Nancy Sinatra

A resounding success... She won't get the same press that Loretta Lynn got for her "comeback", but this may even be more impressive an accomplishment because it come out of nowhere.

She's a poised pop queen, ready to be worshiped once again. [Nov 2004, p.141]

There's more wit, atmosphere and incontestable (if elegantly understated) star power in this sleek, chic, foxy record than in the rest of the month's albums combined.

Enjoyable, if not quite spectacular, results. [1 Oct 2004, p.74]

[Sinatra's] is a light, ductile weirdness, and nearly all the contributing acolytes here play to it well. [Jan 2005, p.96]

It's a grand meeting between a star and her fans.

As for her voice, that's still a remarkably sassy tool. [Nov 2004, p.108]

You might expect the resulting album to be disjointed and schizo, but it's actually a cohesive collection of potential hit singles held together by an incomparable performer.

Reasserts what's great about her. [2 Oct 2004, p.64]

Much of the album lacks cohesion, and even seems lazy. [Nov 2004, p.109]

A puzzling release.

Though only a couple of tracks could hang with the Hazelwood days, it doesn't mean the rest of the songs aren't a pleasure. [#8, p.112]

Jack White took Loretta Lynn indie-rock Nashville with an unquenchable musical hunger and attainment that never had to feel sheepish about following the work of a music maestro as juicy and august as the late Owen Bradley. AJ Azzarto, Matt Azzarto, and Don Fleming, Sinatra's producers, do something else. They craft an indie-rock Nancy Sinatra, way too much of which is way too 1994.

She's still got class and sass to spare, but among so many collaborators, Sinatra sounds too malleable and impersonal. [#13, p.111]