Sheryl Crow Globe Sessions CD

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 a hybrid Super Audio CD playable on both regular and Super Audio CD players.
Personnel: Sheryl Crow (vocals, guitar, acoustic guitar, electric guitar, electric 12-string guitar, National guitar, harmonica, Clavinet, Wurlitzer organ, keyboards, tambourine, percussion); Sheryl Crow (Wurlitzer piano, Hammond b-3 organ, bass guitar); Kathy Crow (vocals); Tim Smith (acoustic guitar); Todd Wolfe (electric guitar); Maura Giannini, Matthew Pierce, Lorenza Ponce, Mark Feldman , Mary Rowell, Laura Seaton, Avril Brown (violin); Garo Yellin, Jane Scarpantoni, Michelle Kinney, Mary Wooten (cello); Bobby Keys (saxophone, alto saxophone, tenor saxophone, baritone saxophone); Kent Smith (trumpet); Michael Davis (trombone); Benmont Tench (piano, organ, chamberlin, keyboards); Dan Rothchild (double bass); Jim Bogios (drums); Jeff Trott (guitar, acoustic 12-string guitar, electric guitar, 12-string guitar, slide guitar, Moog synthesizer); Val McCallum (guitar, electric guitar); Wendy Melvoin (guitar); Lisa Germano (autoharp, violin); Mitchell Froom (Clavinet); Gregg Williams (drums, tambourine, percussion, programming); Dan McCarroll (drums).
Audio Mixers: Rick Rubin; David Schiffman; David Tickle; Andy Wallace; Richard Dodd; Tchad Blake.
Recording information: Globe Studios, New York, NY (1999); Sound City Studios, Van Nuys, CA (1999); Sunset Sound Factory, Los Angeles, CA (1999).
Photographers: Peter Lindbergh; Tchad Blake.
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 ThrougRolling 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..."