Sheryl Crow’s “Feels Like Home” Only Country By Name
It would be so easy to play the typical cynical country music critic and blast Sheryl Crow’s new “country” album as nothing more than re-packaged pop rock looking to carpetbag off of country’s continued willingness to take in aging talent from other genres. Without listening to a single note of the new record, that is a very plausible conclusion that would make sense to a public that is eager to draw polarizing contrasts and paint everything in black and white.
And though it pains me of how predictable it is to take that stance and then justify it through further dialogue, that is exactly what you get with Feels Like Home. In fact “predictable” might be the best buzz word for this project. No, it’s not that there aren’t some token homages to mark her move into the country format—some subtle changing of words, maybe a little steel guitar here and there and a few songs with some super-compressed string arrangements—but overall, except for one song that we will get to in due course, there is very, very little contrast between Feels Like Home and what Sheryl Crow was calling rock for the body of her career.
But that doesn’t necessarily paint Feels Like Home, or Sheryl Crow, or her career as bad. Sure, calling something country when it is really more indicative of rock is always a poor foot to start on. My favorite analogy is if you invited a barbecue critic to come and rate your Chinese restaurant…as a barbecue restaurant. The critic would get quite confused, and probably give you a failing grade even if your food was great. But nonetheless, unlike much of male-dominated pop country these days, inadvertently interfacing with a Sheryl Crow song doesn’t immediately enact a gag reflex. It is simple, straightforward, innocuous background noise for music consumers who don’t want to put too much thought into their music. But that in itself is not enough justification to call it “bad.” It is a symptom of music elitism to think that all music must be listened to actively and analyzed in-depth when much of it is simply meant for busy consumers looking for some noise to jazz up their commute to work and back.
But where Sheryl Crow takes it to the next level and creates a polarizing environment around herself and her music is: 1) The ubiquitousness of her and her music. 2) The formulaic nature of her approach. Even as someone who mostly knows Sheryl Crow’s songs indirectly through mass media, I immediately could pick out obvious similarities in approach, structure, and lyrical theme to many of the songs on Feels Like Home, and previous songs from the Sheryl Crow canon.
The first two songs “Easy” and “Shotgun” offer absolutely nothing to discern them as either country, or anything different from songs Sheryl Crow has done before. Even “Shotgun” whose title might seem to infer a country theme is more of just an anthem to grease the unquestioning consumer culture that Sheryl Crow makes the perfect soundtrack for with the chorus line, “What’s the point of money if you ain’t gonna spend it?” “Give It To Me” might be the first song construable as country on the album, and is the first of multiple appearances of these over-compressed and ill-advised string section overdubs that seem to be trying to refer to country’s Nashville Sound of the 60’s, but simply come across as cheesy and superfluous.
“We Oughta Be Drinkin'” may again look like a good country song title on paper by how it is stereotypically misspelled, but is hauntingly similar to Sheryl’s also misspelled 1993 super hit “All I Wanna Do” with it’s bouncy pop beat and dismissive tone, shining a light on just how shallow the Sheryl Crow creative wellspring is.
“Waterproof Mascara” co-written by Brad Paisley is by far the most country-sounding track on the album, and it is also the album’s worst. Though the attempt at writing and recording a classic country song is admirable, with lines like “Thank God they make waterproof mascara, ’cause it won’t run, like his daddy did” are so objectionably sentimental and out-of-date, they sound more appropriate for an Unknown Hinson spoof than a serious, mainstream song effort. Add on top of that the most prominent appearance of the cheese ball string sections on the album, and “Waterproof Mascara” delivers some outright “laugh out loud” moments.
“Homecoming Queen” is another unfortunate decision of Feels Like Home. Even the super grouping of songwriters Brandy Clark, Shane McAnally, and Luke Laird couldn’t revitalize this country song concept that has been done so many times, it felt cliche in the 80’s.
Feels Like Home does have its bright moments, even for jaded music listeners wise to Sheryl’s predictable modes. The lyrical hook for “Nobody’s Business” works quite well, and though its stylistic approach to country fits very comfortably in the blueprint of late 90’s Shania Twain, at least it reaches out of Sheryl’s comfort zone. “Stay At Home Mother” comes across as a very personal track from single mom Sheryl, and it is hard to not hear the honesty and emotion in her tone while the dialed back approach of the production brings out the touching nature of the song.
