Tennessee Performing Arts Center (TPAC)
Nashville, Tennessee (USA)
29 March 2017
[VIDEO] "Solidify" - Live in MIlan 1996 (Bootleg)
Another audience recording from che concert held at the Rolling Stone disco in Milan (Italy) on Monday 11 November 1996. The song performed is "Solidify", a cut from Sheryl's first record.
Sheryl (voice and hammond organ), Todd Wolfe (lead guitar), R. S. Bryan (guitar), Jeff Trott (guitar), Tim Smith (bass); Jim Bogios (drums).
[NEWS] Sheryl Crow Checks the Mirror, and Plays What She Sees (NYT)
By Jon Pareles
New York Times
31 March 2017
Sometimes the comfort zone is where a musician belongs. That’s the charm of “Be Myself,” Sheryl Crow’s pointedly titled new album, which gleefully and unabashedly returns to the sound of her hit albums from the 1990s. “This record, of all the records I’ve made, was just sheer joy,” Ms. Crow said in an interview at the Bowery Hotel.
For this album, her ninth, Ms. Crow reunited with her late-1990s collaborators, though some things had changed over two decades. She was recording in her own barn in a suburb of Nashville, not in Los Angeles, New Orleans or New York. Instead of doing all-night sessions, she made music between taking her two sons to school and dinnertime. And she had new topics to write about: divisive politics, relationships filtered through technology, and the way social media prizes photos of derrières.
But “Be Myself,” due April 21, still relies on her girl-next-door voice, on straightforward songs that don’t hide their fondness for the Rolling Stones and the Beatles, and on mostly hand-played instruments with subtle sonic tweaks. Ms. Crow wrote and recorded, as she did on her albums “Sheryl Crow” (1996) and “The Globe Sessions” (1998), with the songwriter and co-producer Jeff Trott and the engineer and mixer Tchad Blake, who, Ms. Crow said fondly, “tampers” with the music.
She also has a follow-up nearly done: a set of collaborations with friends, mentors and idols including Willie Nelson, Neil Young and members of the Eagles.
At the interview, Ms. Crow, 55, was dressed for a photo session in high heels, black pants and a Greg Lauren top studded with shiny black beads.
In a relaxed conversation that let the drawl of her Missouri childhood emerge now and then, she spoke about shifting expectations, about thinking as a parent and about how songs with serious intentions can still sound lighthearted.
“I’ve been working for over 30 years,” she said. “Artists who have been around that long become criticized for their later work being kind of soft, or it’s not what it was, or they don’t have anything to say anymore now that they have money. I really, on this record, wanted to feel like I felt on my second and third and fourth records, which was just a feeling of liberation. We were celebrating us coming back together, celebrating this liberation of being older and making music that isn’t trying to be anything other than what it is.”
Her debut album, the multimillion-selling “Tuesday Night Music Club” (1993) — which brought her three Grammy Awards, including record of the year — modestly presented her as part of that “club,” sharing credit with a Los Angeles studio coterie. But with the next albums, “Sheryl Crow” and “The Globe Sessions,” she made it clear that the songwriting, and much of the playing, was hers above all. For “Be Myself,” she said, “This whole experience felt like the second record or the third record, where it was kind of us against them, and we were just like kids in a laboratory, stirring up these concoctions.”
Those early albums, blending rock, country and soul in ways that sounded easier than they were, would go on to influence a next generation of country music, as younger singers like Cam, Kelsea Ballerini and Lady Antebellum looked as much toward California soft-rock as toward honky-tonk.
“She’s one of those artists, super few and far between, that aren’t defined by a genre,” Ms. Ballerini said by phone. “She’s indie and she’s country and she’s pop, all at the same time, and that’s never even been questioned because she just makes timeless music that fits in everywhere.”
She added: “All of her songs are written in a conversational tone, and I think that’s honestly what makes it so relatable. As a fan, you’re listening to her talk, and it doesn’t always rhyme perfectly, and the second verse doesn’t exactly match the first, and it’s not like a perfect pop song — it’s really cool.”
