From: owner-sheryl-crew-digest@smoe.org (sheryl-crew-digest) To: sheryl-crew-digest@smoe.org Subject: sheryl-crew-digest V2 #86 Reply-To: sheryl-crew@smoe.org Sender: owner-sheryl-crew-digest@smoe.org Errors-To: owner-sheryl-crew-digest@smoe.org Precedence: bulk sheryl-crew-digest Friday, April 16 1999 Volume 02 : Number 086 Today's Subjects: ----------------- Re: Monday April 12 Oakland Show [RLmom2JJ@aol.com] If it makes you happy ? ["The not so mad one" ] Re: Unreleased Album and Set Lists ["F. Jason Rhoden" > I only went to Monday's show. Anyone go to Tuesdays? LeeAnne ------------------------------ Date: Fri, 16 Apr 1999 16:20:50 +0100 From: "The not so mad one" Subject: If it makes you happy ? Hi I`m just wondering if the first version of the video to IIMYH was ever screened or not ???? the not so Mad One ------------------------------ Date: Fri, 16 Apr 1999 12:01:55 PDT From: "David Ribeiro" Subject: Very interesting Biography I found... Crew, Read this biography I found. Did you know someone shot himself ? Curious ? Go on, read it... OVER the course of two albums, Sheryl Crow has won both commercial success and critical acclaim by injecting lyrical and musical twists into a fairly standard pop-rock sound. But a dark thread continues to run through both her work and her life, almost as if in her attempts to escape the mundane mainstream, she has opened a Pandora's box of demons. Crow was born in Kennett, Missouri, on February 11, 1962--not on the day that Aldous Huxley died, despite the lyrics to "Run Baby Run," which some fans hear as semi-autobiographical (Crow insists otherwise). Her father, Wendell, and mother, Bernice, are both musical. A lawyer now, her dad once played trumpet in swing bands, and more recently was asked by Sheryl to play a cut from her debut album. Modestly, he suggested that, since she is signed to A&M, she ought to ask label founder Herb Alpert to do the part. Sheryl stuck to her guns, though, and Dad played. Bernice is a piano teacher who saw to it that Sheryl and both her sisters learned the keyboard. In high school, Crow was a cheerleader and a majorette, and that, combined with her piano lessons, left little time for social activities. She attended college at the University of Missouri, in Columbia, majoring in music composition, performance, and teaching. While there, she performed in a rock-and-roll cover band called Cashmere. After graduating, she worked days teaching music to elementary school kids with special needs, and then sang and played in cover bands around St. Louis at night. Eager for bigger and better things, Crow moved to Los Angeles in 1986, where she worked as a waitress and picked up a few jobs singing for commercials. At one session, she was told that Michael Jackson would soon be auditioning backup singers for his upcoming tour, but that only those who had been personally recommended would be heard. She went anyway and talked her way into the audition. New in town and hungry to catch a break, Crow knocked out Jackson's people with her freshness and spunk. Soon she was globetrotting on M.J.'s two-year Bad tour, singing duets with him, and becoming the subject of tabloid articles falsely surmising that she and the Gloved One were romantically linked. When the tour ended in early 1989, Crow endured a bout of depression--for six months, she says, she barely got out of bed. Luckily, she rebounded, landing a backup vocal gig on Don Henley's End of the Innocence tour, which led to further vocal work in the studio. During this time, she continued to write and co-write songs, getting a few recorded by some notable artists, including Wynonna and Celine Dion. But it was at another session, where veteran producer Hugh Padgham (Sting, Phil Collins) heard her sing, that her career finally shifted in the right direction. Impressed by her sound and style, Padgham brought her demo to A&M Records, and before long she was signed to the label. But all was not rosy; intimidated by Padgham's forceful manner, as well as his substantial reputation, Crow essentially let him call the shots, and the result was a somewhat slick record that didn't show off her strengths. A&M chose not to release it, but the label did let Crow give the tapes to her then-boyfriend Kevin Gilbert, once lead singer for the short-lived Toy Matinee project ("Last Plane Out"). Gilbert attempted a remix in 1991 to no avail, but he brought both versions, plus Crow's original demos, to Bill Bottrell, an up-and-coming engineer and producer who had a Pasadena studio called Toad Hall. Bottrell liked what he heard, and later, when he, Gilbert, acerbic singer-songwriter David Baerwald, and a few others began jamming on Tuesday nights, Crow was invited to join in. The Tuesday Night Music Club was born. Over the next several Tuesdays, the group jammed, coming up with a number of songs that made it onto Crow's debut, including the memorable "Leaving Las Vegas." The shared title between the song and the hit film of the same name is no