S

In fall of 1993, I vividly recall Sheryl Crow and I driving a cheap rental
car through a dry and starry night in the California desert on our way
back to her modest apartment in West Hollywood. Sheryl had just
completed a two-day shoot for what would become her breakout video
for Leaving Las Vegas.
On this dusty drive through the desert landscape -- which somehow
perfectly reflected the feel of Sheryls newly released debut album -we naively plotted all of our big plans, great hopes and impossible
dreams 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 defining
moment 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 were
inappropriate to release in the current marketplace, and they would give
her another crack at recording her debut album. This and other key
gestures of faith in Sheryl's talent made by label honcho Al Cafaro and
A&R legend David Anderle will never be forgotten -- and would never
have happened in the current state of our music industry. Sheryl had felt
that these early recordings did not reflect her true musical core, and her
anxieties had only grown during the latter part of those sessions.

Enter Bill Bottrell -- a heady California record producer/songwriter

who was introduced to us by manager Robert Richards. Upon being
invited, Sheryl joined in a series of Tuesday night jam/writing sessions
at Bottrells Pasadena studio, Toad Hall. With Bottrell at the production
helm and his Tuesday night buddies that included musicians David
Baerwald and David Ricketts (formerly of David and David), Kevin
Gilbert, 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 would
grow to be Sheryls nine-time platinum and three-time Grammy
winning debut album.
The early Nineties was a point in music history where the great female
singer-songwriter appeared to be on the verge of extinction. The once
reigning women of the Seventies and the colorful New Wave gals of the
Eighties had given way to the chart and media rulers of the day,
Madonna, Mariah and Whitney. This was not exactly prime time for a
California rock waif touched by country and folk. Sheryls 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 was
dry, Southern, bratty and beautiful all at once.

In truth, Tuesday Night Music Club spawned some confusion at first. Was
it country, was it rock, or was it folk? Whatever it was, many told us that
It didnt fit in -- words that would become ironic and poignant in
retrospect. Somehow amidst the dance divas of MTV and the dark angst
of Seattle grunge, Sheryls salty voice, twangy Telecaster, frayed Levis,
red curls and bent upper lip scratched their way into the musical
culture 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 zigzagging
across four continents, damp vans, campers, ravaged vocal chords,
cheap hotel rooms, sleepless nights, tears, anxieties, triumph and joys.
Triumph and joys: hearing Sheryls songs on the radio all over the
world, seeing audiences sing her words right back to her. Meeting
Johnny Cash, Willie Nelson, George Harrison. Playing with Dylan, the
Stones, Clapton, the Eagles, and eventually being honored by her
peers and industry.
In many ways, I believe that Sheryl helped re-opened the door for the
female singer-songwriter, wielding only a guitar, a book of poems and
those big desert dreams.
Scooter Weintraub

ALL SHE WANTED TO DO, AND MORE

BY DAV I D W I LD

When is a truly excellent musical coming out party also a richly

deserved Second Coming?

Not very often, really. Then again as I can personally attest, precious
little about Tuesday Night Music Club -- the wildly successful and
enduringly beloved official solo debut of Sheryl Crow -- felt like simply
the music business as usual back when this stunning album was first
released to the world on August 3, 1993. Even all these years later,
Tuesday Night Music Club only feels more special, and its ultimate
impact and influence on the world seem all the more remarkable and
heartening in the light of everything that has followed.
By any remotely fair standards, Tuesday Night Music Club has become
a rather significant and unique success story. This was, after all, the
massively popular first album of a previously unknown artist that went
on to sell nearly eight million copies internationally by the end of the
Nineties. It is a recording that continues to sell and move listeners
around the world fully a decade a half later -- more than a lifetime in
your usual popular musical terms.

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 named
both Record Of The Year and Best Female Pop Vocal Performance, and
Sheryl earning the honors as Best New Artist over fellow nominees that
included Green Day and Counting Crows. And lest we ever forget,
Tuesday Night Music Club was also an album that helped advance and
open 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 lot
and our music world at least a little bit, definitely for the better.
Yet arguably most importantly from my point of view as a longstanding
fan, Tuesday Night Music Club is the album with which an unproven but
wonderfully talented singer-songwriter named Sheryl Crow stepped
from 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 great
artistry and success to this day.
To borrow a line from a song that I love, no one said it would be easy, and
in this case, the process certainly was not easy. I know this for sure because
I was there for part of this particular process, albeit only briefly and strictly
as a completely untalented but not entirely disinterested media observer.