Cam, in a telephone interview, said Ms. Crow has a gift for sounding like herself and standing her ground. “I don’t think anyone would ever come around and say she really played by the rules,” she said. “She’s a great example of being strong, being so easygoing and sweet but also being completely ready to speak her mind.”
Ms. Crow’s own foray into modern country left her dissatisfied. Her 2013 album, “Feels Like Home,” tried a typical strategy for aging rock hitmakers: Head for Nashville to make a mainstream country album with the city’s in-group of songwriting collaborators and studio stalwarts. Ms. Crow had moved to the Nashville area, where she still lives, in 2006, and by the time she made “Feels Like Home,” mainstream country seemed like both a progression and a challenge. “The writing and the making, it was a good experience artistically,” she said. “I felt really proud of the craftsmanship.”
Yet country radio programmers treated her more like a carpetbagger than a forerunner. “I grew up loving country music and feeling like there was a pretty sturdy country influence in my music, but the format itself was really taxing for me,” she said. She played free promotional shows for radio stations, which in turn might grudgingly play her songs “between 3 and 4 in the morning, if that,” she said. “And they don’t really play women.”
“I did it the right way,” she added, “thinking that O.K., I want to be a part of this community. And it ultimately wound up being diametrically opposed to what I believe about music, which is that music isn’t commerce and it actually does matter.”
The lyrics on “Be Myself” are up to the minute. In the title song, Ms. Crow strives briefly to be a hipster — singing about taking an Uber to a juice bar “To hear a new indie band play/They got 99 million followers/In only one day” — but gives it up, asking, “How many selfies can you take before you look like a jerk?”
Her new music could segue directly out of her 1990s tracks like “If It Makes You Happy” and “Everyday Is a Winding Road,” which were hits in a different musical climate. In the 1990s, those songs were pop contenders; in the 2010s, when the Top 10 is filled with digital sounds and Auto-Tuned voices, the songs are probably destined for Americana stations, AAA — Adult Album Alternative — radio and still, possibly, country stations. Ms. Crow refuses to worry about it.
Her plan for making the album was simple: “We know how to do this. Let’s just do what we do. Forget formats. We’re not going to aim for a format. We’re not going to aim for country, we’re not going to aim for pop. And it was really liberating.”
Ms. Crow and Mr. Trott worked as they always have: extensive advance conversations, fast-moving sessions. When the songs were written, Mr. Blake joined them to fill out the production, but most of the finished tracks have the original, spontaneous demos at their core.
Mr. Trott said by phone that while making the album: “I kept thinking, if I was a Sheryl Crow fan, what would I like? It’s not all glossed over, it hasn’t been combed through too much. It’s not too shiny, but it has enough brilliance in it. I like it when she is just being herself. And there’s a sense of adventure and irreverence toward recording technique. It’s confidence. Once you have the songs, you think, ‘Yeah, let’s keep it raw.’”
The album was largely written and recorded before the 2016 election — optimistic times for liberals like Ms. Crow. But the acrimony and stress of the campaign also affected the songs. The first single from the album is “Halfway There,” a call for respectful dialogue between the leftist singer (driving a Volt, communing with nature, wearing ripped jeans) and a right-wing character who drives a Hummer, goes to church and wears Armani.
“There needs to be a conversation,” Ms. Crow said. “At the end of the day, don’t we want the same thing? And don’t our children deserve to see us, and mimic us, having conversations with people we don’t agree with, with a certain amount of decorum.”
Things get more sinister in the stamping, wailing rocker “Heartbeat Away,” which Ms. Crow said she wrote in August and finished recording in October, long before the F.B.I. investigation into the Trump campaign’s contacts with Russia was revealed. In one verse, she sings, “You bet the president is sweating/While Russia’s blowing up the phone/Deny, deny everything.”
When she wrote it, she said, it was only an espionage fantasy, “a song of fear and uncertainty,” she said. “The song is just based on this feeling of, what do we not know? How much of everything do we not know? And how much of what is happening around us is going to be revealed without us ever having seen it coming? And then look where we are. It’s eerie.”