coincidence. Baerwald and budding novelist John O'Brien had become drinking buddies, and inspired by O'Brien's then-unknown work, Baerwald had come up with a few lines to get a song started. Little did anyone know then what trouble would come. Crow's Tuesday Night Music Club was released in the fall of 1993, and though it languished for a few months, by early 1994 it began climbing the charts. In March, Crow performed "Vegas" on The Late Show With David Letterman. When Letterman asked her if the song was autobiographical, she said yes. Bad move. O'Brien, Gilbert, and Baerwald were incensed, and though the album ultimately became a huge success, selling six- million copies and winning her a Grammy for Best New Artist, the dark side struck back. O'Brien shot himself a short time after the Late Show performance, and Baerwald has never forgiven Crow for the offhand comment. In 1995, Bottrell and Crow tried to begin work on her second album at Toad Hall, but bad feelings lingered. Looking for a fresh environment, the pair headed to New Orleans, but they got into a fight on the second day, and Bottrell quit. Crow took the reins herself and produced the album. Released in fall of 1996, Sheryl Crow has already spawned two strong singles, "If It Makes You Happy" and "Maybe Angels." It also spawned a controversy regarding the song "Love Is a Good Thing," which includes the line "Watch out Sister, watch out Brother/ Watch our children as they kill each other/ With a gun they bought at a Wal-Mart Discount Store." The chain, which is the only source of CDs in a number of small towns across America, refused to carry the album unless the lyric was changed. But despite a huge potential loss of sales, Crow's label A&M stood behind her and the song remains intact. Despite that moral victory and the second album's success, reminders of Crow's dark clouds remain. Kevin Gilbert was found dead of autoerotic asphyxiation (according to the coroner's report), in his home on May 18, 1996. Yet given her track record of coping with crises in both her personal life and her career, perhaps Crow has proven that she's strong enough to handle the roughest of seas. David ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------ Date: Fri, 16 Apr 1999 21:13:34 +0100 From: "Olly Sanders" Subject: Unreleased Album and Set Lists Hi guys. Does the unreleased album actually have a title? I saw one version of it that was called All I Wanna Do, but is this the official title. Also could anyone tell me anywhere that I can get set lists of previous Sheryl shows. Thanks Olly ------------------------------ Date: Fri, 16 Apr 1999 16:24:46 -0400 From: "F. Jason Rhoden" Subject: Re: Unreleased Album and Set Lists Yes, it does have a real title. It is called "Sheryl Crow". That is what the advance tape cassettes, and the unused CD art said. The reason the boot you've got says "All I Wanna Do" on it is because some silly idiot used the cover of an "All I Wanna Do" single for the cover of their boot. Jason :) ------------------------------ Date: Fri, 16 Apr 1999 15:29:30 -0500 (EST) From: Jennifer Cooper Subject: Re: Johnny Cash Caps Tribute With Rare Performance When is this tribute supposed to be televised again? I forgot the date and the network it's supposed to beon. any help would be appreciated, Jen :) ------------------------------ Date: Fri, 16 Apr 1999 17:27:09 -0400 From: Brooke James Subject: Re: Johnny Cash Caps Tribute With Rare Performance April 18, (this sunday) 8pm on TNT! Brooke ___________________________________________________________________ You don't need to buy Internet access to use free Internet e-mail. Get completely free e-mail from Juno at http://www.juno.com/getjuno.html or call Juno at (800) 654-JUNO [654-5866] ------------------------------ Date: Fri, 16 Apr 1999 17:43:09 EDT From: XMystery79@aol.com Subject: Sheryl In Liquid Audio I was surfing the Liquid Audio site and found this link Warner/C happell - Featured Songwriter . According to the site all of Sheryl's songs (album ones anyways) are available for legally downloading (as opposed to mp3s). The money goes to Sheryl's label like it normally would if you bought the cd, so it wouldn't be hurting her career like mp3s. I think the tracks are like $1 or something. I am far from an expert on this subject, so maybe some one like jason could explain it, I just think the site is pretty cool :) ------------------------------ Date: Fri, 16 Apr 1999 17:47:06 EDT From: SCFANCLUB2@aol.com Subject: Reuters Article Sheryl Crow brings life into focus, alongside her music By Gary Graff DETROIT (Reuters) - Coming off the road from promoting her self-titled sophomore album, Sheryl Crow realized that while she had a great career -- complete with platinum albums and a batch of Grammy Awards -- she didn't have much of a life. The recognition led to her shutting down for a time to discover what she was missing and to do something about it, which in turn sparked the creative process that resulted in her latest Grammy-winning