Digital Booklet - Tuesday Night Music Club

8/20/2019 Digital Booklet - Tuesday Night Music Club

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SIn fall of 1993, I vividly recall Sheryl Crow and I driving a cheap rentalcar through a dry and starry night in the California desert on our wayback to her modest apartment in West Hollywood. Sheryl had just

completed a two-day shoot for what would become her breakout videofor “Leaving Las Vegas.”

On this dusty drive through the desert landscape -- which somehow

perfectly reflected the feel of Sheryl’s newly released debut album -- we naively plotted al l of our bi g plans, great hopes and imp ossibledreams for her impending career -- she as the artist, me as the manager.

At that moment, and on that drive, we both somehow knew that our

embrace of faith -- and our surrender to fate -- would be a definingmoment on the road to realizing both of our dreams.

Just a few months prior, fate had interceded when both Sheryl and A&M

Records had fortuitously decided that her new recordings wereinappropriate to release in the current marketplace, and they would giveher another crack at recording her debut album. This and other keygestures of faith in Sheryl's talent made by label honcho Al Cafaro and

A&R legend David Anderle will never be forgotten -- and would neverhave happened in the current state of our music industry. Sheryl had feltthat these early recordings did not reflect her true musical core, and heranxieties had only grown during the latter part of those sessions.


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Enter Bill Bottrell -- a heady California record producer/songwriter who was introduced to us by m anager Robert Richards. Upon bei nginvited, Sheryl joined in a series of Tuesday night jam/writing sessions

at Bottrell’s Pasadena studio, Toad Hall. With Bottrell at the productio nhelm and his Tuesday night buddies that included musicians DavidBaerwald and David Ricketts (formerly of David and David), KevinGilbert, Brian McLeod and Dan Schwartz, Sheryl joined in the late night

jamming, storytelling, drinking, smoking, musical merriment and, yes,actual recording. In a short amount of time the song “Leaving Las

Vegas” was born, and it would become the first seed of what wouldgrow to be Sheryl’s nine-time platinum and three-time Grammy®

winning debut album.

The early Nineties was a point in music history where the great femalesinger-songwriter appeared to be on the verge of extinction. The once

reigning women of the Seventies and the colorful New Wave gals of theEighties had given way to the chart and media rulers of the day,Madonna, Mariah and Whitney. This was not exactly prime time for aCalifornia rock waif touched by country and folk. Sheryl’s sound was

twangy, funky and quirky. Her songs spoke about seedy characters,broken dreams, and her personal perspectives on love and the state of the world. Steel guitars sat on top of low-fi drum loops. Her voice wasdry, Southern, bratty and beautiful all at once.


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In truth, Tuesday Night Music Club spawned some confusion at first. Wasit country, was it rock, or was it folk? Whatever it was, many told us that“It didn’t fit in” -- words that would become ironic and poignant in

retrospect. Somehow amidst the dance divas of MTV and the dark angstof Seattle grunge, Sheryl’s salty voice, twangy Telecaster, frayed Levis,red curls and bent upper lip scratched their way into the musicalculture of 1994 and into the history books.

For Sheryl, the year would become a tapestry of 6am radio appearances,six day-in-row club gigs, twenty-hour video shoots, flights zigzaggingacross four continents, damp vans, campers, ravaged vocal chords,

cheap hotel rooms, sleepless nights, tears, anxieties, triumph and joys.

Triumph and joys: hearing Sheryl’s songs on the radio all over the world, seeing audiences sing her words right back to her. Meeting

Johnny Cash, Willie Nelson, George Harri son. Playing with Dylan, theStones, Clapton, the Eagles, and eventually being honored by herpeers and industry.

In many ways, I believe that Sheryl helped re-opened the door for thefemale singer-songwriter, wielding only a guitar, a book of poems andthose big desert dreams.

– Scooter Weintraub

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ALL SHE WANTED TO DO, AND MORE

BY DAVID WILD

When is a truly excellent musical coming out party also a richlydeserved Second Coming?

