From Cult to mass culture is the giant leap Alison Krauss seems set to take with her latest album, Forget About It.

That she has chosen to do it from the base of her long-time label Rounder rather than with a major label has to be admired. Over the last couple of albums, and with her outside production work, she has been moving away from her more hardcore award-winning bluegrass background. For instance, the addition of drums is not something that is too often seen in the bluegrass arena even when used, as here, in such an understated way.

And understated is the key word here; while the playing is subtle and effective it is never obstrusive. On Forget About It her longtime players Dan Tyminski and Ron Block are joined by Barry Bales and Jerry Douglas, the latter's distinctive dobro playing adding a new dimension to the sound. The additional guests include the electric guitar of Pat Bergeson, Joey Miskulin on accordion, Matt Rollings' piano, her brother Viktor on acoustic bass and Jim Keltner on drums. Vocal support is given by The Cox Family and Dolly Parton and Lyle Lovett.

Some of those who have followed her career from the beginning may find this album moving a little too far from her original grounding. However, she still has a very distinctive sound, and one that has lost none of its individuality. And when, as on the outstanding cut, Ghost In This House, she delivers a truly aching performance, you cannot deny her strength and power.

Alison Krauss has a talent that will find a home here much as Nanci Griffith has done before her. Forget About It may not be a cutting edge, crossover album, and it may not gain the critical kudos of Steve Earle's recent bluegrass outing, but it does seem set to ensure that Alison Krauss' singular talent, already appreciated by many, is about to be discovered by many more.