On other tracks, she grapples with social media, while the music cheerfully twangs and thumps. In “Alone in the Dark,” her trust is betrayed by a partner who “went to the world and broadcast me”; in “Roller Skate,” an embrace is interrupted by a text message, making her urge, “Put your phone away, let’s roller skate.” in “Woo Woo,” she grouses that “Every time I check my Twitter/Somebody’s butt is in my face.”
She doesn’t want to be a “parent-dinosaur” rejecting technology. “I don’t think you can really subtract technology from relationships anymore,” she said. “On this record, I hope that I’m more of an observer than a critic of it. But I do look at the presence of technology and what it’s doing to our relationships with real concern. It may connect all of us, but it’s definitely creating a chasm between us. And raising two humans, which is my first and foremost job, I see how, as a parent, you have to figure out some way to navigate their relationship with technology.”
For all of Ms. Crow’s earnestness, her music keeps a playful momentum, full of scruffy analog sounds and vocals that can sound just a moment from laughter. She has seen other aging artists grow “bitter” and is determined not to. Treatment for breast cancer in 2006, she said, pushed her into living purposefully yet savoring every moment. “I don’t know what I would have felt like if I had not had the moment of reckoning,” she said. “My life shifted into something that was more authentic in a lot of ways.”
Mortality also has a part in her next album: the set of collaborations, gathered slowly over the past two years. When the songwriter Kris Kristofferson was struggling with memory loss, she decided to record with him and others while she could. “These artists that we love are supposed to be immortal,” she said. “There’s certain people that, when they’re not here, the world is going to feel empty for me.”
She wrote a song to sing with Willie Nelson; she had Neil Young and Don Henley share a track with her. She also invited younger musicians, like the Texas bluesman Gary Clark Jr., to round out the lineup.
“I didn’t want the record to sound like, ‘Hey, I’m calling you because ... ,” she trailed off. “But you never know. Life is so short."
[NEWS] Sheryl join all-star Merle Haggard tribute in Nashville next month
Blackbird Presents has announced an all-star Merle Haggard tribute show and album featuring Willie Nelson, John Mellencamp, Sheryl Crow, Kenny Chesney, Miranda Lambert, Dierks Bentley, Loretta Lynn, Toby Keith, Hank Williams Jr. and Kacey Musgraves. Lynyrd Skynyrd, John Anderson, Bobby Bare, the Avett Brothers, Alison Krauss, Jamey Johnson, Ronnie Dunn, Alabama, ZZ Top's Billy Gibbons, Warren Haynes, Lucinda Williams and Connie Smith.
The concert, dubbed "Sing Me Back Home: The Music of Merle Haggard,", will take place on April 6th at the Bridgestone Arena in Nashville, Tennessee. Produced by Keith Wortman, Mark Rothbaum and Haggard's widow, Theresa Haggard, the concert will be filmed for a future release.
Here's the excellent "Today I Started Lovin' You Again" with Sheryl and Willie Nelson at the The 33rd Annual Kennedy Center Honors Merle Haggard. December 7th, 2010
[VIDEO] "Run Baby Run" - Live in MIlan 1996 (Bootleg)
New video from The Archives | This clip was filmed by a fan in the audience at the Rolling Stone disco in Milan (Italy) on Monday 11 November 1996. I attended the concert and also managed to meet the band! What an amazing night!
Here's the lineup: Sheryl Crow (guitars, keyboards, accordion), Todd Wolfe (lead guitar), R. S. Bryan (guitars, keyboard, bg vocals), Jeff Trott (guitar, bg vocals), Tim Smith (bass); Jim Bogios (drums).
NOTE 1: the source is a 21 year old VHS tape. Quality leave a lot to be desired but it's still better than nothing. NOTE 2: I have the full concert so i'll post more soon.
[VIDEO] Be Myself (The Making Of The Album - Part 2)
[NEWS] Behind the Tunes: Added "Stay at Home Mother"
Recorded live at the Times Center in New York City, NY (USA) on 2 December 2013. With Peter Stroud (Guitar) and Robert Kearns (Bass).
