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Pop - Released January 1, 1996 | A&M

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Hiring noted roots experimentalists Tchad Blake and Mitchell Froom as engineer and consultant, respectively, Sheryl Crow took a cue from their Latin Playboys project for her second album -- she kept her roots rock foundation and added all sorts of noises, weird instruments, percussion loops, and off-balance production to give Sheryl Crow a distinctly modern flavor. And, even with the Stonesy grind of "Sweet Rosalyn" or hippie spirits of "Love Is a Good Thing," it is an album that couldn't have been made any other time than the '90s. As strange as it may sound, Sheryl Crow is a postmodern masterpiece of sorts -- albeit a mainstream, post-alternative, postmodern masterpiece. It may not be as hip or innovative as, say, the Beastie Boys' Paul's Boutique, but it is as self-referential, pop culture obsessed, and musically eclectic. Throughout the record, Crow spins out wild, nearly incomprehensible stream-of-consciousness lyrics, dropping celebrity names and products every chance she gets ("drinking Falstaff beer/Mercedes Ruehl and a rented Leer"). Often, these litanies don't necessarily add up to anything specific, but they're a perfect match for the mess of rock, blues, alt-rock, country, folk, and lite hip-hop loops that dominate the record. At her core, she remains a traditionalist -- the songcraft behind the infectious "Change Would Do You Good," the bubbly "Everyday Is a Winding Road," and the weary "If It Makes You Happy" helped get the singles on the radio -- but the production and lyrics are often at odds with those instincts, creating for a fascinating and compelling (and occasionally humorous) listen and one of the most individual albums of its era. ~ Stephen Thomas Erlewine
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Country - Released September 10, 2013 | Old Green Barn - Sea Gayle Music - Warner Records

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Pop - Released August 30, 2019 | The Valory Music Co.

That’s a hell of a list. With such famous friends, Sheryl Crow has turned Threads into an incredibly impressive collaborative album. The 5-star casting is wonderfully eclectic. From Keith Richards from the Rolling Stones to Public Enemy’s Chuck D., Willie Nelson, St. Vincent, Sting, Emmylou Harris, Lucius, Mavis Staples, Stevie Nicks, James Taylor, Jason Isbell and even her ex, Eric Clapton, the American singer crosses over stylistic and generational boundaries, highlighting her own colourful musical identity. Over the course of her ten previous albums, Sheryl Crow has slalomed between rock’n’roll, pop, country, blues and soul, never settling down in one genre. Such is the case again on Threads, even if the general atmosphere remains rooted in a rather classical rock’n’roll. When she topped the charts in the early 90s, this classicism already stood out next to her contemporaries such as Nirvana, Beck and The Smashing Pumpkins... Crow composed the bulk of the songs on this record, as well as adding some exceptionally tasty covers to the mix (George Harrison’s Beware of Darkness, Bob Dylan’s Everything is Broken, The Worst by the Rolling Stones, Kris Kristofferson’s Border Lord). Her prose on this record is more introspective than ever, taking on an almost confessional tone. Perhaps something to do with her recent shocking statement: Threads will be her last record! While we wait to find out if she will ever reconsider, Sheryl Crow signs her densest work at the age of 57. © Max Dembo/Qobuz
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Pop - Released August 30, 2019 | The Valory Music Co.

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That’s a hell of a list. With such famous friends, Sheryl Crow has turned Threads into an incredibly impressive collaborative album. The 5-star casting is wonderfully eclectic. From Keith Richards from the Rolling Stones to Public Enemy’s Chuck D., Willie Nelson, St. Vincent, Sting, Emmylou Harris, Lucius, Mavis Staples, Stevie Nicks, James Taylor, Jason Isbell and even her ex, Eric Clapton, the American singer crosses over stylistic and generational boundaries, highlighting her own colourful musical identity. Over the course of her ten previous albums, Sheryl Crow has slalomed between rock’n’roll, pop, country, blues and soul, never settling down in one genre. Such is the case again on Threads, even if the general atmosphere remains rooted in a rather classical rock’n’roll. When she topped the charts in the early 90s, this classicism already stood out next to her contemporaries such as Nirvana, Beck and The Smashing Pumpkins... Crow composed the bulk of the songs on this record, as well as adding some exceptionally tasty covers to the mix (George Harrison’s Beware of Darkness, Bob Dylan’s Everything is Broken, The Worst by the Rolling Stones, Kris Kristofferson’s Border Lord). Her prose on this record is more introspective than ever, taking on an almost confessional tone. Perhaps something to do with her recent shocking statement: Threads will be her last record! While we wait to find out if she will ever reconsider, Sheryl Crow signs her densest work at the age of 57. © Max Dembo/Qobuz
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Pop - Released August 3, 1993 | A&M

