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Rosanne Cash’s 10th studio album was released on 25 March 2003, almost 7 years after her previous album.
All but one of the 11 songs are written by Cash (or co-written, mainly with her husband John Leventhal, who also played on the album and produced it).
Rules of Travel also includes her 71-year-old father Johnny Cash on "September When It Comes” (Johnny Cash would die on 12 September 2003).
Marc Cohn - Ghost train
Music
Music Video
Artist
Marc Cohn
Composer
Marc Cohn
Lyricist
Marc Cohn
Produced
Marc Cohn Ben Wisch
Credit
Marc Cohn – Lead vocals, electric piano, backing vocals John Leventhal – Guitars, bass, six-string bass, Drum programming, shaker Kenny White – Backing vocals Dennis McDermott – Drums Bashiri Johnson – Percussion Frank Floyd – Backing vocals Milt Grayson – Backing vocals Frank Simms – Backing vocals
Released
February 12 1991
Streaming
Marc Cohn · Song · 1991
Rosanne Cash’s 8th studio album was released on 19 January 1993.
After her separation from husband Rodney Crowell (unflinchingly dealt with on 1990′s Interiors) and subsequent divorce in 1992, the 37-year-old left Nashville and relocated to New York City. The Wheel would be both an end, and a new beginning.
It was her last album for Columbia Records, and co-produced by John Leventhal, who Cash would marry in 1995.
10 Song Demo by Rosanne Cash was released on 2 April 1996.
It was Cash's first release for Capitol Records, and her first album in 3 years, since The Wheel, which chronicled the dissolution of her marriage to Rodney Crowell.
Cash had left her marriage, her label, and her home (Nashville), married John Leventhal in 1995 (who co-produced and plays on the album), signed to Capitol, and relocated to New York City. And while it seemed as if 10 Song Demo would be a new beginning for Cash, she would not release another album until 2003's Rules of Travel (Cash gave birth to her son, published a short story collection and children's book, and developed polyps on her vocal chords, which left her unable to sing for 2 1/2 years).
Hardly Strictly Bluegrass Day Two, Golden Gate Park, San Francisco, Calif., Oct. 4, 2025
“There’s no festival like this in the entire world,” Rosanne Cash said of Hardly Strictly Bluegrass as the late-afternoon sun shone on the Banjo Stage.
“We’re so lucky.”
Cash wasn’t kidding. From an amazing noontime set by Maria Muldaur on the Arrow Stage to Dan Tyminski coming his own on the Swan Stage to Sam Bush reinforcing his status as a newgrass pioneer on the Rooster Stage, Day Two of HSB in San Francisco’s Golden Gate Park was overflowing with stunning performance.
But first, Montana-based quartet Tophouse opened Oct. 4 at Banjo, employing a hybrid of bluegrass and rock instrumentation (banjo, fiddle, guitar, mandolin, keys and kick drum) mixed with comedy.
Stage patter recalled Steven Wright’s lowkey ridiculousness as the band said Tophouse is a band and described “I Don’t Wanna Move On” as a song about not wanting to move on.
“This next song is about driving back home,” the musicians, who call themselves “international sex symbols” said from the stage. “It’s called ‘Drive Back Home.’”
Next, the irrepressible Muldaur, who with her four-piece Bluesiana Band of guitar, drums, keys and female backgrounds turned in the Sound Biteses’ favorite set of the day. She opened the Arrow with Elvin Bishop’s “I’ll be Glad When I Get My Groove Back Again” and though she was seated, Muldaur had plenty of energy on the mic, pumping her arms, folding her hands in prayer for love and shaking a tambourine.
Muldaur’s performance was an inspiring mix of blues, gospel, funk and soul with a side of sexy sass that got a raucous response on songs like “Handyman.” At 83, Muldaur is a fountain of youth, yelping, crying and holding notes for 10 seconds and longer on such numbers as “Why Are People Like That?,” “Yes We Can” and “Cajun Moon.”
When “The Power of Music” ended the set, Muldaur had already proved the power of music.
Back at the Banjo, a multi-generational group of women ranging from 19-year-old mandolinist Sophia Sparks to 91-year-old Alice Gerrard paid tribute to Hazel Dickens with a core band of Della Mae (a quartet) and Laurie Lewis. As red-tailed hawks circled over the sun-soaked field and mandolinist AJ Lee came and went, the conglomerate performed ragged-but-exactly-right versions of “Black Lung,” Working Girl Blues,” “West Virginia, My Home” and “Pretty Bird,” the latter a cappella by Lewis and Vickie Vaughn. And for that moment, Appalachia circa 1940 was present in San Francisco 2025.
Meanwhile, en route to Swan, Mr. and Mrs. Sound Bites dropped by the Rooster, where Rosie Flores played rockabilly swing - including Dave Alvin’s “Long White Cadillac” - to close out a well-received early-afternoon set.
