The Pop Zeal Project: Sheryl Crow: “Safe and Sound”
In 1997, pop/rock musician, Sheryl Crow sang the theme song to the James Bond film, Tomorrow Never Dies. Unfortunately, the song and the film, separately and as a pairing, failed to create any lasting memories, unlike many that had come before. However, five years later, Crow released her cool, Southern-California-inspired album, C’mon, C’mon, which featured a song entitled, “Safe and Sound.” Now THAT was what “Tomorrow Never Dies” should’ve been.
Granted Bond-film theme songs have varied in style, but there are some core elements that tend to be incorporated, giving the tracks immediate recognition, and, in many cases, help contribute to their longevity. Here’s why “Safe and Sound,” at least musically speaking, works as the Bond theme that never was:
Quieter verses with hints of piano harken to Sheena Easton’s “For Your Eyes Only.” (In a live capacity, Crow has been known to play piano when performing “Safe and Sound.”)
Those pop-ballad verses erupt to a rock-inspired chorus, not unlike Paul McCartney and Wings’ “Live and Let Die.”
As showcased on “Tomorrow Never Dies,” Crow’s vocal range still lends to that impassioned, big-voice quality reminiscent of Shirley Bassey’s work on “Goldfinger” and “Diamonds Are Forever,” and Lulu’s “The Man with the Golden Gun.”
Take a listen, and as the track plays, it’s easy to imagine the classic silhouettes and other artistic imagery featured in Bond-film opening credits. In particular, take note of the climactic crescendo and Crow’s vocal run; both cement the song as soundtrack worthy.
Sing It Ain’t So: Sheryl Crow is Done with the Album Thing
Sheryl Crow recently appeared as part of a round-table discussion, hosted by Linda Perry, singer, producer, and co-founder of “We Are Hear,” an artist empowerment company focused on developing and nurturing the creative. Along with Grimes (representing the younger voice in music) and Dolly Parton (the legendary one), Crow shared her thoughts on where’s she at today as far as creating music, leading her to disclose that she’s “done with the album thing,” seeing as “people don’t buy records anymore.” Regardless of what Crow’s career looks like going forward, she will always be a writer… and so much more. This prompted me to revisit a post I wrote about Crow’s “Now That You’re Gone” from Detours:
As much as Sheryl Crow is known for wanting to have some fun or soak up the sun, she is one of the best at chronicling breakups. From 1998’s basically perfect, Stones-inspired “My Favorite Mistake,” to 2005’s deeply somber release, Wildflower, she can get down in the dumps—“the real low down,” as she once sang on 1996’s “If It Makes You Happy.” Crow can certainly craft songs that drip with loneliness, anger and uncertainty over the derailment of a relationship. Her 2008 release, Detours, was her most political album, this time expressing her sadness over the derailment of our nation as a whole, the world at large off course. One of the tracks, “Now That You’re Gone,” is a return to classic Crow, feeling almost Wildflower low. With strings making a prevalent appearance, it’s another reason the song sounds like it could’ve originated on that strongly symphonic Wildflower.
“Gone” reflects Crow’s ability to write lyrics that sound seemingly romantic and positive, yet by their end quickly turn to the dark and negative (“We made a bed of roses/But I got pricked by thorns.”). And just as a silver lining appears regarding the separation, that she’ll be able to move on unscathed, hesitation creeps back in: “And I’m afraid some long, lonely road will lead me back to you again.” Thankfully, Crow does make it unscathed. After a year on that long, lonely road, she arrived back home, secure and certain, to more soulfully sunny roots, in the form of 100 Miles From Memphis, with the realization that favorite mistakes happen, wildflowers wither, and detours eventually get you back on track.
Lyrics to Live By: Sheryl Crow Says “Live It Up”
Sheryl Crow’s 2005 album, Wildflower is certainly full of heartfelt ballads, but Crow adds a bit of cheer on “Live It Up.” It’s an encouraging ode to present-moment thinking and action. Besides its upbeat chorus, other memorable lyrics include reminders of the futility of worry and the time-waste that comes with trying to predict/control the future: “You can’t stop/working on the outcome”; “Put on your backpack/Take a trip to nowhere/You’re sidetracked/on your way to somewhere/You wind up/right back where you started.” Seeing as Crow’s offerings on Wildflower were solemn and strings-heavy, this track is a nice occurrence of pop optimism that pops up a little unexpectedly, yet serves as a welcome glimmer of hope in the midst of so much introspective reflection.
Central Park Best: Sheryl Crow: “If It Makes You Happy” (Live)
Rockers have lots of stories to tell. Sheryl Crow is no exception. Her song, “If It Makes You Happy” starts with the line: “I belong/A long way from here.” If the Southern-inspired whiskey-soaked opening guitar riff and soulfully smooth bass chords—that roll in at just the right time—don’t pull you in… that line will.
This version, from Crow’s 1999 Live in Central Park, features The Pretenders’ lead singer, Chrissie Hynde—a woman presumably with lots of stories to tell as well: life on the road; death of a close colleague; love with a fellow musician, themes to which Crow can also relate. The singers—who seemingly have seen it all, heard it all, played it all—trade verses, with Hynde’s signature style fitting in wonderfully.
Crow’s lyrics can often leave you scratching your head (“Bring you comics in bed/Scrape the mold off the bread/And serve you French Toast again”), yet it’s how the tale is told, the drowsy buildup offset by explosive high points at the chorus—and the simplicity of that infectious chorus—that bring about universal understanding.
We don’t know how this story concludes, yet the return of that whiskey-soaked guitar riff signifies a satisfying, albeit melancholic, close to the chapter.
A New Voyage for Jenny Lewis
Indie-rock/alt-country singer/songwriter, Jenny Lewis recently appeared on Austin City Limits, where she performed tracks from The Voyager, such as its first single, “Just One of the Guys.” She sported shall we say, a colorful suit, as if it galloped out of a “My Little Pony” cartoon, yet Lewis—and her lyrics—are anything but juvenile or imaginary. The melody line in the verses takes on a smooth Sheryl Crow aura (think “If It Makes You Happy”), and as those verses transition to the choruses, the melody changes to an even sunnier sound.
Yet behind that bright rainbow lies darker lyrics of the struggle to stay true to self, as well as the emotional—and physical—ramifications of wanting to treat relationships like “one of the guys” and the results that come from not doing so, because “that’s not what ladies do.” As listener, the head might be bopping along with a smile on the face, but by the end of the bridge, the smile retracts, as the song conveys the sense of lack that can oddly come from doing what one feels and knows is right… for you (“There’s only one difference between you and me/When I look at myself/all I can see/I’m just another lady without…”). “Just One of the Guys” captures the 39-year-old commenting on gender roles, as she reflects back over a voyage that has found her “…locked in this bathroom/full of tears.” Yet Lewis knows that one’s inner voice, or as she puts it, her “cop,” can always serve as a trustworthy guide.