Live From the Ryman And More Sheryl Crow
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- 1Steve McQueen (Live from the Ryman / 2019)04:27
- 2A Change Would Do You Good (Live from the Ryman / 2019)05:08
- 3All I Wanna Do (Live from the Ryman / 2019)04:56
- 4My Favorite Mistake (Live from the Ryman / 2019)05:18
- 5Tell Me When It’s Over (Live from the Ryman / 2019)05:27
- 6Everything Is Broken (Live from the Ryman / 2019)04:24
- 7Can’t Cry Anymore (Live from the Ryman / 2019)06:08
- 8Prove You Wrong (Live from the Theatre at Ace Hotel / 2019)04:25
- 9Run, Baby, Run (Live from the Theatre at Ace Hotel / 2019)05:27
- 10Don't (Live from the Theatre at Ace Hotel / 2019)04:20
- 11Strong Enough (Live from the Theatre at Ace Hotel / 2019)03:40
- 12Leaving Las Vegas (Live from the Ryman / 2019)06:49
- 13It Don’t Hurt (Live from the Ryman / 2019)05:30
- 14Still The Good Old Days (Live from the Ryman / 2019)05:46
- 15Cross Creek Road (Live from the Ryman / 2019)06:00
- 16Nobody’s Perfect (Live from the Ryman / 2019)04:55
- 17Home (Live from the Ryman / 2019)06:10
- 18Maybe Angels (Live from the Ryman / 2019)06:06
- 19Real Gone (Live from the Ryman / 2019)04:20
- 20Wouldn’t Want To Be Like You / Na Na Song (Live from the Ryman / 2019)09:19
- 21Beware Of Darkness (Live from Newport Folk Festival / 2019)03:47
- 22The First Cut Is The Deepest (Live from the Ryman / 2019)04:04
- 23Best Of Times (Live from the Ryman / 2019)06:01
- 24If It Makes You Happy (Live from the Ryman / 2019)05:14
- 25Soak Up The Sun (Live from the Ryman / 2019)05:39
- 26Everyday Is A Winding Road (Live from the Ryman / 2019)07:22
- 27I Shall Believe (Live from the Ryman / 2019)07:42
Info for Live From the Ryman And More
Sheryl Crow has defined the essential place of a woman in Rock since releasing her 7X PLATINUM-certified TUESDAY NIGHT MUSIC CLUB and self-titled Best Rock Album Grammy-winning follow-up. Raw, rue and to the point, her lean approach to life with a freedom and euphoria that defied the rules that made the BMI Songwriter of the Year a go-to multi-instrumentalist inspiring musicians and music fans alike.
But Rock & Roll is at its best live, and that’s where the nine-time Grammy Awards® winner really shines. At a time when concerts have been suspended, Crow delivers LIVE FROM THE RYMAN & MORE. The guitar-forward concepts that defined almost three decades of the most indelible songs for driving hard, chilling out and making one’s mark on the world bristles with the kind of brio that translates those performances no matter the space consumed.
From the first propulsive downstrokes of “Steve McQueen,” Crow takes control of the moment. Recorded over five nights at Nashville’s historic Ryman Auditorium, Los Angeles’ cutting edge Ace Theatre and the legendary Newport Folk Festival in Rhode Island, the songwriting superstar delivers a masterclass in Roots music -- from Rock, Pop, Gospel, Blues that is psychedelic in places and Country in others -- as well as friendship and the joy of being alive. Joined by friends, influences and rising stars such as Brandi Carlile, Emmylou Harris, Jason Isbell, Lucius, Maren Morris, Natalie Hemby, Amanda Shires and Stevie Nicks, LIVE FROM THE RYMAN & MORE captures a zeitgeist of knowledge, power and the rapture of utter freedom stretched over some of the tersest playing this side of The Rolling Stones.
Drawing on songs from across her prodigious career, LIVE FROM THE RYMAN & MORE finds Carlile and Morris harmonizing on “If It Makes You Happy,” Nicks guesting on the Country-forward “Prove You Wrong,” Harris adding shimmering angst to “Nobody’s Perfect,” Isbell joyously throttling Bob Dylan’s “Everything Is Broken” and Lucius creating a bluesy Gospel tension on “Run, Baby, Run.” The immediacy surges throughout the performances, but ultimately Crow’s voice and what she does with it defines these songs.
Just as compellingly, this 27-song set – captured live in 2019 -- demonstrates the songs from her critically lauded THREADS and match the potency of LIVE FROM THE RYMAN & MORE's signature tracks, including “Strong Enough,” “All I Wanna Do,” “Soak Up The Sun” and her transcendent version of Cat Stevens’ “The First Cut Is The Deepest.”
