Sheryl Crow: “100 Miles from Memphis” (A&M)
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The distance from Sheryl Crow’s on-the-market Nashville spread to Memphis is more like 200 miles, but the title of her new CD actually refers to her hometown of Kennett, Mo., which is 100 miles from Memphis, where the Sun and Ardent Records lived and the Stax sound originated.

That’s where her soul roots grew, so it’s no surprise that Crow can create a barn-burner of a soul song if she wants. She pulls off that feat repeatedly here with help from co-writers/co-producers Doyle Bramhall II and Justin Stanley.

She also does a reggaefied “Eye to Eye,” with islander Keith Richards contributing, and brings in Memphis native Justin Timberlake to duet on a sultry, sexy cover of Terence Trent D’arby’s “Sign Your Name.”
But her tour-de-force moment here is her one-take cover of former boss Michael Jackson’s “I Want You Back,” which she does every bit as well as the 10-year-old Jackson did. — Lynne Margolis
Buy if you like: Aretha Franklin, Etta James

Marc Cohn: “Listening Booth: 1970” (Suguaro Road)
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The fact is, the music world hardly needs another artist doing a CD of vintage rock or soul cover songs. But Marc Cohn approaches the covers album concept the right way.

First of all, he found a personal connection, choosing songs from 1970 — the year he realized music might be his life’s passion. Then, working closely with producer/multi-instrumentalist John Leventhal, he found a creative way to breathe new life into the songs, going with a stripped back, largely acoustic approach to the material. In some cases, that setting isn’t too different from the way the songs were originally done (Cat Stevens’ “Wild World,” Simon & Garfunkel’s “The Only Living Boy in New York”).

But even on those songs, Cohn soulful vocals and the instrumental arrangements diverge enough from the originals to sound fresh. And the acoustic setting works surprisingly well on the Boxtops’ “The Letter” (covered in 1970 by Joe Cocker), Badfinger’s “No Matter What” (with Aimee Mann joining on vocals) and Smokey Robinson and the Miracles’ “Tears Of A Clown” (which includes a very effective new instrumental coda).

If other artists put as much creativity and quality into covers albums, maybe these records wouldn’t seem like such blatant money grabs. “Listening Booth: 1970” works as a valid and enjoyable artistic statement. — Alan Sculley
Buy if you like: Jackson Browne, James Taylor

Terri Hendrix: “Cry Till You Laugh” (Willory)
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As a singer-songwriter, Terri Hendrix has suffered through more than her share of mislabeling. That’s partly because she’s so versatile; she can fit into — or break — just about any mold.

In this case, she set out to make a jazz album, but claims to have gotten derailed. If that’s the case, she should do so more often. Her supple voice is absolutely sublime on “Automatic,” and the torchy, bluesy “Sometimes,” proves she could go toe-to-toe with any jazz singer on the planet. Her effortless scatting around the horns on the swingin’ Ike Eichenberg tune,

“You Belong in New Orleans” is just wickedly wonderful. She makes you feel the chill of lovers divided in “Berlin Wall,” and the pain of suffering the affliction of epilepsy in “Einstein’s Brain.”

Hearing her indulge her musical genius, abetted by producer/playing partner Lloyd Maines and one of the best bands in Austin (or anywhere) is pure joy. — Lynne Margolis
Buy if you like: Diana Krall, Cassandra Wilson

These United States: “What Lasts” (United Interests)
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Shortly after he had recorded demos for this CD, the follow-up to These United States’ 2009 debut, “Everything Touches Everything,” songwriter Jesse Elliott’s laptop computer containing said demos was stolen during a tour stop in Los Angeles.

Gone were some 300 songs — except for the title song, which Elliott had e-mailed to a friend. Apparently Elliott was able to re-create the songs he wanted to use on the second album, and the group has recovered to release “What Lasts.” That makes sense because these new tunes are quite memorable.

With a rough-hewn pop sound that has country influences seeping into its cracks and crevices, Elliott and his bandmates deliver a set of tuneful songs that rock pleasantly (“Great Rivers” or “Nobody Can Tell”) or settle down into unhurried tempos that allow the group’s winsome melodies to blossom (as on “Just This” and the title song).

Hopefully Elliott’s song files will surface sometime. Given the quality of the 10 songs on “What Lasts,” odds are there had to be some other gems in the 290 or so songs that have yet to make a These United States CD. — Alan Sculley
Buy if you like: the Band, Wilco

Big Head Todd & The Monsters: “Rocksteady” (Big Records)
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These veteran rockers have done their share of very good albums over the years (1993’s “Sister Sweetly” or 2007’s “All The Love You Need”). They’ve also had some spottier efforts like 1994’s “Strategem” and 2004’s “Crimes Of Passion.”

Unfortunately, “Rocksteady” falls closer to the latter category. Like BHTM’s other lesser efforts, the new CD has a few worthy songs. “Muhammad Ali” is a funky rocker anchored by bright guitar riffs. “People Train” is a successful trip into driving funk-pop territory. The cover of Howlin’ Wolf’s “Smokestack Lightinin’” doesn’t equal the explosive version of John Lee Hooker’s “Boom Boom” that is a staple of the band’s concerts, but it’s a solid update of the blues classic. More often, though, the band misses the mark on “Rocksteady.”

The CD has its share of soul-laced ballads – long a big part of the group’s sound — but songs like “Beautiful” and “After Gold” lack the grit, not to mention the melodic punch, of its best songs in this vein (“Bittersweet” or “Broken Hearted Savior”). An attempt at reggae on “Back To The Garden” also suffers from a lackluster vocal melody. “I Hate It When You’re Gone” sounds like two mismatched songs in one — the first a bright and bouncy soul tune, the other a more lackluster laid back bit of funk-soul.

The good news is Big Head Todd has always bounced back from its disappointing albums, and there’s no reason to think the group is any sort of long-term fade. But “Rocksteady” isn’t as solid as its title suggests. — Alan Sculley
Buy if you like: the Dave Matthews Band, Drivin’ n’ Cryin’

Reissue
R.E.M.: “Fables of the Reconstruction” (Capitol)
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By the time of its third album, “Fables of the Reconstruction,” R.E.M. had grown into a well-meshed unit of accomplished musicians.

The result is a disc of gorgeous, densely layered instrumentation and harmonies, with Southern gothic themes that emerge after repeated listens. Peter Buck’s edgy minor-chord guitar on “Feeling Gravitys Pull” fills the song with foreboding and sets the album’s tone — and to this day, no one’s done anything like it.

If there’s one thing “Fables” makes clear, it’s that no other band in has been able to imitate R.E.M. — and that’s a good thing. “Driver 8,” “Old Man Kensey,” “Green Grow the Rushes” and these other cuts reinforce their skill at creating melodies so compelling, it doesn’t matter that Michael Stipe’s elliptical lyrics are sometimes hard to penetrate.

They also belied their serious reputation with the pop-funk-soul “You Can’t Get There From Here,” complete with Stipe doing his best Elvis. Even without the reissue bells and whistles, “Fables” withstands the test of time. — Lynne Margolis
Buy if you like: Hindu Love Gods, the Minus 5