Not very often, really. Then again as I can personally attest, precious

little about Tuesday Night Music Club -- the wildly successful andenduringly beloved official solo debut of Sheryl Crow -- felt li ke simplythe music business as usual back when this stunning album was firstreleased to the world on August 3, 1993. Even all these years later,

Tuesday Night Music Club only feels more special, and its ultimateimpact and influence on the world seem all the more remarkable andheartening in the li ght of everything that has followed.

By any remotely fair standards, Tuesday Night Music Club has becomea rather significant and unique success story. This was, after all, themassively popular first album of a previously unknown artist that wenton to sell nearly eight million copies internationally by the end of the

Nineties. It is a recording that continues to sell and move listenersaround the world fully a decade a half later -- more than a lifetime inyour usual popular musical terms.


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Y Yes, Tuesday Night Music Club is also an acclaimed piece of work that won three big Grammys in 1995, with “All I Wanna Do” being namedboth Record Of The Year and Best Female Pop Vocal Performance, and

Sheryl earning the honors as Best New Artist over fellow nominees thatincluded Green Day and Counting Crows. And lest we ever forget,Tuesday Night Music Club was also an album that helped advance andopen up the ever-changing place of Women In Rock, inspiring and

influencing countless other female artists along the way. With just under

fifty minutes of music, Sheryl Crow had managed to change her life a lotand our music world at least a little bit, definitely for the better.

Yet arguably most importantly from my point of view as a longstandingfan, Tuesday Night Music Club is the album with which an unproven but

wonderfully talented singer-songwriter named Sheryl Crow steppedfrom the background where she had been busy singing for others from

Michael Jackson to Don Henley and forever found her own compelling,honest and beautiful voice, one that she continues to explore with greatartistry and success to this day.

To borrow a line from a song that I love, no one said it would be easy, andin this case, the process certainly was not easy. I know this for sure becauseI was there for part of this particular process, albeit only briefly and strictlyas a completely untalented but not entirely disinterested media observer.


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As Rolling Stone’s new West Coast Bureau Chief and a slow roving rockreporter at the time, I had first been introduced to Sheryl Crow overlunch by her then dedicated publicist and booster in chief at A&M

Records, Diana Baron. We met just as Sheryl was recording whateveryone logically but incorrectly assumed would be her debut albumfor that great label back in the early Nineties.

At the time, all I really knew about Sheryl Crow was that she was from

someplace called Kennett, Missouri, and had been working as abackground singer to the stars. But one lunch with Sheryl was all it tookfor me to realize that this young woman was not destined to remain just

out of the spotlight for l ong. She was -- and is -- an intriguingly complicatedand appealing individual -- funny, witty, sexy, warmly spontaneous andmore than strong enough for whatever you have in mind. You could nothelp but fall in love with Sheryl -- in a professional sense, of course --

at least I could not.

The next time that I saw Sheryl was one night in 1992, when I wasinvited to the legendary A&M Studios in Hollywood on the old Charlie

Chaplin lot to hear the album that Sheryl had been recording withHugh Padgham, a famously talented and big name producer perhapsbest known for his work with The Police, Sting, Genesis and Phil Collins.The recording that Hugh and Sheryl played for me that night was

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accomplished, mature, impressive, a little slic k and in some subtle yet

demonstrable way almost completely wrong for Sheryl Crow.

In retrospect, Sheryl and her top-notch producer were attempting tomake her first great musical statement just as popular music was

experiencing a significant sea change. Somehow starting with a songcalled “Smells Like Teen Spirit,” Kurt Cobain and his compatriots inNirvana had in a grungy instant demonstrably changed the rules of the

game in popular music, creating a new unsteady but undeniable linebetween what had been and what would be. And somehow it suddenlyfelt like Sheryl was a young artist about to make her first stand on the

wrong side of that line. In a flash, sonic slickness had gone out of fashion,and something more real and raw was back in style.

And so the remarkable decision was made to start over, and letSheryl make her first album for the second time. The idea this time

was to try and let Shery l be Sheryl whoever the hell that tur ned out

to be. Thankfully, Sheryl found a club where she could find her own way musically.