album, ``The Globe Sessions.'' ``I think going into the studio to work on this album was what opened my mind to the breakdown of my own life,'' explains Crow, 37, the Missouri-born singer-songwriter who made her name as a backup singer for Michael Jackson and Don Henley before launching her own career with 1993's ``Tuesday Night Music Club.'' ``I really enjoy working ... but I was on the road for six years straight, and I realized that I didn't have anything besides what I'd been doing this whole time. I really let my relationships go; I was in a relationship for four years, I was engaged and that whole thing, and it didn't work out. ``But it wasn't until I started writing songs that the epiphany occurred. I moved to New York, and I put together my studio, and I wound up spending a lot of time there. And before I knew it, I had a collection of songs that were really introspective, and at that point I realized my personal life had really suffered because of my absence from it.'' So Crow took steps to make a life for herself as well as to protect her creative time. She made ``a practice'' of hanging out with friends and ``getting back in touch with people that I care about.'' She also sculpted out time to ``just be quiet, hang around at home and read.'' Besides her apartment in New York, which she's been renovating, Crow bought a Spanish-styled house in Los Angeles -- ironically one she tried to purchase previously but lost in a negotiation. And Crow says that owning property, more than anything else, speaks to her efforts to pursue a permanent change in the way she lives. ``Part of the thing of being on the road is that feeling of being nomadic and having very little responsibility,'' she says. ''I've never enjoyed owning a lot of stuff; in fact, I joked about every time I've had an apartment that I've always just walked away, locked the door behind me and let the next person worry about all the junk I left behind. ``And now I'm starting to sort of conduct my life more like an adult and have tried to adjust to having a real home and real responsibilities. And it's fun. It makes me feel like I'm encroaching on a different phase of my life.'' That doesn't mean her work has suffered. During her time away from touring, Crow scored an independent film called ``Dill Scallion'' and had a small role as a junkie in ``The Minus Man,'' which was shown at the last Sundance Film Festival. And there's ``The Globe Sessions,'' whose songs freely mine Crow's emotions and experiences for what she acknowledges is the most personal of her three releases. ``I have the wonderful privilege of creating a story around my own stories,'' she says, ``so certainly there's no song that's strictly autobiographical. But they are loosely based on my own experiences. ``It was basically a matter of committing to putting out that album or trying to create another album, and it felt like it was timely and pretty honest -- well, it was very honest -- and pretty concise, and my decision to put it out, although it was a pretty daunting decision, felt like it was the right decision.'' During concerts on her latest tour, Crow has found she has little trouble tapping into the original emotion that inspired the songs. ``There are a couple of songs where every night onstage I'll experience how I felt when I wrote it,'' she says. ``Like, for instance, 'Don't Hurt' was a song I wrote out of real anger and disillusionment, and I still really associate that song with the experience. It does reach me emotionally. Then there are other songs I feel I'm a little more removed from, like 'My Favorite Mistake.''' Crow plans to spend most of the rest of the year touring; she'll be on the entire run of this summer's Lilith Fair and will be playing some acoustic shows, probably on college campuses, in the fall. She'd also like to put some dates together with Stevie Nicks, the once and future Fleetwood Mac singer and a personal hero with whom Crow collaborated on the soundtrack for ''Practical Magic,'' which led to the two working together on Nicks' next solo album. ``I guess my role in this is really to try and create what she feels is an accurate picture of who she is,'' Crow says. ''She's a really prolific writer. I think the thing she has suffered in the last few years is when she goes into the studio, there's always a male producer that wants to make her into something that is maybe not as intimate as what she sees her music as being. Trying to get that on tape is going to be the real trick.'' Reuters/Variety 17:11 04-16-99 Copyright 1999 Reuters Limited. All rights reserved. Republication or redistribution of Reuters content, including by framing or similar means, is expressly prohibited without the prior written consent of Reuters. Reuters shall not be liable for any errors or delays in the content, or for any actions taken in reliance thereon. All active hyperlinks have been inserted by AOL. ------------------------------ End of sheryl-crew-digest V2 #86 ********************************