100 Miles From Memphis
Artist(s):
Sheryl Crow
Label: A&M
Publisher(s):
A&M
Studio: A&M
Manufacturer: A&M
Binding: Audio CD
List Price: $13.98
Our Price: $9.99
Availability: Usually ships in 24 hours
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Track Listing
1.
Our Love Is Fading
2.
Eye to Eye (feat. Keith Richards)
3.
Sign Your Name (feat. Justin Timberlake)
4.
Summer Day
5.
Long Road Home
6.
Say What You Want
7.
Peaceful Feeling
8.
Stop
9.
Sideways (feat. Citizen Cope)
10.
100 Miles From Memphis
11.
Roses and Moonlight
12.
I Want You Back (Bonus Track)
Editorial Reviews
Product Description
For Sheryl Crow, the title of her seventh album isn't just a location; it's a state of mind. "I grew up in a small town 100 miles from Memphis, and that informed not only my musical taste, but how I look at life," she says. "The drive to Memphis is all farmland, and everyone is community-oriented, God-fearing people, connected to the earth. The music that came out of that part of the world is a part of who I am, and it's the biggest inspiration for what I do and why I do it."
So for the Kennett, Missouri native, calling the disc 100 Miles From Memphis is a statement of purpose, both musical and emotional. It also marks a long-awaited return by the nine-time Grammy winner to the sounds that first drew her to making music.
"This is something I've been thinking about for a long time," says Crow. "When (manager Scooter Weintraub) first started working with me twenty years ago, what he heard in me was that I had heavy influences from the South--Delaney and Bonnie, all the Stax records. So for years he's been asking me, `When are you going to make that record?'"
The results evoke a time when soul and passion filled the radio waves, when the sweat and joy of a recording session could be captured forever on wax. Sometimes the musical references--Al Green, Sly and the Family Stone, Stevie Wonder--are made apparent, but the album's eleven songs are characterized more by capturing a classic spirit than by imitating any specific style.
Crow explains that the way 100 Miles From Memphis was recorded is crucial to its slinky grooves and rolling rhythms. Produced by Doyle Bramhall II and Justin Stanley ("I knew they could get that old soul feeling with authenticity," she says), and cut mostly live with a regular crew of musicians, the album presented a new set of challenges for her as a singer and a songwriter.
"This wasn't like any other record I've made," she says. "We cut two, three, sometimes four tracks a day, for ten or twelve days. We wrote a lot of music, and then I had to write lyrics later, to catch up. That was definitely a new experience, feeling like I had to do homework. It was super-daunting."
With the musical direction already established, the album's messages crystallized in one night at Crow's farm, outside of Nashville. "Having a three year old, you don't get too much quiet time," she says, "but I sat up one night, and I worked all night long and came up with the better part of five lyrics."
What emerged was a set of songs that are unusually open and direct for someone often celebrated for the care and craft of her writing. "This music called for emotion, a place of sensuality and sexuality, and that's a little challenging for me," she says. "Sometimes it's easier for me to hide behind more intellectual lyrics. So it was a great stretching experience to show more vulnerability in my writing."
The songs on 100 Miles From Memphis display impressive range, in feeling and performance. First single "Summer Day" is a delightfully breezy slice of glory-days AM radio pop. "I wanted to experiment with writing something simple and positive," says Crow. "The feeling of a great, solid love--not just a new love, but something everlasting."
The spare, dramatic ballad "Stop" (the one song on the album for which Crow has sole writing credit) is a powerful vocal showcase that struggles with some hard truths. "That one is really a plea to make everything quit going so fast," she says. "Life has reached this epic point of being out of control. There's so much chaos everywhere you look. And especially when you have a little kid, you just want to protect the people you love from all that pain."
Though the album features a tighter focus on Crow's voice than ever before, a few high-profile guest stars did stop by the sessions. When she cut "Eye to Eye," with its loping reggae groove, there was only one guitarist she could imagine adding his signature slashing riffs to the mix--her old friend Keith Richards. "He has been such a champion for me, and the Stones gave me so many breaks along the way, from very early on," she says. (When Richards recorded his part at Electric Lady studios, the New York City facility built for Jimi Hendrix, he started reminiscing about the incomparable guitar wizard; "we were all like little kids at story hour," says Crow.) Citizen Cope appears on a hazy, impassioned duet of his "Sideways," a song Crow says she has long wanted to record and one of several string-heavy arrangements on 100 Miles From Memphis.
Another guest confirms her appeal across generations. A Memphis native named Justin Timberlake dropped by one of Crow's sessions at Henson Studios in Los Angeles (the former A&M studio), and offered to contribute background vocals to a version of Terence Trent D'Arby's 1987 smash "Sign Your Name" that was being recast in the style of Al Green, right down to the distinctive thud of the Hi Records drums. "He's hysterical and super-smart, and he knows a lot about a lot of different kinds of music," Crow says. "I'm totally impressed in every way."
The final surprise, for both the singer and the listener, came out of a run through of an obscure Marvin Gaye song called "It's a Desperate Situation." The melody reminded Crow of "I Want You Back," the Jackson 5's breakthrough 1970 hit, and she started singing those words. Her natural vocal range sounds uncannily like Michael Jackson's, and when Bramhall and Stanley heard it, they insisted on recording the song then and there. The album's "bonus track" was done in one take; they even had to add the song's introduction afterwards because they had gone straight into the lyric.