[PIC] Geetar Mama
Sheryl photographed at her home recording studio by Jeff Fasano for the next issue of Guitar Aficionado magazine. BTW: Nice vintage Gibson L-00!
R.I.P. David Eisenhauer
I have just learned that veteran front-of-house sound engineer David Eisenhauer has passed away last night. A St. Louis resident, Mr. Eisenhauer was the first tour manager and FOH sound engineer hired by Sheryl, with whom he had worked in the studio, asking him to be her live-sound mixer on the road.
For those who do not know, the FOH engineer is the person responsible for running the sound mixdesk at live concerts. In short, he makes gigs and live productions sound the way the audience hears them. Being myself an avid fan of concerts and live recordings, I have a huge amount of respect for these gentlemen, ever present but too often underappreciated.
David Eisenhauer worked very hard with Sheryl during her early years as a solo act. He recalled those days during a recent interview published on getinmedia.com:
Get In Media:What was the first big act that you mixed sound for?
David Eisenhauer:I had mixed various groups and one-offs and festivals, but the first person that I really worked with on a regular basis and got hired from the get-go of her career was probably Sheryl Crow. I met her at the end of 1992. Her record hadn’t even come out yet, and she decided that she didn’t want to put a band together with all LA studio musicians. She wanted to make it a bit more organic, so she moved back to St. Louis to put a band together. I knew all of the guys that she was hiring to put the band together, and she and I hit it off. I was there through the whole audition process of when she was putting her band together.
"It took off from there", he said.
Ultimately his stint with Sheryl lasted 9 years (1993-2001). A lot of time, and a lot of shows around the world too!
Sheryl's fans can find his name associated with some well known official recordings.
- Sheryl Crow - Live from London (1996) VHS and DVD
- Rockin' The Globe Live (2000) VHS and DVD
- Sheryl Crow And Friends Live From Central Park (1999) CD & MC
- Various live tracks included in some CD singles.
Eisenhauer also had worked at a great number of venues and music events, including touring with Bon Jovi, Paul Simon, James Taylor, Usher, John Mellencamp and Kelly Clarkson. He was loved and respected by friends and peers.
Back to Sheryl's early days, I think this is the oldest setlist I've ever seen. It's from the summer of 1993 (likely august-september). I don't know the exact date, but bear in mind that "TNMC" was released on August 3. (Thanks Todd Wolfe!)
And that's all folks.
Rest in Peace David.
Sit tibi terra levis.
I noticed that Sheryl posted this pic on Twitter and FB. Thanks darling!
"I'm so sad to hear of Dave Eisenhauer's passing. My 1st FOH & tour mgr. Forever grateful for the time he spent w/ me. RIP Dave" -SC
[VIDEO] "Real Gone" (from Pixar Cars) LIVE, 12 August 2012
New video from the Archives. Great rendition of "Real Gone", Live @ Come Together Celebration. DTE Energy Music Theater, Clarkston, Michigan (USA), 12 August 2012. With Peter Stroud (guitar), Audley Freed (guitar), Robert Kearns (bass), Fred Eltringham (drums), Glenn Patscha (keyboards).
[VIDEO] Sheryl & Jeff: The History of Us (30 Songs Commented by the Authors)
Now available also on YouTube with index and chapters
[VIDEO] "Long Way Back" - The Story Behind The Song
[NEW SONG] "Long Way Back"
Listen to the new song "Long Way Back" from the upcoming album "Be Myself".
[PIX] "Halfway There" music video - Backstage photos
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Thursday 23 March - Sheryl shot the video for "Halfway There" in Nashville and a few pics surfaced online. Here's a photo of her with the director Gus Black, executive producer Jennifer Rothlein (Tiny Terror Productions) and director of photography Brian Dee. (Photo: Brian Dee)
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"Sheryl shooting a music video here in nashville. and then she played with my boy" (Photo and caption: Ray di Pietro, photographer)
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(Photo 1: Brian Dee; Photo 2: Sheryl Crow)
[NEW SONG] "I'm Tied to Ya" by Rodney Crowell & Sheryl Crow
Check out this new song from Rodney's upcoming album, Close Ties. It's truly great.
