{"id":338,"date":"2003-12-18T10:52:12","date_gmt":"2003-12-18T15:52:12","guid":{"rendered":"http:\/\/www.artsjournal.com\/riley\/wp\/2003\/12\/the_man_comes_around\/"},"modified":"2003-12-18T10:52:12","modified_gmt":"2003-12-18T15:52:12","slug":"the_man_comes_around","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/riley\/2003\/12\/the_man_comes_around\/","title":{"rendered":"THE MAN COMES AROUND"},"content":{"rendered":"<p>After listening to UNEARTHED for a couple weeks, I&#8217;m convinced it&#8217;s not only all the stuff that Rubin should have released originally, it&#8217;s one of the best box set concept\/executions yet, and if you come anywhere near adoring Cash, make sure it&#8217;s under your tree. <a href=\"http:\/\/citypages.com\/databank\/24\/1200\/article11708.asp\" target=\"_blank\">Greil Marcus<\/A> is tough on the whole (it was underway well before his death), but entertainingly rhapsodic as usual (yeah, right, radio&#8217;s gonna get behind this). Plus, how do you trust a guy who best his reputation on <a href=\"http:\/\/www.citypages.com\/databank\/24\/1203\/article11784.asp\" target=\"_blank\">NATALIE MERCHANT and COUNTING CROWS<\/A>? <a href=\"http:\/\/www.publicbroadcasting.net\/wbur\/arts.artsmain?action=viewArticle&#038;id=578771&#038;pid=30&#038;sid=2\" target=\"_blank\">Milo Miles<\/A> has a much better take on Cash. See also Milo on Miles Davis&#8217;s JACK JOHNSON box, which <a href=\"http:\/\/www.villagevoice.com\/issues\/0346\/christgau.php\" target=\"_blank\">Christgau<\/A> assigns a B+, a tough grade for all its revelations.<\/p>\n","protected":false},"excerpt":{"rendered":"<p>After listening to UNEARTHED for a couple weeks, I&#8217;m convinced it&#8217;s not only all the stuff that Rubin should have released originally, it&#8217;s one of the best box set concept\/executions yet, and if you come anywhere near adoring Cash, make sure it&#8217;s under your tree. Greil Marcus is tough on the whole (it was underway [&hellip;]<\/p>\n","protected":false},"author":3,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-338","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/338","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/users\/3"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/comments?post=338"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/posts\/338\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/media?parent=338"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/categories?post=338"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/riley\/wp-json\/wp\/v2\/tags?post=338"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}