Smile

1	Smile 3:50
2	I'm Gonna Make You Love Me 3:40
3	What Led Me to This Town 4:09
4	Somewhere in Ohio 3:39
5	A Break in the Clouds 3:59
6	Queen of the World 2:35
7	Life Floats By 4:42
8	Broken Harpoon 3:31
9	Pretty Thing 4:18
10	Mr. Wilson 4:26
11	(In My) Wildest Dreams 4:30
12	Better Days 4:36
13	Baby, Baby, Baby 5:19

Barnes & Noble

It comes as somewhat of a surprise to see this notoriously brooding band return to action with an album titled SMILE -- and even more wondrous to find that there's no irony inherent in the name. While the Minneapolis-bred quintet retains shades of the alt-country sound they pioneered in the late '80s and early '90s -- most effectively on the wizened "What Led Me to This Town" -- de facto front man Gary Louris spends a good bit of time shepherding in a more aggressive, more rhythm-based sound. A few tracks, such as the neo-psychedelic "Somewhere in Ohio," engender a retro feel; on others, including the distortion-heavy "Wildest Dreams," the vibe is utterly contemporary. Producer Bob Ezrin (famed for his work with Kiss and Alice Cooper) plays a considerable role in punching up the sound, but he also shows a sensitivity to the Jayhawks' well-entrenched mellow side, allowing the shimmering harmonies of keyboardist Karen Grotberg to waft up through the folksy melody of "A Break in the Clouds." They're a little less kind, a little less gentle, but the Jayhawks have never been more life-affirming than on SMILE. David Sprague

All Music Guide

With Smile, the Jayhawks drop yet another sizable chunk of their alt-country sound by the roadside, adding in its place healthy doses of power pop and modern electronic music. Almost half of Smile's songs feature looped percussion, overdubbed drum tracks, or flat-out, funky backbeats. Little blips of sound skitter underneath the mostly acoustic guitars on the wistful "What Led Me to This Town" and make "Queen of the World" a worthy candidate for a dance remix (if the Jayhawks were ever to consider such a thing). Their second record since the departure of founder and leader Mark Olson, Smile is meant as a direct reaction to the pessimism of Sound of Lies, their underappreciated, moody offering from 1997. Ironically, with the charismatic Gary Louris now fronting the group alone, they sound more like a band than ever before. Despite the modern touches, though, the fact remains that Smile retains just enough of a distinctly Americana feeling. On the warm and twangy "Better Days," one of Louris' best songs in years, he sings with genuine regret and heartache the way he treated a long ago lover, and on "Break in the Clouds" he celebrates the comforts of domestic contentment, complete with pedal steel and soaring harmonies that recall the band's landmark work Hollywood Town Hall from 1992. The general shift in direction may alienate a few long-term fans, but much like friends Wilco achieved with their adventurous Summerteeth, Smile's modern touches may bring even more people into the band's orbit. What never changes on the Jayhawks' albums, it seems, are the blissful melodies and well-constructed tunes, and that may just be enough for even the toughest critics. John Duffy