Word: wails
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Dates: during 1990-1999
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...girl who only wanted to have some fun seems to have finally settled down. Her third album, The Globe Sessions gives us a Sheryl Crow that can still wail and yell with the raspiest of them, but also one who can sing softly and play second fiddle to the instruments that have always supported her. Sessions once again proves that Crow is an artist constantly reinventing her music, and this time she has striven to represent a diversity of rhythms and styles, instead of focusing on lyrics and catchy melodies...
...quite a work-out, as she sings in multiple "voices" ranging from a throaty cry ("It Don't Hurt") to a light country twang ("Riverwide") to a low, seductive plea ("Anything But Down"), all the time maintaining an intriguing audibility. Once in a while, though, that unpleasant and annoying wail of hers manages to sneak its way in, but it is once in a great while on this...
...also shows me the three noise settings for the siren: The wail sounds more like an ambulance, the yelp is the usual police car noise, and the hi-lo sound just goes up and down and sounds like a car alarm...
...always something visceral. There were hands clapping along to the grassroots rock of the Voodoo Crabs, chuckles and pointed fingers abundant during Depeche Mode, limits tested by the dense sonic experimentation of This Is My Rifle, emotions wrangled by the sugary-sour pop treat offered up by Blue Wail. The winner of the friendly compe- tition, the extraordinary B-Side, got the crowdon its feet with smart, effortless freestyle rapand a tight groove bound to get anyone withinhearing distance excited...
Moving on over to the silkier realm of the popworld, Blue Wail was blessed with a good vocalshowing but was stricken by the same dearth oforiginality as the Voodoo Crabs. Except for thesparkling "Island," a well-crafted, smooth andheartfelt selection under-appreciated by theaudience, the band showed that it needs to work onmaking its sound more unique...