Sheryl Crow - 100 Miles From Memphis reviews
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| Allmusic |
 The title and sound of 100 Miles from Memphis can’t help but recall Dusty in Memphis, Dusty Springfield’s 1969 blue-eyed soul classic, but Sheryl Crow’s 2010 album isn’t quite a strict homage to Dusty. Crow draws from many of the same ‘60s sources as Springfield, but she also dabbles in reggae (thanks to the chunky guitar of Keith Richards on “Eye to Eye”) and digs into the cool, seductive ‘70s groove of Hi, channeling Al Green on a sleek reworking of Terence Trent D’Arby’s “Sign Your Name,” complete with support from Justin Timberlake. Add to this the extended funk coda of “Roses and Moonlight,” the hippie singalong of “Long Road Home” and one of Crow’s signature good-time social-conscious raising anthems in “Say What You Want” and 100 Miles from Memphis boasts a considerably more expansive palette than Dusty in Memphis, yet it’s all bonded by its smooth, soulful groove due in part to the co-production from Doyle Bramhall II and Justin Stanley. This pair gives 100 Miles a sound that’s recognizably Southern yet has a distinctly sunny vibe not too for removed from Crow’s sun-kissed debut Tuesday Night Music Club, of which this shares a similar spirit, if not sensibility. Tuesday Night Music Club is loose and open where this is focused and sustained, maintaining its charming, relaxed groove from beginning to end. There’s an ease to this record that’s not often heard on Sheryl Crow’s albums and its light touch is thoroughly appealing....full text |
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| Ew |
| Sheryl Crow channels her love of Stevie Wonder, Stax, and all things soulful on her seventh collection, 100 Miles From Memphis, which is split between originals and covers (including a Justin Timberlake-assisted crack at Terence Trent D'Arby's ''Sign Your Name''). Crow's obvious joy is infectious, but even this former Michael Jackson backing singer can't make a new ''I Want You Back'' seem anything other than redundant. B...full text |
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| Bbc |
f the title of the album, her first since 2008’s Detours, doesn’t give the game away, then the cover versions of The Jackson 5’s I Want You Back and Terence Trent D’Arby’s Sign Your Name should: this is Sheryl Crow’s soul album. And while the title is 100 Miles From – not to – Memphis, there is the sense that she’s been heading this way for years; finally, after all her musical peregrinations, she’s coming home. It works literally, too: Crow grew up in Missouri, not far from one of America’s premier soul cities, and this was the soundtrack to her youth.
Of course, there is a vast difference between The J5’s version of R&B and TTD’s, but instead of offering a miscellany of soul styles, the influence of the titular city pervades many of the tracks, including the non-originals. Even Sign Your Name is re-imagined as a mid-tempo Al Green classic and appears to have been recorded by the very same Hi Rhythm Section – the house band for Willie Mitchell’s label – used by Green, Ann Peebles and more. It’s got that gorgeous loping gait instantly evocative of Hi, as does lead single Summer Day, which also features essence-of-Memphis horns.
The album was co-produced by Crow and Doyle Bramhall II, who worked with Eric Clapton, a rumoured ex-squeeze of hers. He’s a good fit: …Memphis has the feel of a 70s Clapton album such as 461 Ocean Boulevard, with its mix of white soul, rock and reggae lite, tasteful rhythms and natty licks – Keith Richards adds his trademark scything guitar to the politely skanking Eye to Eye, while Say What You Want recalls Stephen Stills’ Love the One You’re With. It’s all very early 70s – Peaceful Feeling even references Sly Stone’s Dance to the Music and The Isley Brothers’ Summer Breeze....full text |
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