Birmingham Post, England    June 2, 2006 “With her elegant voice sounding as if dipped in honey, Megan Reilly is a hugely promising singer-songwriter. Hailing from Memphis, she strays from the female solo artist stereotypes — instead her melancholy folk-pop has a sense of depth and warmth, its intricate textures proving more exotic and dangerous than the norm...there are numerous pleasures to be found within this highly rewarding set.” Four Stars Delusions of Adequacy    June 21, 2006 “Megan Reilly’s voice is soft and sweet, expunging the dark places of her heart marked by people she has lost. While this has certainly been done by many musicians in the past, Reilly’s songs are touching without being sappy. There’s a strength behind the words that makes her soul-bearing that much more hopeful. Although Megan Reilly may not be a household name, ‘Let Your Ghost Go’ is an album to be proud of — and her big break seems to be just on the horizon.” Jennifer Patton Illinois Times    May 18, 2006 “On her sophomore CD, ‘Let Your Ghost Go,’ Reilly’s natural milieu seems to be the liminal — harder to pinpoint, perhaps because it’s nowhere and everywhere at once, saturating the songs like a half-remembered dream. Her flickering folk-pop conjures sepia-stained memories and vague apparitions, intimations of mortality that darken every spangly surface. At its best, her music works on an almost subliminal level, lulling you into a state of perfect receptiveness and infiltrating your consciousness like a restless spirit.” René Spencer Saller Dallas Observer    June 8,2006 “Her light Tennessee accent adds a teaspoon of sugar to both her soft croon and her room-filling high notes, as if Dolly Parton sang in her sleep and occasionally wailed in terror at a nightmare.” Sam Machkovech more All Music Guide “Even though Megan Reilly’s second album ‘Let Your Ghost Go’ was recorded in New York City, it’s clear that the singer is much more connected and inspired by her Memphis roots...strummed acoustic chords and slide guitars dominate the record and act as the perfect backdrop to Reilly’s airy, sometimes quavering voice. But that shakiness is just a technique she uses when she wants to accent the emotion of the music, like the title cut, a kind of love song, in which Reilly sports a vibrato that would make Dolly Parton proud...it’s an atmospheric record but it’s also direct and the songs can and deserve to be listened to individually...including a fantastic version of Phil Lynott’s ‘Little Girl in Bloom.’ more Chicago Tribune    March 17, 2006 “Megan Reilly’s ‘Let Your Ghost Go’ finds poetry in the everyday. Her deceptively gentle alto voice values understatement, but it’s also capable of cutting through contemplation with a wail...Reilly’s got the sensitive poetic thing down, but it’s the unexpected toughness that makes ‘Let Your Ghost Go’ a keeper.” Greg Kot more Harp Magazine    April 2006 “Let Your Ghost Go’s lush instrumentation and arrangement is a mixture of Irish and Southern myth and mystique. The often delicate tones and sleepy tempos recall a bit of both sides, for a captivating dual-ambience in which Reilly coos, mourns, laughs, fumes, dreams and loves. She’s where it all comes together.” Randy Harward more Uncut    May 2006 “It would be enough to praise her elegant songs or tone of voice which owes more to Loretta Lynn or Dolly Parton than peers Catpower or Tanya Donelley. But Reilly’s choice of covers is fascinating, too: Dylan’s ‘Wedding Song’ (from ‘74 Planet Waves’) and Phil Lynott’s sensitive ‘Little Girl in Bloom’...a captivatingly sparse album of subtly shifting moods and styles.” Four Stars, Mick Houghton New York Times    April 9, 2006 “Megan Reilly’s best voice is small and breathy as if she’s not sure whether she has awakened yet from a dream. When she sings about late nights and hazy mornings, her musicians collude, playing sustained parts that tiptoe behind her or hover in the backround. Occasionally she comes down to earth on the fringes of country-rock, but she’s most at home in the half-light.” Jon Pareles Rough Trade    March 2006 Album of the Week  “Megan Reilly’s second album ‘Let Your Ghost Go’ maintains the sense of understated elegance that was apparent on her debut ‘Arc of Tessa’ but leaps light years ahead in melody, musicianship and craftsmanship, outstripping normal expectations for sophomore albums...with the perfectly chosen Sue Garner and John McEntire behind the boards.” more Other Music    April 6, 2006 “(Let Your Ghost Go) comes on like a fever-dream, slow, hot and swooning, brimming with love and death and sadness and joy...a voice both hazy and powerfully direct...a wonderful, timeless sophomore record of quiet, haunting country pop.” Josh Madell more Cincinnati City Beat    March 15, 2006 “Megan Reilly’s debut ‘Arc of Tessa’, the moodily electrifying Folk Pop gem, shimmered with a quiet intensity at the intersection of Emmylou Harris and Nick Drake...‘Let Your Ghost Go’ is another stunning triumph for Megan, whose first two albums give the impression that she has an inexhaustible supply of contemporary classics within her. A-” Mike Breen more Chicago Reader    March 23, 2006 “For her second album, the new ‘Let Your Ghost Go’, Memphis-raised singer Megan Reilly is backed again by a band filled with heavyweights...but the players don’t draw attention to themselves, showing an admirable restraint around Reilly’s breathy, delicate voice and letting the songs reveal their charms softly. Mostly the mildly twangy arrangements percolate gently as Reilly whisper-sings through the bittersweet melodies. When she does lean into a song, her voice cuts through like a scythe, but even on a more aggressive number like ‘Tropic of Cancer’ she judiciously uses her firepower, which makes her emphatic gestures that much more effective.” Peter Margasak Guitar Player    April 2006 “Megan Reilly’s wispy voice gives many of the songs on ‘Let Your Ghost Go’ the feeling of haunting lullabies---Reilly’s guitar arrangements are simple and unobtrusive, and they let you get lost in the feel of her songs. But, occasionally, she throws in some unpredictable chords that suprise you, and pull your attention to her playing...a work of mysterious and unconventional beauty...and from a female perspective, it’s always cool hearing a woman do her own thing with such grace.” Katie Garibaldi more