance. Bolder than all of us combined who have given critical props to that famous son of an Arkansas sharecropper with a baritone bigger than the outdoors, Soulodre has brought the Man in Black's sound back in the most reverential way possible – by painstakingly preserving its essence, while refusing to cop to predictable form.

Soulodre's most recent weekend of sold-out shows at McPhillips Street Station, found the veteran Winnipeg artist in refinement mode, paying homage to the man with an intensity and verve that would have made mere pretenders blush. Two sets and no fewer than thirty songs later, both crowds could come to only two conclusions: defining what makes Johnny Cash's songs timeless is best left to men like Marcel and his band, and "One more!" wouldn't hurt.

Focusing on Cash's glory years as one of Columbia Records heaviest hitters during the '60s and early '70s, Soulodre made sure everyone went home happy who came to hear unforgettable favourites such as Folsom Prison Blues, I Walk the Line, A Boy Named Sue and Ring of Fire. However, what may have left the most lasting impressions were his assiduous insertions of lesser-known, but undeniably archetypal Cash pieces such as Five Feet High and Rising, Don't Take Your Guns to Town, Ballad of Ira Hayes and Soulodre's personal favourite and the song that got the whole (tribute) thing started, I Still Miss Someone. Not coincidentally from The Man in Black's first Columbia sessions of August 1958, the genius of the near-naked, pining lyric and sublimely simple arrangement comes through in spades as Soulodre's uncannily Cash-like baritone wrings every nuance and ounce of emotion from a truly special song.

Cash connoisseurs could not help but be impressed by the breadth and depth of the show's effort to mirror the discerning tastes of a man who was able to revive his career during the last decade and a half of his life with that awe-inspiring series of American Recordings. Raising eyebrows and shouts of approval with vintage offerings such as the politically incorrect Cocaine Blues, geographically instructive The Girl from Saskatoon and Kris Kristofferson's bittersweet, self-deprecating Sunday Morning Coming Down, Soulodre and his band were able to accomplish something altogether rare in this era of nostalgia for nostalgia's sake: give the people what they want, yet help them learn a little more about an artist they may have thought they had completely figured out. Of course, Marcel's scrupulously researched, unselfconsciously witty song introductions may have had something to do with it.

 

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