Groucho Marx famously joked that he wouldn’t want to be a member of

any club that would have him as a member. Yet you don’t have to be adevout Marxist to see that with Tuesday Night Music Club, Sheryl Crow


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was able to work with producer Bill Bottrell and a wildly gifted ad hoccollective of other singer-songwriters -- namely Kevin Gilbert, David

Baerwald, David Ricketts, Brian MacLeod and Dan Schwartz -- to createthe wildly creative sense of community within which she could find herown voice and stake her own musical claim – one upon which she has onlycontinued to make good ever since.

Sheryl had been in bands since high school and college, and within the

context of this loose yet intense group of other singers and players, SherylCrow found herself and collaborated on a group of songs that would

make her both a pop star and define her as rock recording artist with whom to be reckoned.

The center of the action for Tuesday Night Music Club was Bill Bottrell’s

Toad Hall studio in Pasadena, a joint with an Art Deco vibe near the famedPasadena Playhouse theatre. Toad Hall became a different sort of musicalplayhouse for this gifted group of artistically ambitious players, with noshortage of creative tension, competing egos, and genuinely inspired

collaboration. Coming out of the more confi ned process of recording withPadgham at A&M’s Studio A, Crow somehow thrived as she wrote, playedand sang with members of what had first been called the Tuesday NightCollective, as well as other fellow travelers, including Jeff Trott, who would

become another significant Crow collaborator in the years to come.


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A former music teacher, Crow was herself an extremely quick learner,and she has soaked up the energy around her and gradually made ither own. Whatever it was about the more homegrown vibe at Toad Hall,

it obviously suited Crow beautifully, and it fit her in a way that feltinfinitely more real and modern than her previous attempt at recordingher debut.

Even so, the impact of Tuesday Night Music Club did not occur

overnight. The first single drawn from the album, the excellent andslightly John Lennon-ish “Run, Baby, Run,” was not a breakout hit.Indeed, it was not until the album’s third single “All I Wanna Do” hit that

Tuesday Night Music Club kicked into public consciousness, which ithas never really left. Songs like “Leaving Las Vegas” and “Can’t Cry

Anymore” and “Strong Enough” remain among Crow’s greatest andmost enduring hits. But Tuesday Night Music Club did more than give

Crow a few big hits, it also helped set the stage for the sort of sort of darkness and light she has ar tfully explored ever since.

Success tends to have many fathers, and the extraordinary artistic and

commercial success of Tuesday Night Music Club was sadly not withoutits dark side. Over the years some of the talented men who brought thisexcellent album to life engaged in assorted turf wars about whoexactly did what and who may have wronged whom. With the passing


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of time, those feuds seem less clear and arguably far less significant.What we are left with is the heartfelt and very human music that cameout of an inspiring collective effort -- the true and lasting legacy of

Tuesday Night Music Club.

Thankfully, it is finally possible to get a more full picture of what wentnto making Sheryl Crow’s first masterpiece as this new––ition of

Tuesday Night Music Club includes a fascinating collection of tracks

from that early era. The addition of these bonus tracks better reflectSheryl’s free range exploration, from her covers of Led Zeppelin’s“D’yer Mak’er” and Eric Carmen’s “All By Myself,” to the alternate

vision of “The Na-Na Song” that is “Volvo Cowgirl 99”to the more broodingly mature “On The Outside” to the

wonderfully and fittingly trippy “Essential Trip OfHereness” -- a unique bilingual sonic blast.

And so now with this greatly expanded – and simplygreat -- deluxe reissue of Sheryl Crow’s Tuesday Night

Music Club, the time has come to remember and

celebrate a groundbreaking album that proved thatthere really are second acts in American life, even fora woman making her very first album.