[PIC] NCIS: New Orleans - Photo group
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Sheryl, her band and the cast of NCIS: New Orleans.
New Orleans, Louisiana, 20 March 2017
Photo credit: Light Source & Imagery
[2017 TOUR] New date added
[NEWS] Sheryl to guest star in "NCIS: New Orleans" episode
Sheryl will be a guest star on an episode of the CBS military investigative drama series NCIS: New Orleans. She is set to appear on the episode 21 of the current 3rd season. The air date is TBA, but bear in mind that the episode 20 is scheduled to air April 4th, so it's just a matter of weeks.
I don't know the details, but apparently she appears as herself during a musical scene. Here's some info from Sheryl's keyboardist Jen Gunderman: "The storyline, from what we could gather: super rich people throw a garden party featuring Sheryl Crow and her band. Dead body found during the festivities! Also something really interesting involving arms dealers and terrorists and socialites."
NCIS: New Orleans airs Tuesdays at 10 p.m. ET on CBS
UPDATE from Entertainment Weekly (21 March):
"Crow filmed the episode on Monday, where she debuted the world premiere of the song “Roller Skate,” as well as the album’s first single, “Halfway There.”
A photo from the set taken today by the musician Brent Loper:
Wrestler Chris Paul wrote on his facebook page: "She sang several songs. She was really sweet. She stood next to me all day. Talked. Couldn't tell she was a mega star... really down to earth"
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Photos: Light Source & Imagery
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Photo: Light Source & Imagery
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A LITTLE VID...
Pix with fans
Photo 1: with Emily Kelso. She said: "Just meet and talk with t he sweet fabulous famous Ms. Sheryl Crow!!!! Lucky me got to get a photo with this beautiful women. Thank you Sheryl Crow!!!"
By Markos Papadatos
12 March 2017
Grammy-winning rock songstress Sheryl Crow is back with her new music video for "Halfway There," which features Gary Clark Jr. on guitar.
The new song has a retro vibe to it, which is reminiscent of her early musical work from the 90's. It is a track off her forthcoming studio album Be Myself that will be released on April 21 on the record label, Warner Bros. Records.
Most impressive about the music video for "Halfway There" was that it was created using a cut-out animation style that presents the song's lyrical questions through a whimsical satirical imagery, which is reminiscent of Monty Python.
This spring and summer Crow will be touring to support her Be Myself album. On June 28, she will be performing at the iconic Beacon Theatre in the heart of New York City.
Overall, Sheryl Crow charms on her new music video for "Halfway There." The animated video has a neat concept to it, and it compliments the song quite well. If this song is any indication of the musical direction of her new studio album, then it is safe to say that her fans and listeners are in for a real treat. "Halfway There" garners an A rating.
[LIVE REVIEW] Live @ The Troubadour - Billboard.com
Sheryl Crow Reemphasizes the Rock in Club Preview of New Album
By Chris Willman
3 March 2017
Photo: Debi Del Grande
At the Troubadour, it was as if that Nashville flirtation never happened as Crow premiered eight songs that fit in seamlessly with her '90s rock-radio standards.
Sheryl Crow has decided a change back would do her good. After a flirtation with the country market four years ago, she’s reverted to full-on rocker form for a spring album release and summer amphitheater tour, both of which she previewed at a filled-to-the-gills Troubadour show Thursday night (March 2). She may be maintaining her literal home in Nashville, but expat or not, 24 years after her last gig at the Santa Monica Blvd. club, her sun seems to still be coming over that street, musically speaking.
The eight new songs premiered from the forthcoming Be Myself mostly sounded like they could have come off albums 1-4. The intimate setting allowed a few hundred attendees to verify that Crow also looks like she just popped off one of the covers of those first few albums. Maturing becomes her, but so does pogoing, which she did at length in the lead-up to “Soak Up the Sun.” Noticing that the audience was not responding in kind, she exhorted: "Okay, I’m 55 f---ing years old! Start jumping!” Some did and some didn’t, since not everyone has spent the last quarter-century doing the Sheryl Crow/Dorian Gray Workout.
