'Sheryl' charts the ups, downs, hits, misses, tabloid romances and personal triumphs of Sheryl Crow — it's a candid look at the singer-songwriter's many days of winding roads. Our review.
Crow was indeed an inheritor of the soft-rock vibe embodied by those acts. But back in the grunge-focused Nineties, she also proudly kept alive the AOR FM-rock tradition of artists like, say, Tom Petty — and the fact that a woman was leading that charge, at that point in time, was momentous.
Crow’s biggest early break arrives when she auditions for, and lands, a gig as one of Michael Jackson’s backup singers on histour in 1987. She and her early champion and manager, Scooter Weintraub, recall hanging with Jackson in a hotel room as he watches movies and TV shows and plays with Bubbles the chimp. But looking back, Crow admits it was “so weird that he had a couple of little boys on the road with him at different times.
Hooking up with a male-dominated gang of musicians and songwriters who dubbed their gatherings the Tuesday Night Music Club, Crow finds her crew and jettisons her Jackson-tour bouffant hair and wardrobe for an earthier image. and its hits “All I Wanna Do” and “Leaving Las Vegas” finally land her the attention she’d been seeking. But even that comes with a stumble.includes the notorious clip of David Letterman asking Crow on his show if “Leaving Las Vegas” was autobiographical.
Crow and her career recover, thanks in part to her winnings lots of Grammys for that album and acknowledging her colleagues during that ceremony. 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.
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