She & Him: M. Ward (vocals, guitar, guitars, slide guitar, keyboards, electric bass); Zooey Deschanel (vocals, piano, keyboards, xylophone, percussion); Mike Coykendall (guitar, guitars, electric bass, percussion); Paul Brainerd (steel guitar); Tom Hagerman (strings); Rachel Blumberg (percussion).

Personnel: Mike Mogis (steel guitar, percussion); Paul Brainard (steel guitar); Peter Broderick (strings); Adam Selzer (percussion).

Audio Mixers: Mike Coykendall; Mike Mogis.

Recording information: ARC, Omaha, NE (2006-2007); Blue Rooms, Portland, OR (2006-2007); Type Foundry, Portland, OR (2006-2007).

Generally, it's a good idea to be wary of actors who make pop albums, but every rule has at least one exception, and She and Him's VOLUME ONE is an unfettered delight. A collaboration between actress Zooey Deschanel (ALMOST FAMOUS, ELF) and prolific indie-folk musician M. Ward, She and Him is not merely a case of a cult musician using a more famous name as an entr‚e into the musical mainstream: in fact, Deschanel is the primary songwriter here and sings all the lead vocals barring a pair of duets, and she scores impressively on both fronts.

Deschanel turns out to be a gifted pop songwriter with a knack for penning crisp 1960s-style pop songs like the glorious first single, "Why Do You Let Me Stay Here?" and singing them in a flirty, country-inflected style that recalls the likes of Jackie DeShannon and early Linda Ronstadt. Ward and an all-star band of fellow Portland, Oregon, indie-ites, including the Decemberists' Rachel Blumberg on drums, set Deschanel's songs and vocals in arrangements perfectly balanced between Phil Spector bombast and indie-rock cool. The entire album is a joyous, enchanting listen.

She is actress Zooey Deschanel, Him is alt-singer/songwriter M. Ward. The two met on the set of a movie, found some musical common ground, and began working together. Volume One is the resulting album and it's one of the better albums made recently by a movie star, male or female. Good enough that it even heads off the obligatory suspicions that she only got to make a record because she was a Hollywood star. After a few spins of the album one could make a compelling case that Deschanel could quit her day job, or at least justifiably call herself an actress/musician. The common ground that the duo found and explore on Volume One is a sweet place where light-'60s pop meets strummy country tunes and candy-coated folk, a mythical meeting place between Sandie Shaw and Tammy Wynette with cameos by Richard & Linda Thompson. Deschanel's songs are simple and sad tales of heartbreak and missed connections, with hooky melodies and not a single artless moment to be found. For sure there's not a single instance that sounds like she got the gig because of who she is, instead of what she can do. Even if her songs were weak, her strong, assured vocals would carry the day. Sweet and rich with no annoying folky warble, she can croon ("Take It Back"), cry ("Sentimental Heart"), be playful (the bubblegum snappy "I Was Made for You"), or just sweep you off your feet with sweetness ("Sweet Darlin'," which she co-wrote with another artist who overcomes his Hollywood roots, Jason Schwartzman). As for Ward, he keeps his quirks mostly to himself, providing sympathetic backing unadorned by the kind of tricks and gimmicks that make his own albums slightly uneven. The occasional whistle here or slightly unconventional string arrangement there are the only traces of his usual artistry on Volume One. The rest of the time he and the band (which includes the ubiquitous Mike Mogis) create a soft, gentle feel equally inspired by the Brill Building and the Countrypolitan sound of Nashville in the late '50s. The only place the album falters is on the two covers the duo attempt. Deschanel doesn't add much to "You Really Got a Hold on Me," and Ward's backing vocals are just the kind of affected, arch singing she avoids elsewhere. Their take on the Beatles' "I Should Have Known Better" is better but still awfully close to a novelty. The album would have been more successful without both tracks, but even with them it stands as a nice coming out party for Deschanel. If you run screaming at the thought of singing actresses, give She & Him a chance and they might calm your fears. You may even forget the origins of the singer and simply be charmed by the singing, the songs, and the sounds found on Volume One. ~ Tim Sendra

Rolling Stone (p.64) - 3.5 stars out of 5 -- "Together they pose as a great lost Seventies AM-gold couple. Their acoustic vibe conjures up a time-travel fantasy of key parties, hot tubs and Chablis-crazed groping behind the spider plants."

Spin (p.102) - 3.5 stars out of 5 -- "[T]he best songs offer a tasty blend of desire and innocence reminiscent of classic girl groups. 'Sweet Darlin',' in particular, will brighten anyone's gloomiest mood."

Q (Magazine) (p.143) - 4 stars out of 5 -- "[B]eguiling....It feels as if they are making music for the sheer pleasure of it, and it's this that proves the record's abiding charm."

Mojo (Publisher) (p.102) - 4 stars out of 5 -- "[B]eautifully simple love songs delivered with a summer-scented voice that echoes Karen Carpenter one minute, Linda Ronstadt or Peggy Lee the next."