It wasn’t clear ahead of time whether this rare club show would be a truncated one, just debuting some of the new material, or serve as a full preview of what she’ll be doing in outdoor venues this summer. It was the latter, aT least to the extent that wearing a women’s small Mickey Mouse T-shirt counts as the “dress” in “dress rehearsal.” Obviously Crow never stopped rocking out on stage, even during her courting-country phase, but what’s striking about the Be Myself material is how much it’s Crow being herself circa 1996, and how comfortably the high-octane tunes fit into a set inevitably anchored around the 10 songs that collectively come from Tuesday Night Music Club and its self-titled successor.
Crow has two ace lead guitarists in her band, as she has for years — Peter Stroud and Audley Freed — and they both get a lot to do on the new songs, many of which start with an introductory electronic beat (the one sop to 21st century morays) and then immediately lead into the kind of guitar riff that is a staple of the material she co-writes with longtime collaborator Jeff Trott. Crow herself spent the requisite amount of time playing acoustic or electric guitar, but what stood out were the amount of new songs that had her playing a very beefy bass. In 2017, she’s gonna soak up the subwoofers.
A quick glimpse of the new material sprinkled throughout the two-hour-and-15-minute show:
“Be Myself” — The feel-good title track is an ode to being “terminally normal,” since “hanging with the hipsters is a lot of hard work.” Not unlike Taylor Swift’s mention of an “indie record that’s much cooler than mine,” Crow doesn’t have much time for the du jour, singing that she “took an Uber to hear a new indie band play/They got 99 million followers in only one day.”
“Long Way Back” — The most brooding, slow-building new song is about life’s “mighty big toll,” with what may or may not be an autobiographical detail: “Did you ever see a man have a heart attack/It’ll open your eyes and stop you in your tracks/So I threw away my last cigarette…”
“Grow Up” — “When Prince died, that sort of took the wind out of my sails,” Crow said in introducing this song, which was inspired by a sense of “how fleeting” life is, and "all the people you lose contact with, and why didn’t I reach out.” It would be a stretch to say the sing-song-y chorus of this bass-driven, mid-tempo song sounds Prince-inspired, but when it gets to the bridge, it’s unmistakably Wendy & Lisa-like. Lyrical tag line: “Even when I’m old, I don’t ever wanna grow up.”
“Alone in the Dark” — Introduced by Crow as being “about social media,” the album opener begins: “I told you to be discreet/But you went to the world and you broadcast me.”
“Heartbeat Away” — A song that seems to be about Donald Trump, but wasn’t, at least originally. Crow said it was written before Trump ever got the nomination, as “a song of espionage. Russia was not even in the picture, so how this song even got made, I don’t know” — disavowing any prophetic knowledge in the lyrics’ references to hackers, leaks, vast fortunes, and a “man with the red face/With his finger on the button as he hums ‘Amazing Grace.'”
“Rest of Me” — Ironically, it took Crow quitting country music to come up with this much of a country beat. But, with its fast acoustic strumming and McCartney-esque melody, this ode to guarding one’s heart is really more in the vein of the Beatles doing country, or country-folk, a la “I’ve Just Seen a Face.”
“Roller Skate” — “This next song really is my commentary on social media. I know I said that before, but this one really is,” Crow said, introducing a song about the “buzzkill” of texting and snapping. It was inspired by her two sons complaining about her usage, not vice versa: “They’ll say, ‘Mom, put your phone down.’ I’m very cognizant of not having it on all the time.” Sample lines: “I kind of like that human touch/Old-school contact, would it be too much.”
“Halfway There” — "This election for me was just a big, fat bummer,” she announced, to no one’s surprise. “I felt like America was losing its plot, with our inability to talk to each other.” This song’s theme: let’s chat. Crow just put out this plea to converse across cultural and political divides as a single. In one sense, it sounds radio-ready — but maybe that’s 1996-rock-radio-ready; Crow has acknowledged that she doesn’t have any big hopes for major radio play in the current radio climate, which maybe is why she can put out a single that, catchy as it is, takes the risk of a time signature change between the verses and choruses.