As Rolling Stones new West Coast Bureau Chief and a slow roving rock
reporter at the time, I had first been introduced to Sheryl Crow over
lunch by her then dedicated publicist and booster in chief at A&M
Records, Diana Baron. We met just as Sheryl was recording what
everyone logically but incorrectly assumed would be her debut album
for 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 a
background singer to the stars. But one lunch with Sheryl was all it took
for me to realize that this young woman was not destined to remain just
out of the spotlight for long. She was -- and is -- an intriguingly complicated
and appealing individual -- funny, witty, sexy, warmly spontaneous and
more than strong enough for whatever you have in mind. You could not
help 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 was
invited to the legendary A&M Studios in Hollywood on the old Charlie
Chaplin lot to hear the album that Sheryl had been recording with
Hugh Padgham, a famously talented and big name producer perhaps
best known for his work with The Police, Sting, Genesis and Phil Collins.
The recording that Hugh and Sheryl played for me that night was

accomplished, mature, impressive, a little slick and in some subtle yet

demonstrable way almost completely wrong for Sheryl Crow.

In retrospect, Sheryl and her top-notch producer were attempting to

make her first great musical statement just as popular music was
experiencing a significant sea change. Somehow starting with a song
called Smells Like Teen Spirit, Kurt Cobain and his compatriots in
Nirvana had in a grungy instant demonstrably changed the rules of the
game in popular music, creating a new unsteady but undeniable line
between what had been and what would be. And somehow it suddenly
felt 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 let
Sheryl make her first album for the second time. The idea this time
was to try and let Sheryl be Sheryl whoever the hell that turned out
to be. Thankfully, Sheryl found a club where she could find her own
way musically.
Groucho Marx famously joked that he wouldnt want to be a member of
any club that would have him as a member. Yet you dont have to be a
devout Marxist to see that with Tuesday Night Music Club, Sheryl Crow

was able to work with producer Bill Bottrell and a wildly gifted ad hoc
collective of other singer-songwriters -- namely Kevin Gilbert, David
Baerwald, David Ricketts, Brian MacLeod and Dan Schwartz -- to create
the wildly creative sense of community within which she could find her
own voice and stake her own musical claim one upon which she has only
continued 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, Sheryl
Crow 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 Bottrells
Toad Hall studio in Pasadena, a joint with an Art Deco vibe near the famed
Pasadena Playhouse theatre. Toad Hall became a different sort of musical
playhouse for this gifted group of artistically ambitious players, with no
shortage of creative tension, competing egos, and genuinely inspired
collaboration. Coming out of the more confined process of recording with
Padgham at A&Ms Studio A, Crow somehow thrived as she wrote, played
and sang with members of what had first been called the Tuesday Night
Collective, as well as other fellow travelers, including Jeff Trott, who would
become another significant Crow collaborator in the years to come.

A former music teacher, Crow was herself an extremely quick learner,

and she has soaked up the energy around her and gradually made it
her 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 felt
infinitely more real and modern than her previous attempt at recording
her debut.
Even so, the impact of Tuesday Night Music Club did not occur
overnight. The first single drawn from the album, the excellent and
slightly John Lennon-ish Run, Baby, Run, was not a breakout hit.
Indeed, it was not until the albums third single All I Wanna Do hit that
Tuesday Night Music Club kicked into public consciousness, which it
has never really left. Songs like Leaving Las Vegas and Cant Cry
Anymore and Strong Enough remain among Crows greatest and
most 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 artfully explored ever since.

