Out of print in the U.S.! Johnny Cash had already recorded some of the most important Country albums in the history of the genre, yet, although he was still making quality music throughout the '80s, record sales and label support were the lowest he'd ever experienced in his entire career. By the early '90s, he was without a label for the first time in four decades. Longtime fan, label owner and producer Rick Rubin stepped in, asked Johnny to return to his roots and together, they re-created the legend of the Man in Black. Features Cash performing his own compositions as well as songs from Loudon Wainwright, Leonard Cohen, Nick Lowe, Tom Waits and Glenn Danzig. American Recordings earned Johnny a 1995 Grammy Award for Best Contemporary Folk Album. A stunning return to form. Warner.

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You'd think that after eight years and three releases, Johnny Cash'sRick Rubin-produced "American" series would have lost at least a bitof its luster and most of its novelty. You'd think. But, as AmericanIV: The Man Comes Around amply demonstrates, the duo's creative honeymoonis far from over.

This time out, Cash focuses on matters of the spirit, tackling the topic inways ranging from the title track, a dark Cash-penned Judgment Day epic, toalbum closer "We'll Meet Again," a World War II hit that suggeststhe possibility of reincarnation as much as it does any kind of Christian afterlife.

As usual, Cash and Rubin shine brightest when they venture off the beaten path.The morbid and majestic "I Hung My Head" sounds as though it couldbe a Cash original or a traditional tune—you'd certainly never guessthat Sting wrote it. And Cash's treatment of Nine Inch Nails' "Hurt"radiates raw power to spare.

But Depeche Mode's "Personal Jesus" provides American IV'sbiggest surprise—and one of the album's strongest tracks. There'ssomething downright chilling about hearing Cash croon "Lift up the receiver/I'll make you a believer" over an acoustic guitar part that almostsounds as though it could have been on one of his old Sun recordings.

That's where Rubin's genius comes in. He approaches his task withthe taste and restraint of a master framer, giving Cash's majesticallyweathered voice plenty of room to spread out and sparkle. And, once again, itdoes.

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