The Athens-based multi-instrumentalist is joined by an assortment of similarly rootsy musicians who help flesh out some of these generally atmospheric yet always moving pieces, many of which only reveal their subtle allures after repeated playings.

She's created an album that plumbs the kind of emotional depths that used to be expected from major rock artists.

[Their] biggest, most-produced and boldest album yet.

Before Arrow, I thought I liked this band; I thought I liked them a lot, even. Having seen this new side, though, a better word would be "love."

For the most part, it works. But "Warrior Man," a jumbled idea that could've been a great song, is the sort of cautionary tale that keeps this album from matching Shame, Shame's standards.

It's warmly, immaculately recorded, featuring a wealth of tasty cocktail pop atmosphere perfect for sipping wine on the couch late at night or reclining with a book in a bay window on a lazy Sunday afternoon. It's fine, it's dandy, and it's completely inessential.

Ultimately, the album's roomy sound and well-observed sentiments come across as byproducts of lived experience rather than of an extensive vinyl collection.

What Happened To The LA LAs is a bit different, though hardly so different as to alienate its core fan base.

Roots folk doesn't get more organic than this.

The sparse production rightly focuses on the vocals with a backing band that's in the pocket yet appropriately reserved.

One Man Mutiny does a great job of balancing Stinson's pop-punk sheen with a bittersweet dose of aching ballads.

Bursting with enough potential singles to suggest that the most-played male artist of the last decade will continue to dominate country radio.

He comes across as a man still deep in the throes of religious and romantic upheaval, invigorated rather than intimidated by the nearness of death.

Cut half the roster on Chimes and you've got an amazing lineup of Dylan's peers and admirers.

This tribute may do a better job of conveying Clark's power than his own recordings.

Lightbody and company manage to deliver an unyielding and substantially satisfying collection of high quality upbeat tracks and atmospheric ballads.

Voyageur improves on its predecessor by feeling both more intimate and more boomingly spacious--it helps move her away from the middle.

A nice summation of Chris Cornell's career up to this point, Songbook makes for a fine springboard into the next creative chapter of his life.

With their extended songs, complex– some might say obtuse– lyrics and Geddy Lee's piercing vocals, Rush largely plays to a cult audience.

The album has a little something for everyone, from the electronic skronk of "Awake On Foreign Shores" and the Dark Lights' remix "The Stars In His Head" to the gentle, Bachian minute-long dirge, "All The Days I've Missed You."

It's meat-and-potatoes blues-rock topped with something sweeter, and it's the most consistent thing these guys have ever cooked up.

Regrettably, Break The Spell never fulfills its mission of delivering an unabashed rock effort and genuine nuggets of musical magic are few and far between.

The CD chops out the voluminous chatter, which is one of the strengths of the 1 3/4 hour DVD, but works just fine for on-the-go playback of a dynamic concert.

Beautifully-balanced and well-paced.

The warmth Nail musters vocally is matched by the pairing of production big and bright enough for radio with performances that feel unmistakably like the work of real, live musicians with personalities.

It's a pleasant, moody, laconic bordering on snoozy, stripped down affair that never breaks a sweat or escalates into a gallop.

On The Dreamer, James includes some unlikely song choices, and most of them work.

Four the Record retain all the pain and personality that drove those dark songs [of her first two albums] and redirects her energies toward some of her best and most eloquent singing and songwriting yet.