Sheryl Crow

Sheryl Crow is the subject of 'Sheryl,' a new Showtime documentary on her life and career, exploring her debut Tuesday Night Music Club until now, ...

As she points out in the film, most of the audience was younger than her songs, and she was nervous that she might be walking out to an empty field. Laura Dern, a friend and onetime roommate of Crow’s, repeatedly refers to her as such in the film. Crow was, and is, the kind of artist that rock purists could salivate over if they worked a little harder — a true gear junkie, a multi-instrumentalist, a malleable partner in the studio, a thoughtful lyricist. “It’s like, okay, you’ve stood the test of time, but also you’re old and just haven’t gone away.” She doesn’t say that there is an even deeper layer here for women, though she doesn’t have to: Sheryl does that work subtly. We don’t often include Crow in this conversation, because it’s not quite so cut-and-dried or sexy in how she’s been left out or misunderstood — and Crow, for the most part, seems comfortable to keep a low-key sort of existence, using her studio and skills in Nashville as a hub for the next generation (Musgraves made Golden Hour there, and Crow recently offered vocals to a track on the new Lucius album). It’s not as if she was ripped apart in the tabloids the way Britney Spears or Jackson was — though she wasn’t exactly privy to amazing language, either, and it’s quite easy to find her being referred to as a “hot alterna-chick” or even “annoying” if you dig far enough in newspaper archives. Her last album, 2019’s Threads, was a humble yet flag-planting sort of project where she tied her work to the future and rooted it in her contemporaries. We were wrong about Alanis Morissette, whom the press loved to position as a puppet of producer Glen Ballard (which we also did with Liz Phair, Courtney Love, Jewel, and Shania Twain and their respective male partners or collaborators, to mention only a few). And boy, were we wrong about Janet Jackson, recently the subject of her own authorized documentary, and even in denial about the sheer racism that motivated our desire to alter her narrative and dim both her agency and star power. Maybe it’s because Crow has already faced a career of reclaiming herself — her 1996 sophomore album, Sheryl Crow, existed to do just that, countering popular narratives that she was just mooching talent from her set of Tuesday Night Music Club collaborators, an ordeal painfully told in Scott’s film. It gives us Crow’s story in her own voice and lets us do the rest of the work from there. Crow wrote Sheryl Crow almost entirely solo and produced it alone, eager to prove herself (this kind of move would become familiar to women, including Taylor Swift, who sustained similar criticism before releasing her self-written Speak Now). By the time most women get to their respective corrective career tales, they’ve already been correcting their own narratives many times over. Her music was loose and jangly in a world of distortion and grunge; her choruses provided huge moments of catharsis in a time long before “The Joke.” And yet, how many artists with that kind of gravitational center just show up at the studio to record a few licks here, a background vocal there, happy to remain a quieter heartbeat — or even laugh about being asked to be their own reference point? After all, she’s sold 35 million records worldwide and inspired the sound of everyone from Kacey Musgraves to Brandi Carlile to Waxahatchee with her relaxed, rootsy, and lyrically intimate breed of rock and roll.

Legendary singer, songwriter, and recording artist Sheryl Crow returned to the Stern Show on Wednesday where she wowed listeners with a two-song concert and ...

“It was tough, it was really tough,” she admitted. “It’s an open opportunity for anyone to be in the category of my next ‘favorite mistake,’” she laughed. She’s since become a superstar in her own right, of course, but Sheryl said she still gets giddy when she talks with Jagger. “I texted him recently and asked him if he would play harp on [a cover of the Rolling Stones song] ‘Live With Me,’” she said. “There’s a whole backstory to that with having his manager take that notoriety that I was accruing and, you know, trying to architect some pop career around me and I didn’t want to be a pop star,” she explained. Then, before we left, I saw him making out with another famous girl—one was an actress, one was a singer—and I was like, ‘That’s so gross.’” It was the late ‘80s and she was a backup singer on the King of Pop’s “Bad” tour. “‘Oh, this is the guy whose zipper … I unzipped on that record [‘Sticky Fingers’].” “This poor little chimpanzee that could’ve picked him up and thrown him out the window,” Sheryl recalled. “It’s so weird.” “When they came to me and said do you want to do a documentary, I said only if the story of the person is told and not the rehash of the awards and … all that stuff,” she recounted. There is a whole life there that isn’t just ‘All I Wanna Do’ and happy songs.” Legendary singer, songwriter, and recording artist Sheryl Crow returned to the Stern Show on Wednesday where she wowed listeners with a two-song concert and opened up about her fascinating life and career.