Success tends to have many fathers, and the extraordinary artistic and
commercial success of Tuesday Night Music Club was sadly not without
its dark side. Over the years some of the talented men who brought this
excellent album to life engaged in assorted turf wars about who
exactly did what and who may have wronged whom. With the passing

DISC ONE

9 ALL I WANNA DO 4.32

1 RUN, BABY, RUN 4.53

(WYN COOPER, SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD, KEVIN GILBERT)
Drums, percussion: Brian / Bass, keyboard: Kevin / Wurlitzer: Sheryl
Lap steel, guitars, 12 st guitar: Bill / Claps: Crew

(BILL BOTTRELL, DAVID BAERWALD, SHERYL CROW)

Drums: Kevin / Bass: Dan / Piano: Shery
Guitars, organ, keyboards, pedal steel: Bill / BG vocals: Sheryl

2 LEAVING LAS VEGAS 5.10

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 came
out 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 went
nto making Sheryl Crows first masterpiece as this newition of
Tuesday Night Music Club includes a fascinating collection of tracks
from that early era. The addition of these bonus tracks better reflect
Sheryls free range exploration, from her covers of Led Zeppelins
Dyer Maker and Eric Carmens 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 Of
Hereness -- a unique bilingual sonic blast.
And so now with this greatly expanded and simply
great -- deluxe reissue of Sheryl Crows Tuesday Night
Music Club, the time has come to remember and
celebrate a groundbreaking album that proved that
there really are second acts in American life, even for
a woman making her very first album.

(SHERYL CROW, BILL BOTTRELL, DAVID BAERWALD,

KEVIN GILBERT, DAVID RICKETTS)
Bass: David Ricketts / Keyboard: David
Acoustic Guitar: Kevin / Drum fills: Brian
Loops, electric guitar, BG vocals: Bill

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 Ive spent most Tuesday
nights with a group of musicians, or shall I say
artists, at Toad Hall, Bill Bottrells vibely lit, tapestry
draped, living room of a studio in Pasadena. The
crew gathered with nothing more in mind but to
experiment (musically, that is) and create. By the
end of the evening or the beginning of the
morning, something special would have been
composed and recorded, (or not), with each of us
picking up the nearest instrument or open mic.
Thus, the Tuesday Night Music Club was born,
creating the impetus for my album.

3 STRONG ENOUGH 3.10

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

4 CANT CRY ANYMORE 3.41

(SHERYL CROW, BILL BOTTRELL)
Guitars, bass, drums: Bill
BG 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: Kevin
Guitars, 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: Sheryl
Guitar: 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: Brian
Electric 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: Sheryl
Bass synth, piano: Bill / BG vocals: Sheryl

The characters are: BILL BOTTRELL my most patient and soulful producer,
reborn guitarist, budding pedal steel player and the guiding force
behind the Tuesday Night Music Club; KEVIN GILBERT like Bill, Kevin can
play 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 every
session, always loyal to the cause of good music; BRIAN MACLEOD one
of the truly great, overlooked drummers (whos not too cool to put on a
Dolemite 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 also
engineered when he felt like it, and he assures the Grammy committee that
the entire city of Pasadena engineered at least 50% of this album.
Id 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 thanks
to Judy Stakee and Elizabeth Bottrell both for their strength, organization
and especially friendship, and to Jeffrey Trott and Robert Richards.
Sheryl Crow

Produced by Bill Bottrell

Engineered and Mixed by Blair Lamb and Bill Bottrell
Recorded and Mixed at Toad Hall, Pasadena, California, 1993.
Mastered by Bernie Grundman at Bernie Grundman Mastering
Art Direction: Rich Frankel
Design: Jean Krikorian
Photography: Melodie McDaniel, Peggy Sirota, Scott Henriksen

4 REACH AROUND JERK 4.01

9 DYER MAKER 4.20

(SHERYL CROW, BILL BOTTRELL, DAN SCHWARTZ)

PRODUCED BY BILL BOTTRELL / ENGINEERED AND MIXED BY BLAIR LAMB AND
BILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORNIA, 1993.
Bass: Dan / Acoustic guitar, drums: Bill
First issued as one of the b-sides of UK CD single RUN, BABY, RUN, 1993.

(JIMMY PAGE, ROBERT PLANT, JOHN PAUL JONES, JOHN BONHAM)

PRODUCED, ENGINEERED AND MIXED BY BILL BOTTRELL / RECORDED AND MIXED
AT TOAD HALL, PASADENA, CALIFORNIA, 1995.
Vocals: Sheryl / Guitars, drums, percussion: Bill / Bass: Dan
First 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.