One song from Be Myself (due out April 21) that disappointingly wasn’t played Thursday was the album-closing “Woo Woo,” a charming excursion into actual contemporary R&B (as opposed to the retro-R&B of her 100 Miles From Memphis album). But maybe Crow felt it would be confusing to a live audience to spring an outlier like that on them in the midst of emphasizing that she’s returning to her early-career rock roots.
What the Troubadour crowd (which included pal John Mayer) really didn’t get much of, perhaps understandably, was the four stylistically diverse studio albums that came out between 2002’s C’Mon, C’Mon and now. That entire 15-year period of genre experimenting was represented in the set list by just one choice, “Best of Times,” from her sole Warner Nashville album, 2013’s Feels Like Home.
That lone holdover from her country-radio phase sounded less “country” than ever, anyway, as she added a long harmonica coda that seemed like an extensive homage to Mick Jagger’s way with a mouth harp on the Stones’ nightly versions of “Midnight Rambler.” Then again, Jagger never apologizes to the front row after a harmonica solo by saying, “It’s a snotfest over here. Sorry for all of you who got snot over here.” Given the rarity of Crow playing a 500-person venue, fans were likely to take any stray mucus as a happy-making souvenir.
“Everyday Is a Winding Road”
“A Change Would Do You Good”
“All I Wanna Do”
“Long Way Back”
“Alone in the Dark”
“Can’t Cry Anymore”
“There Goes the Neighborhood”
“Leaving Las Vegas”
“Rest of Me”
“Best of Times”
“Picture”/”If It Makes You Happy”
“Soak Up the Sun”
“Run Baby Run”
“I Shall Believe”
Sheryl Crow previews new album at surprise Troubadour show
By Randy Lewis
Los Angeles Times
3 March 2017
Photos: Adam Maresca and Debi Del Grande
Apparently you can take the country out of the artist — at least when the formerly country artist is Sheryl Crow.
Having indulged her love for country music with 2013’s “Feels Like Home,” an album made in Nashville, the Kennett, Mo., native is allowing the pendulum to swing back toward the rock-rooted sound and attitude with which she first found success nearly a quarter-century ago.
She just signed a recording contract with Warner Bros. Records, which will release her new album on April 21, telegraphically titled “Be Myself.”
The title track was among several new songs she introduced Thursday night during a surprise small-scale show at the Troubadour in West Hollywood.
“If I can’t be somebody else,” she sang, “I might as well be myself,” in a refrain she repeated multiple times. It was almost as if she wanted to make sure the point wasn’t lost on any onlookers: the Sheryl Crow they’ve known and loved is back.
“Feels Like Home” emerged after she moved to the country music capital, following many years in Los Angeles, where she honed her musical chops and broke through big time with her 1993 debut album “Tuesday Night Music Club.”
It’s not a revolutionary leap to go country, especially from the rock narratives she specialized in with hits such as “All I Wanna Do,” “My Favorite Mistake,” “If It Makes You Happy” and “Strong Enough,” all of which she delivered with backing from a loose but potent six-piece band during the two-hour set.
“I’m 55 … years old — c’mon people!” she said cheerily at one point, urging fans to join her in moving their feet as she lightly bounded around the crowded stage.
Some of the new songs deal with the struggle between a yearning for independence and a desire for human connection (“Alone in the Dark”). But over the course of different themes she tackled it was clear that she hasn’t lost knack for instantly hummable choruses and lyric hooks that quickly embed themselves in listeners’ brains.
She seemed equally at ease through the show whether she was strumming an acoustic guitar, pealing off a few riffs on a sparkling Fender Telecaster, plucking away at her red electric bass or sitting down at an electric piano for some gentle keyboard accompaniment.
