Publications
Partners
Somehow the music took a backseat, even though there was a post-breakup album, Detours, which went over well with critics and didn’t get much attention outside of the States.
Two years later, and it's Taylor Swift's world of country-pop, and we're all just sort of hanging around, awaiting her next release. So why would Crow vie for the same slice of Billboard pie when she's got Memphis on her mind?
100 Miles from Memphis is a natural progression for Crow, whose smooth vocals give these Southern, old-school rhythm and blues tracks a light, summery vibe. While the words "light" and "summery" are perhaps not easily associated with Memphis soul, Crow levies proceedings with some big, emotional showpieces like "Stop" which would not have been out of place on the Dreamgirls soundtrack.
She almost doesn't sound like herself as she reaches for Beyonce-levels of drama, and starts to deflate as the overly long album continues.
Crow gets to duet with Justin Timberlake on a cover of Terence Trent D'Arby's aching "Sign Your Name", and does a surprisingly enjoyable cover of the Jackson 5 classic "I Want You Back", sounding remarkably like a teen version of the singer she used to sing back-up for, Michael Jackson himself.
Ultimately 100 Miles is a worthy but schizophrenic experience. Crow sashays from 60s soul to Motown moods and the bluest of blues like she's decided to cut through the effort of recording two albums by sticking it all in one place.
Still, "Roses And Moonlight" is probably one of the best songs she's done in ages. It's sultry, sweaty and the sound of a great jam session made good.
Two years later, and it's Taylor Swift's world of country-pop, and we're all just sort of hanging around, awaiting her next release. So why would Crow vie for the same slice of Billboard pie when she's got Memphis on her mind?
100 Miles from Memphis is a natural progression for Crow, whose smooth vocals give these Southern, old-school rhythm and blues tracks a light, summery vibe. While the words "light" and "summery" are perhaps not easily associated with Memphis soul, Crow levies proceedings with some big, emotional showpieces like "Stop" which would not have been out of place on the Dreamgirls soundtrack.
She almost doesn't sound like herself as she reaches for Beyonce-levels of drama, and starts to deflate as the overly long album continues.
Crow gets to duet with Justin Timberlake on a cover of Terence Trent D'Arby's aching "Sign Your Name", and does a surprisingly enjoyable cover of the Jackson 5 classic "I Want You Back", sounding remarkably like a teen version of the singer she used to sing back-up for, Michael Jackson himself.
Ultimately 100 Miles is a worthy but schizophrenic experience. Crow sashays from 60s soul to Motown moods and the bluest of blues like she's decided to cut through the effort of recording two albums by sticking it all in one place.
Still, "Roses And Moonlight" is probably one of the best songs she's done in ages. It's sultry, sweaty and the sound of a great jam session made good.
