
If you’re familiar with Shel Silverstein‘s Where the Sidewalk Ends and The Giving Tree, you might be surprised to learn that in 1969, he also penned one of Johnny Cash’s greatest hits, “A Boy Named Sue.” This iconic song was made famous by Johnny Cash, who recorded it live in concert on February 24, 1969, at California’s San Quentin State Prison for his At San Quentin album.
In addition to his work as an author, Shel Silverstein was also a talented cartoonist for Playboy magazine and a prolific songwriter. His songwriting credits include hits for artists like Dr. Hook and Bobby Bare. Silverstein’s diverse talents extended far beyond his beloved children’s books, showcasing his ability to connect with a wide range of audiences through both his humorous and heartfelt contributions to literature and music.

“A Boy Named Sue” narrates the tale of a young man’s quest for revenge against his father, who abandoned him at the age of three. The father’s only contributions to his son’s life were giving him a guitar and naming him Sue, a name commonly associated with females. This unusual name subjected the boy to ridicule and harassment throughout his life. Embarrassed and hardened by his experiences, he becomes a tough, nomadic young man, determined to find and kill his father for saddling him with “that awful name.”
The song features an unusual AABCCB rhyme scheme, breaking only at the midpoint and end. It is performed in a speech-like style known as talking blues, rather than conventional singing.
Johnny Cash at San Quentin was just one of several albums where Cash performed live in front of an audience of prisoners, but what made this particular recording stand out? One key factor was the inclusion of the song “A Boy Named Sue,” which earned Cash the Grammy Award for Best Male Country Vocal Performance. Interestingly, Cash didn’t write the song himself.
The live rendition of “A Boy Named Sue” at San Quentin added an extra layer of authenticity and immediacy to the song’s narrative of a young man’s quest for revenge against his absentee father. This track, along with Cash’s charismatic performance and the palpable atmosphere of the prison environment, contributed to the album’s enduring legacy and critical acclaim.
Silverstein later wrote a follow-up titled “The Father of a Boy Named Sue,” included in his 1978 Songs and Stories. This sequel provides the father’s perspective on the story. The only known recording of this song by a major artist is by Silverstein himself, though various artists have covered it over the years.
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