by Stephen Thomas ErlewineIt's likely that critics and listeners will consider Counting Crows' long-delayed third album, This Desert Life, another retro effort by a traditionalist band, but it's actually their most individual and finest album yet. All the familiar elements are in place, from Adam Duritz's impassioned vocals and cryptic lyrics to the jangling instrumentation, but the laments gel better than ever before. Part of it undoubtedly has to do with David Lowery and Dennis Herring's organic production, which keeps the rough edges in place, helping the music to breathe, but the real success of the record is due to the band themselves, who have matured gracefully. They may have spent a long time recording this album, but the music feels natural and immediate. Upon closer inspection, the craft really shines through. The songs are tight, with strong hooks on the choruses, and nice, memorable melody lines; the arrangements may be earthy, but they're never cluttered. Most importantly, Duritz has reigned in his tendency to overwrite and over-emote, turning in his best sets of songs to date. But the best thing about This Desert Life is that it holds together as a cohesive album while providing the best individual songs in the band's catalog. And that just doesn't mean the best singles, although "Hanginaround" is their finest uptempo number to date; the album tracks are consistently compelling, ranging from the winding narrative of "Mrs. Potter's Lullaby" to the measured ballad "Speedway." These subtle differences -- the confident performances, cohesion, and assured songwriting -- add up Counting Crows' strongest album to date. They may still recall rock giants, but only in the best possible way -- by crafting an album that ebbs and flows like the best classic rock records.