Crow, of course, first reached the spotlight as a back-up singer with Michael Jackson, and adds that "I Want You Back" was the first single she ever bought. "It wasn't a conscious choice to do an homage, but it wound up being a very bittersweet thing," she says. "Michael's death brought a lot of stuff back for me, so it was nice that we could include this."
For Sheryl Crow, 100 Miles From Memphis is the right album at the right moment. "My last record (2008's Detours) was pretty political, extremely personal, and more lyric-driven," she says, "so it seemed like a great time to do something soulful and sexy and more driven by the music." It took a lot of years, but with this set of songs, she finally made it back home.
Customer Reviews
Sheryl Is The Blues From Memphis!
Sheryl has certainly hit the mark with her Blues style in "100 Miles From Memphis, and to finish it with a Michael Jackson hit: makes this album a true treasure!
"Summer Day" is one song that I'll be listening to 40 years from now!
Great CD - 5 stars!
"100 Miles from Memphis" holds no surprises. It is typical Shery Crow - great adult contemporary music.
"Summer Day" is indeed a delicious thick slice of glory-days of the late sixties/early seventies. This song is destined to be an 'Evergreen'. (Hopefully), I'll be listening to "Summer Day" 40 years from now!
"I Want You Back" (Michael Jackson cover) is the icing on the cake for "100 Miles from Memphis".
This CD is a must buy for Sheryl Crow fans and all lovers of this genre of music (mix of rock, alternative, and pop).
These feelings won't go away.
I hand it to Sheryl Crow for going retro without completely covering old soul classics. Most artists would just do an entire album of cover songs from the era, but Sheryl Crow came up with nine originals and three cover songs, two of which were not even from the era she is emulating here. Kudos for being original.
That being said, Sheryl Crow is notorious for having a wildly uneven career. With the exception of her first two albums, her track record has been every other album is great. "100 Miles From Memphis" is one of those down albums, like "The Globe Sessions" or "Wildflower". Good, but not great, and nothing extremely memorable or catchy here. Like those other two albums, all of Crow's eccentricities as a songwriter are washed clean here, too. What made Sheryl Crow's best albums her best was the quirky contemporary musical and lyric angles she would take. None of that is here on "100 Miles From Memphis".
Of the nine original songs Crow apes Sly and the Family Stone with "Our Love Is Fading" and "Peaceful Feeling". Both tracks being just serviceable. Going for Jimmy Cliff, Crow gives "Eye To Eye" a fairly memorable 'na na, na na na na na' replete with reggae beat and Keith Richards of the Rolling Stones on guitar. One of the better tracks here. Crow really hits pay dirt with "Summer Day"--this is the sound she was going for and it is completely realized here with its Al Green-like vibe. This is the best track here. "Long Road Home" and "Say What You Want To" are also contenders as tracks that hit their mark. On the more somber side, "Stop" captures that painful early 70's relationship ambiance well. The title track and "Roses And Moonlight" are perhaps the weakest of the original material, saved for last, of course. They are passable, but not memorable.
The three cover songs are interesting choices for Crow. What possessed her to cover Terence Trent D'Arby's 1987 hit "Sign Your Name"? With Justin Timberlake on backing vocals, no less. It's done Al Green style which actually worked. Crow's take on the song does not add something new, but rather repackages the song in a different era. I don't know whether Terence Trent D'Arby would think this is a great cover of his song. Elsewhere, an obscure song "Sideways", which sounded so familiar to me, but I could not place it. I had to look it up. Surprisingly, Citizen Cope released the track in 2002. I was not familiar with the band/singer. Sheryl Crow does a very good job here with Citizen Cope lending vocals. One of the best tracks here.
And of course, there's Michael. If you call yourself a true fan of Sheryl Crow, then you know she started out as a back up singer for Michael Jackson in the late 1980's. Her version of The Jackson 5's "I Want You Back" is almost identical to the original, which adds nothing new to the song. However, it is quite amazing how well Crow emulates Jackson's vocals, thus affirming why Crow is such a great singer.
Here's how "100 Miles From Memphis" compares to Crow's previous works:
1993 Tuesday Night Music Club: Four And A Half Stars
1996 Sheryl Crow: Five Stars
1998 The Globe Sessions: Four Stars
2002 C'mon C'mon: Five Stars
2005 Wildflower: Three And A Half Stars
2008 Detours: Five Stars
2010 100 Miles From Memphis: Three And A Half Stars
tiresome
I could not get thru this cd
her voice is so grating, she is the anti-mary chapin carpenter
whose voice is so pleasant. the songs are dirge and her hatred of freedom of speech is
as annoying as it is laughable. and a michael jackson song, sung badly.
please find love with algore and leave music alone
Introducing the Lovely Ms. Sheryl Crow
This album is an artistic venture which produces a perfection of a personal style that has not been as evident from Sheryl on past albums. 100 Miles from Memphis is a very good album. There are a number of songs which stand out like Sideways, Summer Day, Roses and Midnight and Stop. She does a marvelous job with Michael Jackson's "I want you back" which would not surprise me to be the song that will be the biggest mainstream success. Unlike many reviewers I appreciate Sheryl's activist side and points of view. This album except for "Say What You Want" avoids any political overtones. The more I've listened to the album the more I appreciate Sheryl's talents as a musician and songwriter. Sheryl has proven to be capable of creating songs in any venue but this natural from the heart effort of Soul and Rhythm and Blues accentuate her style as an artist and performer. This album does not shock or dismay but entertains in a way that says a lot about Sheryl's feeling of what music should be all about for her at this point in her life.
Sheryl is her best advertisement and I would immensely enjoy seeing her and this new band perform.