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9 ALL I WANNA DO 4.32(WYN COOPER, SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD, KEVIN GILBERT)Drums, percussion: Brian / Bass, keyboard: Kevin / Wurlitzer: SherylLap steel, guitars, 12 st guitar: Bill / Claps: Crew

10 WE DO WHAT WE CAN 5.38(SHERYL CROW, BILL BOTTRELL, KEVIN GILBERT, DAN SCHWARTZ)Piano: Kevin / Bass: Dan / Trumpet: Wendell / Drums: Brian / Pedal steel, keyboards: Bill

11 I SHALL BELIEVE 5.34(SHERYL CROW, BILL BOTTRELL)Organ, loop, pedal steel, drums: Bill / BG vocals: Sheryl

For the last year or so I’ve spent most Tuesdaynights with a group of musicians, or shall I sayartists, at Toad Hall, Bill Bottrell’s vibely lit, tapestrydraped, living room of a studio in Pasadena. Thecrew gathered with nothing more in mind but toexperimen t (musically, that is) and create. By theend of the evening or the beginning of themorning, something special would have beencomposed and recorded, (or not), with each of uspicking up the nearest instrument or open mic.Thus, the Tuesday Night Music Club was born,creating the impetus for my album.

The characters are: BILL BOTTRELL – my most patient and soulful producer,reborn guitarist, “budding” pedal steel player and the guiding forcebehind the Tuesday Night Music Club; KEVIN GILBERT – like Bill, Kevin canplay everything, but most notably is his groovy drumming on “Run, Baby,Run” (I owe you big for 2 years of musical and emotional support. Thanks);DAVID BAERWALD – the wildest stories, funky guitar, , ready to groove;DAN SCHWARTZ – brought gadgets, gossip and god-like bass to everysession, always loyal to the cause of good music; BRIAN MACLEOD – oneof the truly great, overlooked drummers (who’s not too cool to put on aDolemite suit!); DAVID RICKETTS – laugh and bass tracks on “Leaving Las Vegas”! SHERYL CROW – (me) vocals, unused classically-trained piano,unused untrained guitar, and unorthodox Hammond; BLAIR LAMB – engineered, though not easily done when the Tequila was flowing. Bill alsoengineered when he felt like it, and he assures the Grammy committee thatthe entire city of Pasadena engineered at least 50% of this album.

I’d especially like to thank my father, Wendell Crow, for inspiring me to write “We Do What We Can”, but mostly for playing trumpet on it. Thanks

to Kevin Hunter and Wyn Cooper for lyrical contributions. Special thanksto Judy Stakee and Elizabeth Bottrell both for their strength, organizationand especially friendship, and to Jeffrey Trott and Robert Richards.

Sheryl Crow

DISC ONE

1 R UN, BABY, RUN 4.53(BILL BOTTRELL, DAVID BAERWALD, SHERYL CROW)Drums: Kevin / Bass: Dan / Piano: SheryGuitars, organ, keyboards, pedal steel: Bill / BG vocals: Sheryl

2 LEAVING LAS VEGAS 5.10(SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD,KEVIN GILBERT, DAVID RICKETTS)Bass: David Ricketts / Keyboard: DavidAcoustic Guitar: Kevin / Drum fills: BrianLoops, electric guitar, BG vocals: Bill

3 STRONG ENOUGH 3.10(SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD,KEVIN GILBERT, DAVID RICKETTS, BRIAN MACLEOD)Acoustic Guitar: David Ricketts / Percussion: BrianOrgan: Sheryl / Loops, bass, pedal steel, keyboard,12str guitar: Bill / BG vocals: Sheryl

4 CAN’T CRY ANYMORE 3.41(SHERYL CROW, BILL BOTTRELL)Guitars, bass, drums: BillBG vocals: Bill and Jeff Trott

5 SOLIDIFY 4.08(SHERYL CROW, KEVIN HUNTER, BILL BOTTRELL, DAVID BAERWALD,KEVIN GILBERT, DAVID RICKETTS, BRIAN MACLEOD)Drums, percussion: Brian / Loop guitars: Kevin and David / Organ: KevinGuitars, moog bass: Bill / Claps: Crew / BG vocals: Sheryl

