Which isn't to say that Carrie Underwood is as compelling or as distinctive as a personality or vocalist as Faith Hill: Underwood is still developing her own style and, for as good a singer as she is, she doesn't have much of a persona beyond that of the girl next door made good. But that's enough to make Some Hearts work, since she's surrounded by professionals, headed by producers Mark Bright and Dann Huff, who know how to exploit that persona effectively. While some of the songs drift a little bit toward the generic, especially in regard to the adult contemporary ballads, most of the material is slick, sturdy, and memorable, delivered with conviction by Underwood. She sounds equally convincing on such sentimental fare as "Jesus, Take the Wheel" as on the soaring pop "Some Hearts," and even if she doesn't exactly sound tough on the strutting "Before He Cheats," she does growl with a fair amount of passion. In fact, the worst thing here is her chart-topping post-American Idol hit "Inside Your Heaven," which is as formulaic as the mainstream country-pop that comprises the rest of Some Hearts, but with one crucial difference: the formula doesn't work, the song is too sappy and transparent, the arrangement too cold. On the rest of Some Hearts, everything clicks -- the production is warm, the tunes inoffensive but ingratiating, it straddles the country and pop worlds with ease, and most importantly, it's every bit as likeable as Carrie was on American Idol. Which means that even if she's not nearly as sassy or charismatic as Kelly Clarkson -- she's not as spunky as Nashville Star finalist Miranda Lambert, for that matter -- Carrie Underwood has delivered the best post-AmIdol record since Clarkson's debut.
Stephen Thomas Erlewine, Rovi