And aside from maybe “Waterproof Mascara” and the mis-labeling of some of the songs as country, there is really nothing wrong with this album. Sheryl Crow may not be offering anything new, but she’s not setting the genre back. In fact, putting all the tired arguments of what is country and what is not aside, an album like this helps tip the mainstream country balance at least back in the direction of being somewhat harmless, though this may speak more to the lengths at which country’s male stars are going towards running country right into the ground than Sheryl’s efforts. One half of country music listeners—the passive ones who just want something to sprinkle their life with a little more color—will get a kick out of Feels Like Home, and I’m not sure it is the duty of the other half to judge them for it.
1 gun up for a fun, and fairly innocuous album with a few good moments.
1 gun down for labeling some of the music as country, and for not allowing the mascara to run.
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September 29, 2013 @ 6:59 pm
I don’t have any beef with “Feels Like Home” honestly. I happen to think it was a respectable effort, even if lacking staying power or potential for longevity.
I’ve said before several times that, among all the washed-up names in the present who first emerged to commercial success in the late eighties through late-nineties as rock or Adult Top 40 fixtures, Sheryl Crow has plenty more credibility on her side when it comes to country credentials………..as opposed to obvious carpetbagging by the likes of Aaron Lewis, Jared Lowenstein, Bon Jovi and perhaps even Lenny Kravitz now.
Why? Because even though from a stylistic standpoint her music has always been unquestionably rock-dominant, lyrically even if lacking the simplicity and minimalism that often defines country songwriting, it still in my sense appeals heavily to the storytelling tradition that is inherent in the country genre. Her and her longtime co-writer Jeff Trott had an exceptional ability at projecting slices of life through words, even as eccentric and oblique as many of them were and wouldn’t translate well to a format today.
The pedal steel and mandolin have also been constantly featured as key instruments in her recording sessions over the years. Even on many of her previous hits the use of pedal steel broke her apart from her contemporaries. It has also been indicated far before the release of this album that she was equally as influenced by the likes of George Jones, Tammy Wynette and Jessi Colter as she was the Rolling Stones, Stevie Nicks and Carole King.
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Does this transition come without any pandering at all? Of course not. I was admittedly quite disappointed in Crow joining Shelton and others in his debut live performance of “Boys Round Here” at the 48th annual American Country Awards telecast earlier this year. That’s what you expect from Florida-Georgia Line or Taylor Swift, but NOT an established veteran like Sheryl Crow. That signalled a red flag for me, and a desperate attempt for publicity and to “fit in”.
Still, Crow has long had a much better case to make in crossing over than most any other artist who emerged to fame in a different format between the late eighties and late nineties. I believe she is telling the truth that country music has long been a part of her life and a core influence because she has consistently discussed those influences well before branching out as she is now. She may very well feel a sense of entitlement, granted, but unlike Kravitz especially, I believe her when she addresses how country music has impacted and influenced her life.
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Anyway, I am certain this album isn’t going to have legs commercially and also will be long forgotten a year from now. It just doesn’t grip you all that much. The songs on their own merit are respectable and overall well-written, but the production is too easy-listening and her vocals lack the verve and sauciness that made her first two albums in particular enjoyable and memorable.
I will say though that “Stay At Home Mother” is indeed the most compelling track here, and will probably have more staying power than the rest of this album in my collection.
September 29, 2013 @ 7:07 pm
By the way, according to recent interviews, it was Brad Paisley who finally persuaded Sheryl Crow to turn to the country format, telling her: “Will you come home to the format you belong to?” after performing a cover of “Coal Miner’s Daughter” with him at the 2010 CMA Awards.
That’s precisely why “Waterproof Mascara” is featured here, and even somewhat mentored her with the rest of the album stating: “Leave out the fat and get to the imagery.”
At least “Accidental Racist” didn’t wind up on her album! 😉
September 29, 2013 @ 9:23 pm
I agree that this album will find itself forgotten by history pretty quick. As the protagonist in Tom Petty’s “Into The Great Wide Open” once heard from his A&R man, I don’t hear a single. And with the way all women are getting locked out of radio right now, it’s an uphill battle already. “Forgetful” is probably a good way to characterize this album. It really just doesn’t go anywhere. But really Sheryl’s songs never have, and she was still able to create a very successful career.
September 29, 2013 @ 10:19 pm
You’re right about the meandering characteristic her songs have always had.
And yet, I think that’s actually why her songs stood out to me. It’s because of the oblique lyrical details, yet still having effective choruses to go along with them. If everyone were just paying attention to the lyrics, I doubt “If It Makes You Happy” or “A Change (Would Do You Good)” would fare nearly as well. No, they hit because the former had a punchy, passionate chorus while the latter had an irresistible percussion and sensual driving beat behind it, backed with handclaps.
