From: owner-sheryl-crew-digest@smoe.org (sheryl-crew-digest) To: sheryl-crew-digest@smoe.org Subject: sheryl-crew-digest V2 #266 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 Wednesday, July 28 1999 Volume 02 : Number 266 Today's Subjects: ----------------- The Singles. ["BoBBy" ] Re: sheryl-crew-digest V2 #265 [Em481@aol.com] DELETE if u r not kbondy [Solger4Him@aol.com] Bad Trader Alert: David Hastie ["Jeffrey Jerrold Chua" ] Extra SCOM singles! [Denise ] TGS goes from 151 to 124 [Brad Boose ] The Musician's Planet article [Katie Lynne ] The Musician's Planet (part one) [Katie Lynne ] The Musician's Planet (part three) [Katie Lynne ] The Musician's Planet (part two) [Katie Lynne ] The Musician's Planet (part five) [Katie Lynne ] The Musician's Planet (part four) [Katie Lynne ] Re: Sheryl on RW, Juanita [XMystery79@aol.com] ---------------------------------------------------------------------- Date: Wed, 28 Jul 1999 03:33:11 -0400 From: "BoBBy" Subject: The Singles. Hey Crew, Singles, Singles. Like I've mentioned before, I find all of TGS's radio/commercial singles releases very sloppy and uneducated. I think the next best single would be "Member's Only". North Americans love slang, and I am sure all the Teeny Boppers would get a kick out of saying "ass". Personally I think Sheryl's first single should have been "Subway Ride" in light of the Clinton scandal at that time. Instead it was released as a Hidden song and a B-side on her Canadian single. TGTN had great potential, but Radio Stations were playing ABD. Of course its too late for TGTN because of UK single, and the Grammys (in the terms of the music biz, the song is Old). Realistically after SCOM, I am sure whatever it will be, it will be a LIVE version of one of her TGS songs. We have all heard about the TGS Video, so I am sure they'd want to Promote that. Who knows though, they've been known to screw other things up. PS: Sarah M's "Adia" always sounded like a single. Altho it did sound an awful lot like Building a Mystery (which was probably why it was the third single). Witness would've been too erratic. BoBBy ------------------------------ Date: Wed, 28 Jul 1999 09:38:45 EDT From: Em481@aol.com Subject: Re: sheryl-crew-digest V2 #265 Hi everyone. I'm planning on going down to the Today show next Friday. I'm also going to the Lilith Fair next Tuesday in MA. ------------------------------ Date: Wed, 28 Jul 1999 10:57:16 EDT From: Solger4Him@aol.com Subject: DELETE if u r not kbondy so sorry to do this thru the list but i am trying to locate kbondy...i've had computer probs and lost alot of stuff including your address..could you (kbondy) please email me at your earliest convenience? keri solger4him@aol.com ------------------------------ Date: Wed, 28 Jul 1999 23:19:38 +0800 From: "Jeffrey Jerrold Chua" Subject: Bad Trader Alert: David Hastie BAD TRADER ALERT! DAVID HASTIE E-mail Address: dmhastie@flash.net Address: 317 Greenbriar, Baytown TX 77520, USA ICQ UINs: 3334010 & 41479631 - -He's cheated me of two copies of Sarah McLachlan's Mirrorball, and his known interests are Sarah McLachlan, Mariah Carey, Garth Brooks, Loreena McKennitt, and Prince! - -David, this note is fucking permanent! I'm not letting up until you give me what you fucking owe me, you son of a bitch! So if you want this removed... == Jeffrey Jerrold Chua | http://Come.To/JeffreyOnline Page me with Urgent in subject or http://PageJeffrey.OnTheWeb.Nu ___________________________________________________________ JEFFREY ONLINE MAIL Get your Free E-mail at http://JeffreyOnline.zzn.com ------------------------------ Date: Wed, 28 Jul 1999 11:40:56 -0400 From: "Tanja-Tiziana Burdi" Subject: Roseanne show today... Hey all, Just wanted to remind everyone to tune in for the Roseanne show today. Sheryl's gonna rock the house! Tanja ... The Soul Pixie *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* "I do it for the joy it brings, because I am a joyful girl because the world owes me nothing and we owe each other the world I do it because it's the least I can do I do it because I learned it from you I do it just because I want to Because I want to." - Ani DiFranco E-mail: soulpixie@cybergal.com ICQ: SoulPixie #6573962 Homepage: http://fly.to/thesoulpixie AOL: SoulPixie *~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~* ------------------------------ Date: Wed, 28 Jul 1999 12:08:19 -0400 From: Denise Subject: Extra SCOM singles! Anyone who wants to trade some cool Sheryl stuff for the CD single SCOM, I have 4 extra. Email me privately. I think I promised Micheal one but I lost touch & don't have your/his email anymore. I'd like some old "stuff" please! Hurry! Thanks, D- ------------------------------ Date: Wed, 28 Jul 1999 09:16:36 -0700 (PDT) From: Brad Boose Subject: TGS goes from 151 to 124 Once again, all three of Sheryl's albums' sales have gone up: TGS from 10363 to 11675, SC from 1832 to 1860, and TNMC from 1697 to 1712. YEEE-HAAAAAAAAAAA!!!! That the third week in a row that TGS has been moving back up the Billboard Top 200. Hopefully she can break back into the top 100 :) === Brad _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:24:18 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet article Ohki...this is for starters, I actually did type out the whole article. Hope everyone will enjoy. I'll be sending it in five parts. Little me was bored of course, had nothing else better to do. Katie ();) === ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~ "I don't wanna know what's going on, and I don't wanna know what's right or wrong." - Julian Lennon ~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~*~ _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:24:44 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet (part one) SHERYL CROW THE GLOBE TROTTER By Mike Mettler Sittin' pretty in the driver's seat, Crow has the world on a string The ascension of Sheryl Crow has been a triumph and determination. As a musician, she stands out in a rock world chock full of pre-packaged teeny-bop commodities who only know how to play instruments with joysticks attached. A onetime onstage foil for Michael Jackson, Sheryl Crow has evolved into a respected singer, songwriter and producer, having rubbed shoulders with the likes of Bob Dylan, Stevie Nicks, Eric Clapton, and Sarah McLachlan as well as nabbing a mantelpiece full of well-deserved Grammys along the way. After working with the L.A. studio-rat cabal that sparked her 1993 A&M debut, Tuesday Night Music Club (which contains the smash tracks "All I Wanna Do," "Strong Enough," and "Leaving Las Vegas"), the 36-year-old Kansas native grabbed hold of the reins to self-produce 1996's defiant Sheryl Crow (containing the hits "If It Makes You Happy," "Change," and "Everyday is a Winding Road"). The producer's chair fit her nicely, and the experience paid off rather handsomely when she again took charge for last year's richly textured The Globe Sessions, her most accomplished work to date. Kicking things off with the sensually hypnotic lament "My Favorite Mistake," The Globe Sessions probes Sheryl's personal successes and shortcomings, and is buttressed by a wider sonic palette that includes drum loops ("Riverwide"), Hammond B-3 organ ("It Don't Hurt," "Crash and Burn"), violins ("The Difficult Kind", "Mississippi"), and horns ("There Goes the Neighborhood"). Before The Globe Sessions could being to take shape, however, one important thing had to happen: Sheryl Crow had to uproot herself and move clear across the country. _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:26:10 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet (part three) Studio Savvy Sheryl says self-motivation is the catalyst if you're considering building a home studio. "Just get in and start doing it," she counsels. "It also important to have a good engineer at your fingertips. You need to align with an engineer who understands the process and understands you as an artist. "As far as gear goes," she continues. "it's good to obtain what I call 'standard' pieces. That is, there's a lot of stuff I use on all my records that I don't take on the road, and just keep in the studio. They help me set up the base and foundation for my songs." If you're contemplating becoming a producer, you need to know when to say when. "I hadn't set out in my career to be my own producer, but the lines often blur if you're also the artist," Sheryl says. "You need to have good songs first, but you also need to know when not to stop too soon, and when not to keep going too long. An album should come from really great demos. You have to go at it objectively, looking at the songs and cutting out the fat to keep them s lean as possible. Bill Bottrell [producer for Tuesday Night Music Club] was real good at doing that. Try to follow your initial instincts and be as 'sonically correct' with them as you can." Sheryl adds that thinking too much about what you've laid down can come back to haunt you. "Sometimes you can outthink yourself," she points out. "Sometimes it's okay to completely abandon what you've done-but don't do it too often. You have to be able to step back and not get caught up in overanalyzing things; otherwise, you'll extract the feel right out of what you're doing." _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:26:13 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet (part two) Leaving Los Angeles After the success of the self-titled album and the long touring pockets that followed in '96 and '97, Sheryl decided to relocate from Los Angeles to New York to get a new perspective on things-and to create a studio of her own. She'd already taken a portable studio on the road with her while touring for the Sheryl Crow record, so finding a true home studio was the next logical step. "On the early records, I just felt it was such a waste spending all that recording-budget money in other [corporate] studios," she says. "I could have taken that wasted money and recorded my next 25 albums in my own place! So, for The Globe Sessions, I took my recording fund and bought myself a Neve broadcast console and a Studer 24-track machine and put together a pro studio." Once she had the right gear in order, all Sheryl was missing was the right space to put it in. "I found a guy with a place in the meat-packing district in New York City," she recounts. "So I moved my gear in, and it worked out perfectly." And thus Globe Studios was born. Now free to do her own thing on her own time, Sheryl began formulating the music for what would become The Globe Sessions, working closely with longtime engineer Trina Shoemaker and occasional songwriting partner Jeff Trott. Sheryl says that she very much appreciates their honest feedback. "I've got three people in my life who'll say exactly what they think, and I trust them entirely," she confirms. "Trina and Jeff don't hold back, and my manager's a good springboard, too. They're good about saying if they don't get what I'm doing or if they simply don't like it; they're brutally honest in that way. Sometimes that makes me mad, but they're really good gauges for me to see if I'm on track." While recording, Sheryl has learned to trust her instincts. "Feel is such an elusive thing that's it's often worth keeping the original tracks instead of playing