Album reviews: Sheryl Crow – Threads, and Common – Let Love

Sheryl Crow – Threads

★★★★☆

Sheryl Crow's announcement that her new album, Threads, would be her last, was a shock to fans. That it's one of her best will hopefully appease them.

The Grammy-winning artist has assembled an extraordinary roster of guests, including Eric Clapton, Bonnie Raitt, Mavis Staples, St Vincent, Willie Nelson and “godmother of Americana” Emmylou Harris. Threads is a culmination of virtually every sound Crow has explored through her career, which began with her crafting ad jingles in the late Eighties.

She opens with the blast of fresh air that is “Prove You Wrong”, a thrilling collaboration with Maren Morris and her longtime friend Stevie Nicks. Chris Stapleton offers his signature guitar on “Tell Me When It’s Over”, while funky curveball “The Story of Everything” features Public Enemy leader Chuck D and more than a hint of Stevie Wonder’s “Higher Ground”.

One could argue that there’s too much eclecticism here – that if this really is Crow’s final LP, she perhaps could have gone for something with a more singular sound. But then it wouldn’t be a Sheryl Crow album. She sings about the fear of the unknown on “Flying Blind” – her steely determination on this record has you believing that she’ll take the leap regardless.

Common – Let Love

★★★★☆

As the world burns and governments collapse, rage — at least in music — is the new currency. But not for Common.

Following on from his 2016 album Black America Again, the Chicago-born renaissance man (he’s an actor, author, poet and activist as well as one of the most respected hip-hop artists around) returns with Let Love. The title is taken from his autobiography, Let Love Have the Last Word, and the record is one of forgiveness and light.

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There’s more of a soul influence here – “HER Love”, the counterpoint to his 1994 track “I Used to Love HER”, benefits from the gospel-like vocals of Daniel Caesar and Dwele, while “Memories of Home” skitters over a muffled bass and Common’s recollections of his past – including an incident where he was molested by a family member.

Where Black America Again was notable for its sharp, observational urgency, Let Love feels far more personal, and softer in tone. Common’s optimistic nature gives it an uplifting vibe, and while closer “God is Love” is gently critical of people who use their religion to persecute others, the message is one of learning from our mistakes. It couldn’t be more timely.

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