For what she insists will her final full-length album, Sheryl Crow is wanting to go out using the buddy system to make her exit. With “Threads,” it’s as if she looked at the uber-…
The aforementioned celebs-to-songs ratio spells out the fact that any number of tracks feature multiple guests: Why have justappear on a cover of George Harrison’s “Beware of Darkness” when Sting and Eric Clapton can pop in, too? It is what we in the trade like to call a celebrity clusterf… est. But if it sounds like it’s not going to make for a terribly cohesive album with all those constant turns into Crow’s Rolodex, that’s kind of the point for this supposed farewell to the long-form form.
“Don’t,” featuring the sublime duo Lucius, is a highly successful attempt to recreate a Burt-Bacharach-meets-Dionne-or-Duty-in-Memphis style, albeit with lyrics personal and pointed enough that it doesn’t just come off as an expert genre pastiche. “Flying Blind,” a finger-picky duet with James Taylor, is about nearly all sure bets and safety nets being swept away in life’s later stages … and feeling fine about that.
She makes in-laws out of outlaws by bringing in both Willie and Kris for duets. Kristofferson isn’t always the easiest guy to harmonize with, for obviously rasp reasons, but she makes him sound to the harmonizing manor born on “Border Lord.” With Nelson, she’s bringing out less of his country side than his crooner tendencies in “Lonely Alone,” a saloon-song duet between strangers in the night who may or may not be destined to hook up for a mutual mercy tryst as closing time closes in.
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