Rolling Stone pronounced Crow “in the midst of a deserved critical renaissance,” The Los Angeles Times cited “the defiant perspective of a woman adventurer in pursuit of herself” and The New York Times proclaimed her recent work “built for loudness-wars radio and women’s self-sufficiency,” all testifying to the potency of THREADS. An album seeking truth as well as connection, purpose as well as entertainment, it stands purposefully alongside her previous PLATINUM and MULTI-PLATINUM TUESDAY NIGHT MUSIC CLUB, SHERYL CROW, THE GLOBE SESSIONS and C'MON, C'MON.
Please Note: We offer this album in its native sampling rate of 48kHz/24bit. The provided 96kHz version was up-sampled and offers no audible value!
Sheryl Suzanne Crow
was born February 11, 1962, in Kennett, Missouri. Her parents had both performed in swing orchestras, her father on trumpet and her mother as a singer; her mother was also a piano teacher, and ensured that all her daughters learned the instrument starting in grade school. Crow wrote her first song at age 13, and majored in music at the University of Missouri, where she also played keyboards in a cover band called Cashmere. After graduating, she spent a couple of years in St. Louis working as a music teacher for autistic children. She sang with another cover band, P.M., by night, and also recorded local advertising jingles on the side. In 1986, Crow packed up and moved to Los Angeles to try her luck in the music business. She was able to land some more jingle-singing assignments, and got her first big break when she successfully auditioned to be a backup singer on Michael Jackson's international Bad tour. In concert, she often sang the female duet part on "I Just Can't Stop Loving You," and was inaccurately rumored by the tabloids to have been Jackson's lover. After spending two years on the road with Jackson, Crow resumed her search for a record deal, but found that record companies were only interested in making her a dance-pop singer, which was not at all to her taste.
Frustrated, Crow suffered a bout of severe depression that lasted about six months. She revived her career as a session vocalist, however, and performed with the likes of Sting, Rod Stewart, Stevie Wonder, Foreigner, Joe Cocker, Sinéad O'Connor, and Don Henley, the latter of whom she toured with behind The End of the Innocence. She also developed her songwriting skills enough to have her compositions recorded by the likes of Wynonna Judd, Celine Dion, and Eric Clapton. Thanks to her session work, she made a connection with producer Hugh Padgham, who got her signed to A&M. Padgham and Crow went into the studio in 1991 to record her debut album, but Padgham's pop leanings resulted in a slick, ballad-laden record that didn't reflect the sound Crow wanted. The album was shelved, and fearing that she'd let her best opportunity slip through her fingers, Crow sank into another near-crippling depression that lingered for nearly a year and a half. However, thanks to boyfriend Kevin Gilbert, an engineer who'd attempted to remix her ill-fated album, Crow fell in with a loose group of industry pros that included Gilbert, Bill Bottrell, David Baerwald, David Ricketts, Brian MacLeod, and Dan Schwartz. Dubbed the Tuesday Night Music Club, this collective met once a week at Bottrell's Pasadena recording studio to drink, jam, and work out material. In this informal, collaborative setting, Crow was able to get her creative juices flowing again, and the group agreed to make its newest member — the only one with a recording contract — the focal point.
Crow and the collective worked out enough material for an album, and with Bottrell serving as producer, she recorded her new official debut, titled Tuesday Night Music Club in tribute. The record was released in August 1993 and proved slow to take off. Lead single "Run Baby Run" made little impact, and while "Leaving Las Vegas" attracted some attention, it reached only the lower half of the charts. A&M took one last shot by releasing "All I Wanna Do," a song partly written by poet Wyn Cooper, as a single. With its breezy, carefree outlook, "All I Wanna Do" became one of the biggest summer singles of 1994, falling just one position short of number one. Suddenly, Tuesday Night Music Club started flying out of stores, and spawned a Top Five follow-up hit in "Strong Enough" (plus another minor single in "Can't Cry Anymore"). Crow was a big winner at the Grammys in early 1995, taking home honors for Best New Artist, Best Female Rock Vocal, and Record of the Year (the latter two for "All I Wanna Do"). Her surprising sweep pushed Tuesday Night Music Club into the realm of genuine blockbuster, as its sales swept past the seven million mark. After close to a decade of dues-paying, Crow was a star.
Unfortunately, success came at a price. In 1994, Crow had been invited to perform "Leaving Las Vegas" on Late Night with David Letterman. In a brief interview segment, Letterman asked if the song was autobiographical, and Crow offhandedly agreed that it was. In actuality, the song was mostly written by David Baerwald, based on the book by his good friend John O'Brien (which had also inspired the film). Having been burned by the industry already, some of the Tuesday Night Music Club took Crow's comment as a refusal to give proper credit for their contributions. Baerwald in particular felt betrayed, and things only got worse when O'Brien committed suicide not long after Crow's Letterman appearance. Although O'Brien's family stepped forward to affirm that Crow had nothing to do with the tragedy, the rift with Baerwald was already irreparable. Some Club members bitterly charged that Crow's role in the collaborative process was rather small, and that the talent on display actually had little to do with her. Tragedy struck again in 1996 when Crow's ex-boyfriend, Kevin Gilbert, was found dead of autoerotic asphyxiation.