6 THE NA-NA SONG 3.12(SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD, KEVIN GILBERT,DAVID RICKETTS, BRIAN MACLEOD)Drums, percussion: Brian / Bass: Dan / Organ: SherylGuitar: Bill / BG vocals: Crew

7 NO ONE SAID IT WOULD BE EASY 5.29(SHERYL CROW, BILL BOTTRELL, KEVIN GILBERT, DAN SCHWARTZ)Acoustic guitar, bass: Dan / Percussion: BrianElectric guitars, 12st guitar, organ: Bill / BG vocals: Sheryl

8 WHAT I CAN DO FOR YOU 4.15(DAVID BAERWALD, SHERYL CROW)Drums: Brian / Guitar, organ: David / Wurlitzer: SherylBass synth, piano: Bill / BG vocals: Sheryl


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Produced by Bill BottrellEngineered and Mixed by Blair Lamb and Bill BottrellRecorded and Mixed at Toad Hall, Pasadena, California, 1993.Mastered by Bernie Grundman at Bernie Grundman Mastering Art Direction: Rich FrankelDesign: Jean KrikorianPhotography: Melodie McDaniel, Peggy Sirota, Scott Henriksen

Brian Macleod appears Courtesy of MCA Records

Management: W Management(Scooter Weintraub, Pam Wertheimer)

TUESDAY NIGHT MUSIC CLUB, A&M Records 31454 0126 2, was originally released August 3, 1993.

DISC TWO: B-sides, Rarities and Out-takes

1 COFFEE SHOP 4.24

(SHERYL CROW, BILL BOTTRELL)PRODUCED BY BILL BOTTRELL / ENGINEERED BY MARK CROSS / RECORDED ATTOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL ATGLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.Acoustic guitar: Sheryl / Bass, pedal steel: Bill / Drums, percussion: BrianPreviously unreleased recording, recorded for the follow-up album to TNMC.

2 KILLER LIFE 4.57(SHERYL CROW, BILL BOTTRELL)PRODUCED BY BILL BOTTRELL / ENGINEERED BY MARK CROSS / RECORDED ATTOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL ATGLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.Drums, percussion: Brian / Piano, guitar: Bill / Piano solo: Kevin / Bass: JeffPreviously unreleased recording, recorded for the follow-up album to TNMC

3 ESSENTIAL TRIP OF HERENESS 5.30(SHERYL CROW, BRIAN MACLEOD, JENNIFER CONDOS, SCOTT BRYAN, BILL BOTTRELL)PRODUCED BY BILL BOTTRELL/ ENGINEERED BY MARK CROSS / RECORDED ATTOAD HALL, PASADENA, CALIFORNI A, 1994. / MIXED BY BILL BOTTRELL ATGLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.Bass: Jennifer Condos / Drums: Brian / Wurlitzer, bongos: Scott Bryan

Guitar, pedal steel: BillPreviously unreleased recording, recorded for the follow-up album to TNMC.

4 REACH AROUND JERK 4.01(SHERYL CROW, BILL BOTTRELL, DAN SCHWARTZ)PRODUCED BY BILL BOTTRELL/ ENGINEERED AND MIXED BY BLAIR LAMB ANDBILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORN IA, 1993.Bass: Dan / Acoustic guitar, drums: BillFirst issued as one of the b-sides of UK CD single RUN, BABY, RUN, 1993.

5 VOLVO COWGIRL 99 2. 04(SHERYL CROW, DAVID BAERWALD, KEVIN GILBERT, BILL BOTTRELL,BRIAN MACLEOD, DAN SCHWARTZ)PRODUCED BY BILL BOTTRELL/ ENGINEERED AND MIXED BY BLAIR LAMB ANDBILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORN IA, 1993.Bass: Dan / Drums: Brian / Guitars: Kevin and DavidKeyboards: Sheryl / BG vocals: Bill, Kevin, and SherylFirst issued as the b-side of UK CD single WHAT I CAN DO FOR YOU, 1993.

