Sheryl Crow: Sheryl: Music From The Documentary Feature Album Review
Towards the end of Sheryl, a new documentary that falls somewhere between a soft hagiography and an electronic press kit, Sheryl Crow counts with her status as a music business veteran: “There’s a weird thing that happens when you become an ‘artist heritage’. It’s kind of a side compliment. It’s like, ‘OK, you’ve stood the test of time, but you’re that old and you just haven’t left.’ » The soundtrack of the double album which accompanies it, Sheryl: Music from the feature documentary, proves Crow’s point by balancing the core of her catalog – the songs that have stood the test of time – with the music she composed as a legacy artist who no longer visits Billboard Hot tops. 100. Part a greatest hits collection, part a testament to Crow’s endurance, Sheryl: music for the feature documentary leans heavily into the bookends of his career, emphasizing his 1990s hits as well as Sonthe 2019 album she claims is her farewell.
like the movie, Sheryl puts a square emphasis on the music she made early in her career, which felt like a throwback even to the 1990s. Raised on classic rock, Crow tapped into a distinctly 1970s vibe with her debut in 1993 Tuesday night music club, a record steeped in the smooth, heady sounds of Southern California. Its retro vibe was roughly in the same ballpark as alternative rock, which crashed into the mainstream just before the album’s release. Crow has courted alt-rock audiences only once: She stained her sound on her self-titled second album, which arrived during alt-rock’s commercial peak in 1996. The thick, roaring guitars of “If It Makes You Happy” represented a definitive break. of the effervescent sunshine of “All I Wanna Do”, signifying his artistic independence more than any desire to chase trends.
Sheryl does not create a strong differentiation between the sunny vibrations of Tuesday night music club and the relatively more grungy aspects of Sheryl Corbeau. The soundtrack deliberately alternates material from the two discs, a sequence that favors continuity rather than evolution: what stands out is how Crow has managed to refresh the conventions of classic rock without denying its clichés. His best work has shown a clear debt to idols like Fleetwood Mac and the Rolling Stones – Stevie Nicks and Keith Richards return the favor by appearing in Sheryl— but she synthesized those elements into a distinctive voice that sounded weathered, soulful, and hopeful. She deepened this approach in 1998 The Globe Sessionsthen turned into shiny pop for go! Go on in 2002.