Stung by the accusations, Crow set out to prove her legitimacy with her second album when the heavy touring for Tuesday Night Music Club finally ended. Bill Bottrell was originally slated to produce the record, but fell out with Crow very early on, and the singer ended up taking over production duties herself. However, she did bring in the noted team of Mitchell Froom and Tchad Blake as assistant producer and engineer, respectively. Froom and Blake were known for the strange sonic experimentation they brought to projects by roots rockers (the Latin Playboys) and singer/songwriters (Richard Thompson, Suzanne Vega), and they helped Crow craft a similarly non-traditional record. Released in the fall of 1996, Sheryl Crow definitely bore the stamp of the singer's personality and songwriting voice, especially in the idiosyncratic lyrics; plus, she was now doing most of the writing, usually with her guitarist, Jeff Trott, proving that she could cut it without her estranged collaborators. The singles "If It Makes You Happy," "Everyday Is a Winding Road," and "A Change Would Do You Good" were all radio smashes, and "Home" also became a minor hit. Sheryl Crow went triple platinum, and Crow brought home Grammys for Best Rock Album and another Best Female Rock Vocal (for "If It Makes You Happy").
Crow toured with the Lilith Fair package during the summer of 1997 (the first of several tours), and subsequently wrote and performed the title theme to the James Bond film Tomorrow Never Dies. In the fall of 1998, she returned with her third album, The Globe Sessions. A more straightforward, traditionalist rock record than Sheryl Crow, The Globe Sessions didn't dominate the airwaves in quite the same fashion, but it did become her third straight platinum-selling, Top Ten LP, and it won her another Grammy for Best Rock Album. It also spawned two mid-sized hits in the Top 20: "My Favorite Mistake" and "Anything But Down." In 1999, she contributed a Grammy-winning cover of Guns N' Roses' "Sweet Child o' Mine" to the soundtrack of the Adam Sandler comedy Big Daddy. She also performed a special free concert in New York's Central Park, with an array of guest stars including Keith Richards, Eric Clapton, Chrissie Hynde, the Dixie Chicks, Stevie Nicks, and Sarah McLachlan. The show was broadcast on Fox and later released as the album Live in Central Park, just in time for the holidays. "There Goes the Neighborhood" won her another Grammy for Best Female Rock Vocal; however, partly because of some shaky performances, the album flopped badly, not even going gold.
Hit with a case of writer's block, Crow took some time to deliver her fourth studio LP. In the meantime, she produced several tracks on Stevie Nicks' 2001 album, Trouble in Shangri-La, and also recorded a duet with Kid Rock, "Picture," for his album Cocky. Finally, in the spring of 2002, Crow released C'mon C'mon, which entered the LP charts at number two for her highest positioning yet. It quickly went platinum, and the lead single, "Soak Up the Sun," was a Top 20 hit and another ubiquitous radio smash. The follow-up, "Steve McQueen," was also a lesser hit. At the beginning of 2005 it was announced that there would be two simultaneously released new albums available by the end of the year. The project was then scaled back to the single-disc Wildflower, which saw release at the end of September. Crow was forced to take time off from her musical career in 2006 after being diagnosed with stage 1 breast cancer. After successful treatment, she returned in 2008 with her sixth studio album, Detours. The soul-inspired 100 Miles from Memphis followed in 2010 and featured guest spots from Keith Richards, Justin Timberlake, and Citizen Cope. By the end of that year she had performed with Loretta Lynn and Miranda Lambert on the title track of a Lynn tribute album, Coal Miner's Daughter. This country-focused collaboration was an early indicator of the direction that Crow's work would eventually take in the years that followed.
A creatively quiet 2011 ended with her appearance on William Shatner's space-themed third studio album, Seeking Major Tom. Crow's delicate, piano-fueled cover of K.I.A.'s "Mrs Major Tom" was generally received by critics as one of the highlights of the disc. Then, in summer 2012, she revealed details of another health scare. Although Crow had been diagnosed with a brain tumor at the end of 2011, it was found to be benign and six months on, she was quoted in many news reports as feeling healthy and happy. That November she issued the download-only, politically charged "Woman in the White House." It was her first self-penned material to appear in a couple of years and was her most out-and-out mainstream country track to date. March 2013 saw the release of "Easy," the first single to appear ahead of Feels Like Home, a country-steeped full-length that appeared in September of 2013.
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