The southern aura of Shannon McNally's full-length debut belies more than her own geographic origins on Long Island's South Shore. Indeed, McNally seems to have absorbed a generation or three of

Jukebox Sparrows

The southern aura of Shannon McNally's full-length debut belies more than her own geographic origins on Long Island's South Shore. Indeed, McNally seems to have absorbed a generation or three of classic American blues, folk, and country influences with nary an ounce of self-consciousness or strained irony. Coupled with "Now That I Know"'s easy, emblematic pop sense and her natural phrasing, McNally's viewpoints range from cynically clear-eyed modern romanticism ("Down and Dirty," "Bolder Than Paradise") to the chilling rape-themed narrative "It Could've Been Me" to the surprising, jazzy impressionism of "Colorado." Comparisons to Sheryl Crow and Bonnie Raitt come naturally, but McNally's musical ambitions are distinctly broader, especially for a singer so early in her career. If the album's midtempo groove occasionally simmers too long, the spare sheen of Ron Aniello's production and stellar session work from the likes of Jim Keltner, James Gadson, Benmont Tench, and Greg Leisz impart a mature, accomplished sensibility. And just when you might think you've got McNally pegged, along comes her most promising delight, a playfully experimental title track rife with ambient samples, a rap-blues inflected telephone-voice narrative, murky rhythms, and bop-inspired instrumental flourishes. A VH1-ready visage has gained her some press, but don't let that distract you. Just trust your ears. --Jerry McCulley

Jukebox Sparrows