I concede it’s just me, but I grew up preferring lyrical oddities over familiar tropes. That’s why Fiona Apple and Tori Amos were among my favorite artists growing up, when both enjoyed generous amounts of airplay. At the same time, I was listening to Patty Loveless, Tanya Tucker, Trisha Yearwood and early Alan Jackson among others as well for something more accessible.
I’m a little more optimistic with the direction Mainstream Top 40 has been moving over the past several years. First we had Adele dominate the charts with an album marked by artistic integrity and honesty. Now, I have to say Lorde is emerging as another breath of fresh air, and her lyrical style is just as bizarre and oblique as much of what I heard in the early-to-mid nineties. We can only hope for a similar crashing of the gate on corporate country radio.
September 30, 2013 @ 6:16 am
I saw the video for Easy about a month or so ago and it pretty much told me everything I needed to know about this album.
September 30, 2013 @ 9:30 am
I didn’t realize that Sheryl Crow was moving her sound in a country direction or that this offering was supposed to be labeled as country.
I have no interest in pop music with a very few exceptions (Elton John, for example), but I have always found her music to be easy on the ears.
My ex-wife listened to Sheryl Crow quite a bit and her music grew on me.
About 10 years ago, I used to work out at a health club which piped in multiple genres of music videos, so I would also hear her music and see her videos while working out (which provided a welcome respite from Brittney Spears).
She was pleasant to listen to, and I either bought her live CD or wound up with it in the divorce.
I think I played it once and set it aside (to collect dust).
September 30, 2013 @ 10:54 pm
There’s a song in that, methinks.
October 1, 2013 @ 11:34 am
This is very siiolar to how I feel about Sheryl Crow. I bought her second album, because I kind of liked some of the songs from the first album and this next one was supposed to be grittier. Also, bought the live album (Central Park?). But I would rarely choose to listen to these albums and when I did, I got bored quickly. Ended up trading in both albums eventually.
I like her OK as a guest vocalist. Thought she did a some job on the Hank Willand and Graham Parsons tribute albums, for example.
October 1, 2013 @ 7:02 pm
she said on the colbert report interview she decided to do a country album was because of all the money that theres to be made in this genre. i hate her
October 5, 2013 @ 11:36 am
Sheryl Crow’s “Feels Like Money”…hmmmm.
Follow the money.
When country music can no longer support them, they turn to Christian music.
When all else fails, roll on over to the Cracker Barrel for a Christmas album.
October 21, 2013 @ 7:57 am
Well, Johnny Cash recorded at least TEN Christmas albums 🙂
http://www.stevenmenke.com/johnny%20cash%20christmas%20page.htm
December 29, 2013 @ 10:56 pm
I just found this site a few days ago, so I’m going through lots of old posts. So the one’s that I have an opinion on, I will opine.
I’ve listened to the album. It’s kinda, meh. Pretty forgettable.
That being said, can you really blame her for putting out what is called a country album? Where the hell else is she going to get airplay?
Definitely not on Top 40. Not on the rock stations. Adult contemporary? Is that even still a thing?
To me, it’s really not that much different from the stuff she was putting out in the late 80’s/early 90’s that was labeled rock. Or pop. Or whatever.
I come from a different place than a lot of the country traditionalists that inhabit this site. I’m a child of 80’s hard rock/metal but also have deep roots in traditional country. The two are not mutually exclusive. And if Sheryl Crow wants to be country, good for her. I would rather listen to her than another pile of excrement from FGL or Jason Aldean. But that’s just me.
September 15, 2014 @ 12:00 pm
Just got back from vacation, and spent much of the fifteen and a half hour flight from Dubai to San Francisco listening to a whole bunch of country albums, including this one.
First, I would like to thank Emirates for providing such a wide selection of albums and playlists.
As for my experience in listening to this album: I had already heard “Easy” and “Calling Me When I’m Lonely” on the radio, and especially liked the latter.
I did not hear “Stay At Home Mother”, but of the songs that I did listen to, “Waterproof Mascara” was my favorite. I have to disagree with you on this, Trigger. The lyrics felt so powerful that they watered my eyes up. I ended up listening to that song two more times on the flight, and each time the strong emotional impact remained. “Waterproof Mascara” and “Stay at Home Mother” (which I just listened to on Youtube, and loved as well) are both winners in my book for how they portray such relevant issues in today’s world with such deep, empathetic emotion.
April 18, 2015 @ 11:07 am
I saw when this album came out and thought this would be terrible. This is a good country album with 2-3 very good tracks that, funny enough, are too country sounding to get on radio. Waterproof Mascara I thought was fantastic as well as a few others. But the entire album is a good listen.