Sheryl Crow earned her recording contract through hard work, gigging as a backing vocalist for everyone from Don Henley to Michael Jackson before entering the studio with Hugh Padgham to record her debut album. As it turned out, things didn't go entirely as planned. Instead of adhering to her rock & roll roots, the record was a slick set of contemporary pop, relying heavily on ballads. Upon hearing the completed album, Crow convinced A&M not to release the album, choosing to cut a new record with producer Bill Bottrell. Along with several Los Angeles-based songwriters and producers, including David Baerwald, David Ricketts, and Brian McLeod, Bottrell was part of a collective dubbed "the Tuesday Night Music Club." Every Tuesday, the group would get together, drink beer, jam, and write songs. Crow became part of the Club and, within a few months, she decided to craft her debut album around the songs and spirit of the collective. It was, for the most part, an inspired idea, since Tuesday Night Music Club has a loose, ramshackle charm that her unreleased debut lacked. At its best -- the opening quartet of "Run, Baby, Run," "Leaving Las Vegas," "Strong Enough," and "Can't Cry Anymore," plus the deceptively infectious "All I Wanna Do" -- are remarkable testaments to their collaboration, proving that roots rock can sound contemporary and have humor. That same spirit, however, also resulted in some half-finished songs, and the preponderance of those tracks make Tuesday Night Music Club better in memory than it is in practice. Still, even with the weaker moments, Crow manages to create an identity for herself -- a classic rocker at heart but with enough smarts to stay contemporary. And that's the lasting impression Tuesday Night Music Club leaves. ~ Stephen Thomas Erlewine
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Rock - Released April 21, 2017 | Wylie Songs - Warner Records

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Pop - Released January 1, 2007 | A&M

Released for the British market, Hits and Rarities combines a good basic Sheryl Crow hits compilation with a collection of rarities that are either not that rare or interesting. The first disc is the stronger of the two, containing almost all of her big hits, not presented chronologically but presented entertainingly and not leaning too heavily on any particular era. Here, there are a few minor rarities -- the alternate Corrs version of "C'mon C'mon," soundtrack contributions to the James Bond film Tomorrow Never Dies, the film Home of the Brave ("Try Not to Remember"), and her unfortunate cover of Guns N' Roses' "Sweet Child O' Mine" from Adam Sandler's Big Daddy -- which actually seem rarer than the stuff on the second disc. Seven of the 12 tracks there are live, many taken from the 2003 Live at Budokan, then there are two alternate takes, the B-sides "Chances Are," "Subway Ride," and a 1996 cover of Derek & the Dominos' "Keep on Growing." Nothing bad here, but hardly a worthy collection of Crow's stray tracks and certainly not worth seeking out, as it's neither complete nor really compelling. But the hits disc is good and if you're in the home territory, or find this at a bargain price, it's a nice -- if not necessary -- package overall. [A single-disc edition of Hits and Rarities was also released.] ~ Stephen Thomas Erlewine
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Rock - Released September 21, 1998 | A&M

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Pop - Released January 1, 2003 | Polydor Associated Labels

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Rock - Released November 9, 2018 | Cleopatra Records

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Pop - Released August 3, 1993 | A&M

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Pop - Released January 1, 2005 | A&M

Originally, Sheryl Crow planned to have her follow-up to 2002's Top Ten hit C'mon, C'mon be two simultaneously released albums, announcing their autumn release at the beginning of 2005, but by the time the fall rolled around, the project had been scaled back to a single album: Wildflower. If C'mon, C'mon was a cheerful, bright record ideal for sunny summer days, Wildflower is its opposite, a warm, introspective record that's tailored for the fall. It's not dissimilar to 1998's The Globe Sessions, which felt like a somber hangover to the wonderfully weird party of her eponymous 1996 second album, but where The Globe Sessions had a weary, heartbroken feel, there's a comfortable, lived-in atmosphere and sense of genuine affection on Wildflower. Celebrity press and pre-release hype attributed this love-mad vibe to Crow's romance with cyclist Lance Armstrong -- the couple announced its engagement the same month Wildflower was released -- and there surely must be some sort of correlation between Crow's personal life and work, but anybody looking for an album explicitly about her relationship with Lance (the way that, say, Eric Benet's Hurricane is all about his divorce from Halle Berry) will be disappointed. There are certainly plenty of songs about love here, but Crow's songs are not about specific events (unless they're neo-protest songs like the lively "Live It Up"). They're open-ended, so it's easy to hear the record and never think about Armstrong. As a matter of fact, the subjects of the songs matter less than the feel of the album. It's easy to spin Wildflower a couple of times before the songs start to sink in -- unlike her other records, there's nothing here that immediately grabs your attention, they're all growers -- but the mood of the record is immediately appealing. That sustained warm, burnished, relaxed feel -- at once rootsy and upscale, modest and classy -- is reason enough to return to Wildflower to give the songs a chance to take root, and once they do, the album seems to be one of her most consistent records and one of her best. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 2010 | A&M

