Guy wasn't kidding when he sang "it's got to come from the heart if you want it to work;" here, he and his talented crew prove it, playing and singing like nobody's watching.

The project truly succeeds because of the various voices in The SteelDrivers, who consider their bluegrass to be one painted from a darker palette--which, at times, can feel a little too dark.

Aside from bandmate Dan Tyminski's American-roots turns, there are fewer diversions this time from the restrained, often introspective fare Alison favors, including the regrettable omission of the stirring devotionals that have graced her past works.

Only a real party-pooper would deny Guy's talented pals the chance to respectfully demonstrate how well this stuff still works.

The sugared tunes would be easy to dismiss except for the credible guitar riffs, foot-tapping rhythms and fiery passion with which Keith sings. Thankfully, it's not all sunshine.

The album plays like a tribute to an earlier era, rich with period atmosphere, and Gregg, as always, delivers an authenticity few white singers could muster.

Love Is Everything further showcases George’s smooth voice and, perhaps more importantly, his uncanny knack for picking outstanding songs.

His label home may have changed, but his everyman approach to songwriting holds steady.

Emmylou and Rodney seem at their best with the more up-tempo offerings like Kris Kristofferson’s “Chase the Feeling” and “Bluebird Wine,” which features Rodney’s playful vocals.

The turquoise-hued bluegrass offered here is anything but generic--it's specialty-shop stuff.

There's plenty here for country fans of pretty much any ilk.

Sara's pop-country sound is rich Southern comfort, delivered organically and with authenticity.

This winning formula should keep you around for quite a while.

Ghost on the Canvas is a lovingly produced nod to the musician and his music that summarizes the multiple dimensions of Campbell's remarkable genre-crossing career and, best of all, allows the honoree to help do the honors.

[Reba] singing, "I'll give my heart to a song, but I'll never sell my soul." That's exactly how Reba's approached her career thus far, and what she continues to do on this emotionally charged set of songs.

While it lacks the emotional heft of Merle's acclaimed 2010 album, I Am What I Am, the cancer survivor's latest album boasts plenty of flinty independence.

Carrie’s never been in better voice, but a little more control in the production would have served her well.

This disc highlights a collection of substantial songs every bit as relevant as they were in Loretta's heyday.

The disc reveals a few hard edges but offers optimism even as it explores the thornier corners of human behavior.

The production team of Tim and Byron Gallimore have struck country music pay dirt with this incredible collection that balances contemporary and traditional styles with amazing subtlety, all without making Tim sound as if he’s trying to keep up with the younger stars--indeed, with Damn Country Music, he’s in the passing lane.

Hitting a sweet spot between honky-tonk and the more sophisticated Nashville Sound of yore, Long Line of Heartaches delivers unapologetically traditional fare without resorting to self-conscious nostalgia.

Quietly and artfully, if not especially dynamically, McKenna unearths striking truths about the fragility of life and relationships.

Wrapped in Red is a stylistic maverick, for sure, but the original tunes are worthy of sitting next to the standards, and when Kelly sings, it’s like Christmas all year round.

As the potent observations on And So It Goes make clear, time is indeed ticking away, though Don's comforting, timeless-sounding presentation of these top-flight tunes can sometimes make it seem otherwise.

Collectively, they touch upon a complex range of emotions and interconnections, supported by sparse and countrified instrumentation that sets an appropriately Texan tone.

It’s his sophomore studio album, See You Tonight, that is really showing some maturity and growth.

Overall the recording sounds great—warm and intimate without sacrificing polish.

It’s an album that defines an artist, proving that the Williams name (the daughter of Bocephus, Holly comes from the Hank lineage) remains as trailblazing and unique as ever.