6 YOU WANT MORE 6.00(SHERYL CROW, JEFF TROTT)PRODUCED BY BILL BOTTRELL/ ENGINEERED BY MARK CROSS/ RECORDED ATTOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL ATGLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.Acoustic guitar: Sheryl / Electric guitar, piano: JeffBass, pedal steel: Billl / BG vocals: Jeff and BillPreviously unreleased recording, recorded for the follow-up album to TNMC.

7 ALL BY MYSELF 4.48(ERIC CARMEN, SERGEI RACHMANINOFF)PRODUCED BY BILL BOTTREL/ ENGINEERED AND MIXED BY BLAIR LAMB ANDBILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORN IA, 1993.Piano, drums: Kevin / Guitars, keyboards: Bill / Bass: Dan / BG vocals: SherylFirst issued as one of the b-sides of UK CD single RUN, BABY, RUN, 1993.

8 ON THE OUTSIDE 4.37(SHERYL CROW, JEFF TROTT)PRODUCED BY BILL BOTTRELL/ ENGINEERED AND MIXED BY BLAIR LAMB ANDBILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORN IA, 1993.Vocals, keyboards: Sheryl / Guitars, pedal steel guitar, bass: Bill / Guitars: JeffFirst issued on SONGS IN THE KEY OF X: MUSIC FROM AND INSPIRED BYTHE X-FILES, Warner Bros. Records, 1995.

Also issued as the b-side of UK CD single IF IT MAKES YOU HAPPY, 1996.

9 D’YER MAK’ER 4.20(JIMMY PAGE, ROBERT PLANT, JOHN PAUL JONES, JOHN BONHAM)PRODUCED, ENGINEERED AND MIXED BY BILL BOTTRELL / RECORDED AND MIXEDAT TOAD HALL, PASADENA, CALIFORNIA, 1995.Vocals: Sheryl / Guitars, drums, percussion: Bill / Bass: DanFirst issued on ENCOMIUM: A TRIBUTE TO LED ZEPPELIN, Atlantic Records, 1995.Also issued as the b-side of UK CD single WHAT I CAN DO FOR YOU, 1995.

10 I SHALL BELIEVE (2009 REMIX) 4.35(SHERYL CROW, BILL BOTTRELL)PRODU CED BY BILL BOTTRELL / RECORDED AT TOAD HALL, PASADENA,CALIFO RNIA, 1993./ REMIXED BY BILL BOTTRELL AT ODDITORI UM, SEPTEMBER 2009.Organ, loop, pedal steel, drums: Bill / BG vocals: SherylNew mix of TNMC recording.

Also issued as the b-side of UK CD single WHAT I CAN DO FOR YOU, 1995.

BONUS TRACK:

10 ALL I WANNA DO - Live For Virgin RadioOriginally recorded Spring 1994 for Virgin Radio, London, U.K.First issued on the“All I Wanna Do” CD single (UK), 1994.

TUESDAY NIGHT MUSIC CLUB Deluxe Edition

Deluxe Edition supervised by Bill Levenson,

Scooter Weintraub and Pam Wertheimer

Mastered by Ellen Fitton at Universal Mastering

Studio East, New York

Essays by David Wild and Scooter Weintraub

Art direction: Vartan

Design: Kevin Reagan

Photo Research: Jo Almeida

Photography: Melodie McDaniel, Peggy Sirota, Scott Henriksen

Product Manager: Emily Cagan

Coordinated for release by Monique McGuffin Newman

Special thanks to: Bruce Resnikoff, Mike Davis, Herb Agner,Emily Cagan, Jeff Moskow, Steve Wengert, Andy McKaie,

Bill Waddell, and the entire UMe team; Randy Aronson,

Beth Lopez-Barron, Andy Skurow, Dave Wright, Kristen Benschand the entire Universal Music Tape Library and

Universal Mastering Studios team.

And thanks Aleks Preda for collecting all the rarities and

gems throughout the years!

Management: W Management (Scooter Weintraub and

Pam Wertheimer)

a© 2009 A&M Records

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Digital Booklet - Tuesday Night Music Club