When they were in Thee Shams, Andy Gabbard and Zach Gabbard played music that was firmly rooted in the sounds of the mid-'60s, but with their third album, their band Buffalo Killers has moved bravely into the early '70s, and they sound right at home there. Buffalo Killers 3 suggests a meeting of the minds between Crazy Horse and the James Gang during a few mellow days in Laurel Canyon, and if you didn't read the credits or look at the copyright date, many listeners would never guess this music was recorded in the 21st century. While there isn't much here that suggests a shameless rip-off of any artist in particular, 3 conjures up a sense of time and place with ease, and the loose, sun-burnt vibe of this music, fused with Andy's fluid but forceful guitar work, Zach's simple but effective basslines, and Joey Sebaali's colorful percussion work drifts between country-rock and hard rock in a way that suggests the strengths of both without hitching itself to either. Lyrically, the Killers don't have a whole lot to say, but the melodies are fine stuff and the band plays with a seasoned air of musical intuition, knowing where to fill the spaces and how to make the most of their power trio format. Joining the Killers on their journey through the past are Kelley Deal, Brian Olive, and James Leg, but even if this is a very Ohio-centric cast of characters, this music has a rich West Coast feel, and in this case, that's a good thing. Buffalo Killers 3 finds this band easing into an comfortable but deep groove, and not many bands have mined a late hippie-era approach with more satisfying results. ~ Mark Deming, Rovi

Susanna Wallumrød's albums with and without the Magical Orchestra (aka Jaga Jazzist's Morten Qvenild) have all taken a similar approach, whether she focuses on her own songs (List of Lights and Buoys, Sonata Mix Dwarf Cosmos) or the songs of others (Melody Mountain, Flower of Evil): her subtly remarkable voice -- which carries within it echoes of singers from Nina Simone to Karen Carpenter -- came first and foremost, surrounded by abstract arrangements soft enough not to detract from her vocals, but interesting enough to enhance them. Often, she sounded like she was singing with the weight of the world on her shoulders, but on the simply named 3, she and Qvenild sound like they're bound for the stars. Lighter and more overtly electronic than Susanna & the Magical Orchestra's previous work, these songs have a sci-fi glamour and wistfulness to them, as well as a grandeur that suggests vast dark skies filled with twinkling lights. 3 begins with one of its boldest departures, Recall, which sets Wallumrød's voice adrift on bubbling analog synths, weaving a hypnotic spell broken by huge drums that sound all the more massive compared to the polite percussion on her previous work. Palpatine's Dream is even more striking, a song about Star Wars' Sith lord made sleek and strangely sexy with electronics that stream by like meteorites and backing vocals by Wildbirds & Peacedrums' Mariam Wallentin and Susanna's brother Fredrik Wallumrød. Not all of 3 is this drastically different than what came before it. Gently insightful songs like The Game and Come On could have appeared on Wallumrød's earlier albums, and she includes a couple of covers that reinforce what a gifted interpreter she is: Roy Harper's Another Day becomes a dead-of-night piano meditation, and Rush's Subdivisions is turned into a sparkling, ironically detached manifesto against conformity. Throughout, Wallumrød, Qvenild, and company never lose the purity of their vision, particularly on Lost, an aching ballad so simple and vulnerable it feels like a cover when it actually isn't, and Someday, which blends the album's alien frostiness with all-too-human intimacy, hope, and despair. Ambitious and diverse, 3 opens new possibilities for Susanna & the Magical Orchestra, but it shares the sense of wonder and beauty in all of their music. ~ Heather Phares, Rovi

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For their third album, 2005's TCV3, Southern hard rockers the Cherry Valence jump from Estrus to Bifocal Media and shuffle their lineup but otherwise they haven't changed much. There is still plenty of riffin'; there are songs that sound like they would fit quite snugly in the rotation of a mid-'70s AOR station next to Nazareth, Ted Nugent, and Led Zeppelin and they continue to sport dual drummer/vocalists, which still kicks serious rock & roll business. TCV3 kicks off with a trio of tunes that stake a claim right at the head of 2005's hard rock revival class. Sunglasses and Headlights motors like classic Montrose with some fierce guitar and a killer chorus, Minutes is more laid-back, riding a nicely funky groove much like the one the Black Crowes lost many years ago, and Only Game in Town is a tight rocker that jumps like something off of the MC5's Back in the USA. From there the record hits a relaxed groove that kind of lulls the listener into taking it for granted. Not that there is anything bad going on, but apart from the awesomely rocking Couldn't Stop It, there just isn't anything quite as fierce and entertaining as the opening volley. Near the end of the record things slam back into focus with a batch of wall-rattling rockers (Two Steps Forward, the super-catchy You've Got to Wait, and Caves of Steel) that leaves you in a sweaty pile by the conclusion and generally saves the record from mediocrity. Even pushes it toward above average, maybe. The patch of standard-issue CV tunes in the heart of the album could mean that the band is nearing the end of its run, but then again they also come up with some of their best songs as well. Hmm...well, why waste your time scratching your head over it, just load the six or seven songs that will shake your foundation on your iPod, or better still, a dusty old cassette, and blast them next time you need an retro-AOR fix. ~ Tim Sendra, Rovi