The title and sound of 100 Miles from Memphis can’t help but recall Dusty in Memphis, Dusty Springfield’s 1969 blue-eyed soul classic, but Sheryl Crow’s 2010 album isn’t quite a strict homage to Dusty. Crow draws from many of the same ‘60s sources as Springfield, but she also dabbles in reggae (thanks to the chunky guitar of Keith Richards on “Eye to Eye”) and digs into the cool, seductive ‘70s groove of Hi, channeling Al Green on a sleek reworking of Terence Trent D’Arby’s “Sign Your Name,” complete with support from Justin Timberlake. Add to this the extended funk coda of “Roses and Moonlight,” the hippie singalong of “Long Road Home” and one of Crow’s signature good-time social-conscious raising anthems in “Say What You Want” and 100 Miles from Memphis boasts a considerably more expansive palette than Dusty in Memphis, yet it’s all bonded by its smooth, soulful groove due in part to the co-production from Doyle Bramhall II and Justin Stanley. This pair gives 100 Miles a sound that’s recognizably Southern yet has a distinctly sunny vibe not too far removed from Crow’s sun-kissed debut Tuesday Night Music Club, of which this shares a similar spirit, if not sensibility. Tuesday Night Music Club is loose and open where this is focused and sustained, maintaining its charming, relaxed groove from beginning to end. There’s an ease to this record that’s not often heard on Sheryl Crow’s albums and its light touch is thoroughly appealing. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 1999 | UMC (Universal Music Catalogue)

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Rock - Released January 1, 1999 | A&M

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Pop - Released January 1, 2003 | A&M

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Pop - Released January 1, 2002 | Polydor Associated Labels

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Rock - Released April 21, 2017 | Wylie Songs - Warner Bros.

Sheryl Crow's country makeover Feels Like Home didn't click commercially in 2013, so she decided to radically shift directions for this 2017 successor, Be Myself. The title alone is a tacit admission that she's returning to her roots, reuniting with producers Jeff Trott and Tchad Blake, the pair who helmed 1996's Sheryl Crow and 1998's The Globe Sessions. Crow last worked with Trott on 2002's C'mon, C'mon, and Be Myself deliberately mirrors that album's sunny vibe while also nodding at specific songs from Crow's past. "Roller Skate" grooves to a beat that echoes "All I Want to Do" and "Strangers Again" struts like "If It Makes You Happy" -- sly winks that acknowledge Crow is happy to embrace her past. Perhaps this retro move would seem desperate if Crow didn't seem so enthusiastic reviving this collaboration. With Trott and Blake in tow, she's happy to embrace her eccentricity in addition to her fondness for big pop hooks -- a combination that fuels Be Myself as surely as it did Sheryl Crow or The Globe Sessions. Compared to those two '90s records, this 2017 album isn't quite as daring -- a revival is by definition a safe bet, plus Crow's long since reined in her purple prose -- but one of the charms of Be Myself is what lies along the fringe. Most of the record's 11 songs are graced by provocative sounds lurking at the margins of the mix -- something that sounds like a music box on "Halfway There," a saloon piano on "Rest of Me," all the compressed guitars as percussion -- that help elevate this set of strong, sophisticated pop into something special. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 2011 | A&M

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Originally released as a Hallmark exclusive for the holiday season of 2008, Home for Christmas was expanded by a single cut for its exclusive 2010 for Target: “Long Road Home,” taken from Sheryl Crow’s fine 2010 tribute to Southern soul, 100 Miles from Memphis. This may be a secular tune, but it fits snugly next to the rest of Home for Christmas, as that holiday record was designed as a slow, soulful stroll through seasonal classics, Crow turning in excellent versions of tunes as diverse as “Go Tell It on the Mountain,” “The Christmas Song (Chestnuts Roasting on an Open Fire),” and “I’ll Be Home for Christmas.” Crow doesn’t necessarily reinvent these songs -- “Merry Christmas Baby” is taken at a slightly faster gait than usual, “White Christmas” grooves like classic Stax -- but she does inhabit them and her band is tight and dexterous, giving this Christmas album some unexpected and welcome soul. It’s a good enough holiday album that it shouldn’t be thought of as a thrown-off exclusive: it’s one of the better pop Christmas records of the last half of the 2000s. ~ Stephen Thomas Erlewine
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Pop - Released January 1, 2013 | UMC (Universal Music Catalogue)

Spectrum's Every Day Is a Winding Road: The Collection is a good and generous collection of Sheryl Crow's biggest hits, heavily favoring her '90s standards -- "All I Wanna Do,' "A Change Would Do You Good," "Every Day Is a Winding Road," "If It Makes You Happy" -- but featuring some good latter-day cuts like "Riverwide," all adding up to an entertaining overview of Crow's peaks. ~ Stephen Thomas Erlewine