Sheryl Crow Globe Sessions CD

Contains "Sweet Child Of Mine" Added Track

Personnel includes: Sheryl Crow (vocals, acoustic, 6- & 12-string electric guitars, National guitar, harmonica, Wurlitzer piano, Clavinet, Hammond B-3 organ, keyboards, bass, percussion, tambourine); Jimmie Haskell (conductor); Tim Smith (acoustic guitar, bass); Wendy Melvoin (guitar, bass); Val McCallum, Todd Wolfe (guitar); Greg Liesz (pedal steel guitar); Jeff Trott (12-string acoustic, electric, tremelo & slide guitars, Moog synthesizer, bass); Lisa Germano (violin, autoharp); Bobby Keys (alto, tenor & baritone saxophones); Kent Smith (trumpet); Micahe Davis (trombone); Benmont Tench (piano, organ, Hammond B-3 organ, chamberlain); Mitchell Froom (Clavinet, orchistron); Gregg Williams (drums, percussion, programming); Dan McCarroll (drums).
Recorded at Globe Studios, New York, New York and Sunset Sound Factory, Los Angeles, California.
THE GLOBE SESSIONS won the 1999 Grammy Award for Best Rock Album and for Best Engineered Album, Non-Classical. It was nominated for Album Of The Year. "My Favorite Mistake" was nominated for a 1999 Grammy for Best Female Pop Vocal Performance. "There Goes The Neighborhood" was nominated for the 1999 Grammy Award for Best Female Rock Vocal Performance.
This is an Enhanced CD, which contains both regular audio tracks and multimedia computer files.
Since her dense, varied, post-modernist eponymous second album illustrated that Sheryl Crow was no one-album wonder, she wasn't left with as much to prove the third time around. Having created an original variation on roots rock with Sheryl Crow, she was left with the dilemma of how to remain loyal to that sound without repeating herself on her third album, The Globe Sessions. To her credit, she never plays lazy, not when she's turning out Stones-y rockers ("There Goes the Neighborhood") or when she's covering Dylan (the remarkable "Mississippi," an outtake from Time Out of Mind). However, she has decided to abandon the layered, yard-sale production and pop-culture fixations that made Sheryl Crow a defining album of the mid-'90s. The Globe Sessions, instead, is the work of a craftsman, one who knows how to balance introspective songs with pop/rockers, one who knows how to exploit their signature sound while becoming slightly more eclectic. In that sense, the album is a lot like a latter-day album from her idols, the Stones -- it finds pleasures within the craft and the signature sound themselves. That means that there are no surprises (apart from the synthesized handclaps, of course). The Celtic homage "Riverwide" may be new, but it's not unexpected, much like how the whiplash transition in "Am I Getting Through" isn't entirely out of the blue. That's not necessarily a bad thing, though, since The Globe Sessions has a strong set of songs. Since it lacks the varied sonics, humor, and flat-out weirdness of Sheryl Crow, it's never quite as compelling a listen as its predecessor, yet it is a strong record, again confirming Crow's position as one of the best roots-rockers of the '90s. ~ Stephen Thomas Erlewine
Her first album was studded with talented session men, but Crow's second release found her handling multi-instrumental chores with an ease that established her as a renaissance woman to be reckoned with. GLOBE SESSIONS features some famous friends, like Wendy Melvoin (of Prince fame), Heartbreaker Benmont Tench and producer Mitchell Froom (he's strictly an accompanist here; the multi-talented Crow is sole producer here). The vision presented is solidly Crow's, though. A bit more of a mixed bag than her previous work, GLOBE dips into funky, syncopated material, hard-hitting rock, and rootsy folk-rock. Dylan fans should note that Crow lends her vibrant vocal stylings to a previously unrecorded Dylan tune, "Mississippi." The loose, offhanded feel of this album contrasts her previous, more carefully constructed recordings nicely.

Rolling Stone (10/15/98, pp.127-128.) - 4 Stars (out of 5) - "...Crow de-emphasizes stylistic consistency in favor of unrestrained emotion. The songs often concern broken romances and the extremes to which Crow's characters will go to fix them or just let go..."