songs to death in the studio," she theorizes. One thing Sheryl discovered early on in the creative phase The Globe Sessions was that she wanted to play more bass on the record. "I'd never really felt proficient enough on bass to do as much before," she admits. "but playing the bass myself helped facilitate the whole process, and it made it easier to set things down on tape." Among the basses she used for The Globe Sessions were a Kay and a new Fender P. She liked the bottom end so much that she's mostly playing bass on tour; currently, her favorite road workhorse is a late-'60s Fender Jazz model. When on electric six-string, she typically reaches for her Gibson 335 or Fender Tele; for acoustics a '64 Gibson J200 or '64 Gibson Southern Jumbo. _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:26:27 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet (part five) The Future Sessions Sheryl somehow found time for a break during the massive, globally reaching Globe tour to return to that producer's chair this past May for four week in the studio with Stevie Nicks, the famed Fleetwood Mac vocalist turned solo artist. Sheryl and Stevie had previously collaborated on two tracks for 1998's Practical Magic soundtrack, "If You Ever Did Believe" and "Crystal"-completed during a "crazy," whirlwind, two-day session, no less-and had already recorded four more cuts for Nicks' next solo album before Sheryl hit the road. "It's exciting," Sheryl says of working with Stevie again. "She's a little bit daunting, but fun. She's amazing to be around and to work with Stevie again. She's very present and down to earth, an incredible dictionary of all kinds of references." Sheryl's already pleased with some of the results. "Lindsey Buckingham [also of Fleetwood Mac and solo fame] came in for one track," she reports. "He's amazing; pretty close to perfect. Any guitar he picks up, you can identify his playing immediately." Sheryl hopes to be able to produce the entire record before year's end, but she regretfully acknowledges that she may have to share the producer spot if the sessions pick up again after May, as she's already committed to being out on the road. Whatever the case, make no mistake about it: Sheryl Crow's future is full and bright. In fact, in addition to keeping the Globe tour on the road throughout the year and performing Woodstock '99 and being a featured attraction at selected dates of this summer's Lilith Fair swan song, she already plans to do an acoustic tour of colleges with bandmate Tim Smith starting next January. For Sheryl Crow, the winding road reaches clear around the globe. And she wouldn't have it any other way. _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 09:26:00 -0700 (PDT) From: Katie Lynne Subject: The Musician's Planet (part four) Every Gig Is a Winding Road While Sheryl has always been brazen when it comes touring, she faced some new challenges when she decided to take The Globe Sessions on the road. "There's more to recreate, so I needed a bigger band," she confirms. Joining her on the Globe tour are Peter Stroud on lead guitar, Tim Smith on bass and guitar, Mike Rowe on organ and keyboards, Lorenza Ponce on violin and acoustic guitar, Matt Brubeck on cello, and Jim Bogios on drums. Because she's so please with this ensemble, Sheryl has a 24-track digital recorder carted along to capture each night's performance. "I'm glad to do it," she beams. "The band is so much more creative and adventurous this year." Depending on how much Sheryl likes the results, she may issue more live B-sides or even a live album. Sheryl enjoys her role as bandleader. "I'm the spirited cheerleader of the whole event!" she laughs. "Actually, it's an extension of my role as a producer, since I already know what every part of every song is." As a result, her set has opened up quite a bit. "I now have the luxury of pulling from a lot of different material," she details, "so we can stretch things out more elaborately and make the textures more diverse. For example, we'll use tape loops for a song like 'Leaving Las Vegas,' a percussion loop for 'All I Wanna Do,' and strings for 'Riverwide' and 'Am I Getting Through.' I guess you could say they're all a little 'souped up.'" With a fuller catalog to pull from, Sheryl also feels more comfortable reworking certain set mainstays. "It's important, after six or seven years of doing certain songs live, that you recreate some of them differently and not worry about whether the audiences will go along with you," she asserts. "Sure some of the songs they want to hear in their original form-and some we will do that way-but the beauty of working good songs is that they stand up in different renditions." _____________________________________________________________ Do You Yahoo!? Free instant messaging and more at http://messenger.yahoo.com ------------------------------ Date: Wed, 28 Jul 1999 12:52:53 EDT From: XMystery79@aol.com Subject: Re: Sheryl on RW, Juanita In a message dated 7/28/99 12:59:59 AM Eastern Daylight Time, dajwilli@indiana.edu writes: << She said it was slow and I agree that it is kinda dull, but it's new, and it can tide us over until a new album comes out. >> Wow, you think the song is dull? I don't at all...Sheryl's voice is so great on it and Emmy Lou's is too...It's a great song just to just listen to their voices together...I didn't like it at first because it was country-ish but it's also a beautiful song, so just give it a chance. Oh BTW the liquid audio version expires on Sept 31, so enjoy it while it lasts.. ------------------------------ End of sheryl-crew-digest V2 #266 *********************************