She holds an increasingly rare spot in pop music: a female rocker who writes and sings, who is utterly comfortable navigating what remains predominantly a boys’ club, while staying devoted to voicing a woman’s perspective on life, love, politics and even social media. (“I’m committed to not being on my phone all the time,” she said, sharing a bit of her philosophy as the single parent of two young sons, with whom she lives on a ranch in West Nashville.)
That carried through to Thursday’s show, where concertgoers were required to check phones at the door or leave them in their cars so the evening might proceed without the now typical sea of cellphone screens hoisted in the air.
Now that was revolutionary. The Times will have more on Crow and the new album closer to the release date. She’s also scheduled a full-fledged tour starting April 22 in Atlantic City, N.J., and reaching Los Angeles June 8 for a stop at the Greek Theatre.
"Tonight I had the privilege of standing about 10 feet from Sheryl Crow and listening to her and her amazing band make rock music at point blank range for 2 hours straight. Talent level off the charts. Songs. Execution. She makes singing look so easy it's silly. Tone. Pitch. Control. Masterclass. Her first 3 records are among my favorite albums of the 90's. The Globe Sessions is one of my favorite albums ever, period. And the guitar players in her band, Peter Stroud and Audley Freed are lights out. How she has 2 guys that good in one band is almost unfair. Amazing night of music and musicianship. Thankful to get to experience things like this in my life. Now for some sleep...zzzzzzzzzzz"
"Sheryl Crow was truly magnificent at The Troubadour tonight...lights out talent and her new songs harken back to the sound we all originally loved her for...she's moved away from the slick country pop...back to the edgier thing that made us first listen and love her. The no cellphone policy in the club tonight made me appreciate what it was like to see a show where everyone was watching the show instead of watching their phones or watching through their camera phone.
Sheryl was a huge inspiration to me when I was a young singer/songwriter who played guitar...she was a great example of a singer/songwriter who was proficient on guitar, bass, keys, harmonica...I loved her courage and she proudly proclaimed tonight that she is 55 when she jumped around the stage and had the crowd jumping with her. She inspired me all over again"
"About tonight...Sheryl Crow played ALL her hits and debuted her new songs which are REALLY good. Best show of 2017 so far! The guitarists onstage were absolutely schooling John Mayer in the audience. (Who I was completely fan girling over from a safe distance.) The evening ended with an intimate rendition of this song that literally made me tear up. I believe her voice has gotten better with age. (Now 55!)"
[VIDEO] "Be Myself" Album Announcement - Live From The Troubadour!
Facebook Live - 2 March 2017, Troubadour backstage in West Hollywood, Los Angeles, California.
[PIC] With Adam Weissler (Extra TV)
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"Great chatting with Sheryl Crow before her show tonight. New record By Myself out next month with songs she calls "old school Sheryl Crow"
[NEWS] "Be Myself" also available on Vinyl!
Good news! The upcoming record “Be Myself” will be also available on vinyl! The album is set to be released on June 2nd and is up for pre order now on the SC official store ($ 19.98), as well as on Barnes & Noble. ($ 17.99).
- Be Myself Digital Album
- Be Myself Vinyl
- Halfway There Digital Single
[SONG] "Halfway There"
Here's the first single "Halfway There". You also can find it on Spotify and Deezer. Enjoy!
[NEWS] JUST ANNOUNCED: Concert in Vienna, Virginia!
INFO AND TICKETS
[NEWS] BE MYSELF - Front Cover & Tracklist
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Photo by the always great Mark Seliger
1. Alone In The Dark 3:40
2. Halfway There 3:58
3. Long Way Back 5:08
4. Be Myself 4:22
5. Roller Skate 3:17
6. Love Will Save The Day 4:58
7. Strangers Again 3:50
8. Rest Of Me 3:51
9. Heartbeat Away 5:36
10. Grow Up 3:26
11. Woo Woo 3:15
[NEWS] With John Mayer and Steve Jordan
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"Thanks John Mayer for having me sing on your beautiful song - I am such a fan!" (Photo and caption: Sheryl)
[NEWS] Rehearsal @ Troubadour
"With Set List Maestro Scooter Weintraub preparing for the Troubadour show. "
(Photo and Caption: Sheryl)