The Brooklyn-based indie outfit's most recent album, Second Nature, is out now via Mom + Pop Music. It was produced by Dave Cobb and Brandi Carlile, and ...

Crow, meanwhile, is the subject of upcoming Showtime documentary Sheryl, set to air May 6. The indie-pop duo recently spoke out about not being fairly credited for their work on Harry Styles’ Fine Line song “Treat People With Kindness.” In an interview with the Los Angeles Times, the band said they felt they were denied a featured artist credit on the track after making significant contributions. Lucius tapped Sheryl Crow, along with Celisse and members of Stay Human, for a lively rendition of their song “Dance Around It” on The Late Show. The duo gave the buoyant number a disco flair, complete with corresponding outfits and matching choreography.

There's a scene from the new documentary film 'Sheryl,' from filmmaker Amy Harris, about the life and music of nine-time Grammy-winning singer and ...

It occurred to me that our kids are growing up in a time that is very stressful and really, their sole job is to be a kid. Crow: There are the songs you write that are really inspired and some that are really crafted. So it may look like I was really confident but I was terrified and it turned out to be one of the most amazing experiences of my life. I’d gone to Bosnia to play for the troops and I sat down and it kind of wrote itself. Then there are songs that come out of nowhere where you feel like, gosh, maybe there is some kind of force where you just get out of the way then the song comes. TME: You recorded a new version of The Rolling Stones “Live With Me” with Mick. I just watched you do that song with the Stones from the Voodoo Lounge tour, released on Blu-ray a while back. This is the time of their life that should be stress-free. Crow: First and foremost, I’ll say that was my first really big appearance and I was a massive fan of The Rolling Stones. When Mick personally called and asked if I would come be part of this pay-per-view special, I was terrified. She recalls the exciting but harrowing day she first stepped onto a Rolling Stones stage for a duet with Mick Jagger, and she cites an example of an inspired song that “literally came out of nowhere.” Just that alone is crazy, to be able to text one of your heroes and have him agree to be part of it. She also wanted to tell the real story of the hard stuff that comes with a ride to fame, especially when you’re a person that struggles with depression and being a woman in a business that’s run by men. Is it a strange experience to watch a film about yourself?

Sheryl Crow's Music Has Been Pretty Laid Back. Her Life Hasn't Always Been. Sheryl charts the ups and downs of singer-songwriter Sheryl Crow — from her “romance ...

“I’ve always had real high highs and real low lows,” she says at one point, “and that’s part of who I am.” Sounding as if he’s been there and back, a chilled-out Weintraub says of those periods, “It will pass.” The future-looks-bright finale chronicles the making of her 2019 album Threads, recorded in her new, comfy home studio above her very own horse stable. We get to hear the McDonald’s commercial on which she sang during her anything-for-a-gig years, and hear about the time she called Bob Dylan for advice on writer’s block. There may be no more peak-Nineties moment than watching co-presenters Adam Sandler and Liz Phair announce her as the winner in one of those categories. (To ram the point home a little too heavy-handedly, the “lie to me” line from the “Strong Enough” video is seen.) And, of course, Crow was diagnosed with breast cancer only a few weeks after her breakup with Armstrong. When she asked if he’d experienced it, she says he replied, “No, never have!” But even as she became what she now wryly calls a “legacy artist,” life never appeared in settle into the same relaxed grooves of her later music. A few years back, opening for the briefly reunited Hootie and the Blowfish at a show in South Carolina, Crow played a vigorous set of those radio hits: ”If It Makes You Happy,” “A Change Will Do You Good,” “My Favorite Mistake,” “Every Day Is a Winding Road.” But the mere fact that she was opening for them — a band whose moment faded pretty quickly — spoke to the way in which Crow is still taken for granted. Tuesday Night Music Club and its hits “All I Wanna Do” and “Leaving Las Vegas” finally land her the attention she’d been seeking. Some of her collaborators, as well as the novelist, John O’Brien, took offense; O’Brien, who was apparently troubled and an alcoholic, eventually committed suicide by gunshot. Sheryl includes the notorious clip of David Letterman asking Crow on his show if “Leaving Las Vegas” was autobiographical. She and her early champion and manager, Scooter Weintraub, recall hanging with Jackson in a hotel room as he watches movies and TV shows (like Amos ‘n’ Andy) and plays with Bubbles the chimp. Even seeing a clip of it, with Crow singing and sashaying in a police station before grabbing a prop gun, boggles the mind.