A few minutes later, Dan Tyminski was set up with his eponymous band on the Swan. Featuring Union Station instrumentation and Union Station sound on tracks like “Whiskey Drinkin’ Man” and “Man of Constant Sorrow,” this high-energy show revealed a band coming into its own and Tyminski becoming a frontman and forging his post-Alison Krauss identity.
Performing as part of Buddy Miller’s Cavalcade of Stars, Albert Lee set the Rooster table for Sam Bush with a mix of piano ballads and guitar-driven rockabilly in a trio format.
At a youthful 73, Bush was a human locomotive, pulling his bluegrass band with rock ‘n’ roll rhythm section out of the station on “Riding that Bluegrass Train.” As the set rolled on, Bush slipped a bit of “My Shot” into “I Just Wanna Feel Something” and used the “Hamilton” refrain to remind festivalgoers America is supposed to be a free country.
Before long, Bush, who’d appeared the previous day with the Nitty Gritty Dirt Band, switched from mandolin to fiddle and honored John Hartford with “Back in the Goodle Days,” a somewhat ironic song for a guy like Bush, who’s made a career of pushing old-time music into the future.
Performing in an acoustic duo with husband John Leventhal, the aforementioned Cash proved one of the few sparse, acoustic acts capable of holding a massive festival audience rapt. Yet, despite a sea of people in front of the Banjo, Leventhal’s intricate playing and Cash’s pure-as-spring-water vocals were clearly audible to the silent audience members scores of yards away on “And Your Bird Can Sing,” with “Norwegian Wood (This Bird Has Flown)” tacked on the end.
“That’s John Leventhal playing three out of four Beatle parts,” Cash said.
The duo moved hearts on “Long Black Veil;” recalled country hits on “Seven Year Ache;” and, after a day of escapism, brought the stark reality of 2025 into focus as Leventhal sat at the piano and Cash sung a gospel version of Woody Guthrie’s “Deportee.”
“We must not lose our humanity and our kindness,” she said.
Again, she wasn’t kidding.
Read Sound Bites’ Day One coverage here.
10/5/25
Current mood.
John Leventhal is an American musician, producer, songwriter, and recording engineer who has produced albums for William Bell, The Blind Boys of Alabama, Michel...
Link: John Leventhal
Sarah Jarosz at Memoriał Hall OTR, Cincinnati, Ohio, April 26, 2024
Touring behind Polaroid Lovers, Sarah Jarosz is leaning heavily into the album, culling more than half of her 19-song set from the 2024 LP.
This makes the shows - like the album itself - more pop- and rock-learning than anything Jarosz has done as a solo artist or as a member of I’m with Her. As such, Jarosz, clad in leather pants and a black top April 26 inside Cincinnati’s Memorial Hall OTR, stuck exclusively to the mic on a late-show cover of Massive Attack’s “Teardrop” and played banjo only once, on “Green Lights.”
“Even Beyoncé’s doing it,” she said of the clawhammer. “I’m here for it.”
Backed by a three-piece band and mostly playing octave mandolin and acoustic guitar herself, Jarosz opened the show with four Polaroid Lovers cuts that set the tone for the evening. Bassist Daniel Kimbro provided an early highlight with an exquisite electric-bass solo on “The Way it is Now;” many of Jarosz’s own instrumental showcases, however, were blunted by Fred Eltringham’s drums, which overpowered much of the interplay between Jarosz, Kimbro and guitarist/harmony vocalist Seth Taylor, with whom the frontwoman struck some rock ‘n’ roll poses, throughout the 90-minute performance.
The unfortunate drum mix made Jarosz’s solo-acoustic rendering of “Jacqueline” and a trio rendition of “Morning” all the more sweet. And when Eltringham used his hands and/or bushes on his kit as on the stunning country ballad “Days Can Turn Around” - a Polaroid highlight - it was a reminder that the show’s relative weaknesses had more to do with the material and the mix than the people on the stage festooned with candles, mic stands with braided greenery and a big red heart on the kick drum.
Nods to Jarosz’s back catalog, including “Build Me up from Bones;” “Maggie,” on which Taylor handled John Leventhal’s acoustic guitar parts on electric; and Jarosz’s interpretation of Bob Dylan’s “Ring Them Bells” reinforced the fact.
Canadian singer-songwriter Le Ren warmed up the sold-out house with a well-received 30-minute set in a duo format that found her acoustic guitar accompanied by lap steel and hollow-bodied electric guitars. The playlist included George Jones’ “The Day I Lose My Mind;” Townes Van Zandt’s “Colorado Girl;” and such originals as “Diane,” a paean to the singer’s mother.
If I could look into the center of the sun, I think I’d see her there, Le Ren sang in a voice flecked with bits of early Joni Mitchell.
Grade card: Sarah Jarosz at Memoriał Hall - 4/26/24 - B-
4/27/24