The upcoming slate of music documentaries spotlight some of the biggest names in the biz, including Sheryl Crow, Jennifer Lopez and XXXTentacion.

The filmmaker was given unprecedented access to Bowie's personal archives, which include performances shot on both 35mm and 16mm that have never been seen before. Unlike Yes and Genesis, who went on to monster fame, King Crimson blended jazz, folk, metal, electronic and other genres to create a surreal blend unto itself. He was summoned by Black Sabbath to be a steady antidote to their wild singer, Ozzy Osbourne, and could be counted on to play the role of onstage madman while preferring quiet days at home when off the road. Founded by guitarist Robert Fripp, who later collaborated with producer and composer Brian Eno, Crimson also featured a young Greg Lake on keyboards. This doc is centered on Grammy-winner Brandi Carlile, a longtime Tucker fan, who takes it upon herself to write an entire album for her idol about Tucker's raucous and rebel life. Sinead O'Connor has courted attention her entire life, ranging from her early years as an innovative voice on pop scene to more recent struggles with physical and mental illness. This documentary attempts to deconstruct Cohen through the creation of his greatest composition, and features not just previously unseen personal notes and videos, but also interviews with musicians who have attempted to do the song justice by covering it, ranging from Judy Collins to Rufus Wainwright. The producers behind this new "Uncut" version of the doc say it will feature some never-seen-before footage and upgraded video quality. Born Jahseh Dwayne Ricardo Onfroy in 1998, the rapper known as XXXTentacion lived a short life filled with both misery and promise. Together, these voices conjure a global melting pot of tunes, foods and ideas that is wholly unique to this annual New Orleans Jazz and Heritage Festival. While two years before he was charged with the battery of a pregnant woman, many saw redemptive changes in the rapper in the final months of his life. And the hits just keep on coming.

This documentary about Sheryl Crow depicts a musician whose work ethic did not allow a lot of time for frivolity.

She’s a musician whose Rock-with-a-capital-R cred — her guitar playing is ace, her voice is soulful and her ear for a hook is unimpeachable — is sometimes overlooked in favor of her pop appeal. Eventually, of course, Sheryl Crow became Sheryl Crow — the multiplatinum-selling singer-songwriter with a hefty set of radio hits. After a fortuitous break — a vocal in a McDonald’s ad — she lit out for more showbiz-friendly environs and got an instant dose of reality.

Grousing about who's been overlooked by the Rock and Roll Hall of Fame is almost as engaging as seeing who gets in. If Sheryl Crow wasn't already on your ...

There's also footage of Crow jamming with Prince on "Everyday Is a Winding Road." At one point, Crow does an impersonation of her friend Bob Dylan. It was exhausting, and ultimately, it was really gratifying." "It was difficult. There's no mention of her romance with Eric Clapton. (Was her hit "Favorite Mistake" about him? "But when we got there, it felt honest because she was so vulnerable. Her relationship with disgraced cyclist Lance Armstrong gets about as much screen time as a montage of her goofing around with her two adopted kids.

Sheryl Crow discussed her incredible career in a tell-all interview with "The Howard Stern Show". The singer, who has been promoting "Sheryl", ...

“‘Oh, this is the guy whose zipper … I unzipped on that record [Sticky Fingers].” “I vomited all day. It always felt like I was born too late.”

A singer promoting her career-long rock documentary “Cheryl” talked about joining the Rolling Stones on stage around the time of her first album release.

“ “I was pretty disappointed,” she said. In addition, Crow talked with Jackson and the chimpanzee Bubbles about her night. “I vomited all day. “Oh, this is a zipper guy … I unzipped that record [Sticky Fingers].. “ I always felt like I was born too late.