Brian Macleod appears Courtesy of MCA Records

5 VOLVO COWGIRL 99 2.04

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, DAVID BAERWALD, KEVIN GILBERT, BILL BOTTRELL,

BRIAN MACLEOD, DAN SCHWARTZ)
PRODUCED BY BILL BOTTRELL / ENGINEERED AND MIXED BY BLAIR LAMB AND
BILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORNIA, 1993.
Bass: Dan / Drums: Brian / Guitars: Kevin and David
Keyboards: Sheryl / BG vocals: Bill, Kevin, and Sheryl
First issued as the b-side of UK CD single WHAT I CAN DO FOR YOU, 1993.
(SHERYL CROW, JEFF TROTT)
PRODUCED BY BILL BOTTRELL / ENGINEERED BY MARK CROSS / RECORDED AT
TOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL AT
GLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.
Acoustic guitar: Sheryl / Electric guitar, piano: Jeff
Bass, pedal steel: Billl / BG vocals: Jeff and Bill
Previously unreleased recording, recorded for the follow-up album to TNMC.

2 KILLER LIFE 4.57

7 ALL BY MYSELF 4.48

(SHERYL CROW, BILL BOTTRELL)

PRODUCED BY BILL BOTTRELL / ENGINEERED BY MARK CROSS / RECORDED AT
TOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL AT
GLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.
Drums, percussion: Brian / Piano, guitar: Bill / Piano solo: Kevin / Bass: Jeff
Previously 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 AT
TOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL AT
GLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.
Bass: Jennifer Condos / Drums: Brian / Wurlitzer, bongos: Scott Bryan
Guitar, pedal steel: Bill
Previously unreleased recording, recorded for the follow-up album to TNMC.

(ERIC CARMEN, SERGEI RACHMANINOFF)

PRODUCED BY BILL BOTTREL / ENGINEERED AND MIXED BY BLAIR LAMB AND
BILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORNIA, 1993.
Piano, drums: Kevin / Guitars, keyboards: Bill / Bass: Dan / BG vocals: Sheryl
First issued as one of the b-sides of UK CD single RUN, BABY, RUN, 1993.

Deluxe Edition supervised by Bill Levenson,

Scooter Weintraub and Pam Wertheimer
Mastered by Ellen Fitton at Universal Mastering
Studio East, New York

10 I SHALL BELIEVE (2009 REMIX) 4.35

Essays by David Wild and Scooter Weintraub

(SHERYL CROW, BILL BOTTRELL)

PRODUCED BY BILL BOTTRELL / RECORDED AT TOAD HALL, PASADENA,
CALIFORNIA, 1993. / REMIXED BY BILL BOTTRELL AT ODDITORIUM, SEPTEMBER 2009.
Organ, loop, pedal steel, drums: Bill / BG vocals: Sheryl
New mix of TNMC recording.

Art direction: Vartan

Design: Kevin Reagan
Photo Research: Jo Almeida
Photography: Melodie McDaniel, Peggy Sirota, Scott Henriksen

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

Product Manager: Emily Cagan

Coordinated for release by Monique McGuffin Newman

6 YOU WANT MORE 6.00

(SHERYL CROW, BILL BOTTRELL)

PRODUCED BY BILL BOTTRELL / ENGINEERED BY MARK CROSS / RECORDED AT
TOAD HALL, PASADENA, CALIFORNIA, 1994. / MIXED BY BILL BOTTRELL AT
GLENWOOD PLACE WITH ISHA ERSKINE, SEPTEMBER 2009.
Acoustic guitar: Sheryl / Bass, pedal steel: Bill / Drums, percussion: Brian
Previously unreleased recording, recorded for the follow-up album to TNMC.

TUESDAY NIGHT MUSIC CLUB Deluxe Edition

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

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 Bensch
and 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)

8 ON THE OUTSIDE 4.37

(SHERYL CROW, JEFF TROTT)
PRODUCED BY BILL BOTTRELL / ENGINEERED AND MIXED BY BLAIR LAMB AND
BILL BOTTRELL / RECORDED AND MIXED AT TOAD HALL, PASADENA, CALIFORNIA, 1993.
Vocals, keyboards: Sheryl / Guitars, pedal steel guitar, bass: Bill / Guitars: Jeff
First issued on SONGS IN THE KEY OF X: MUSIC FROM AND INSPIRED BY
THE X-FILES, Warner Bros. Records, 1995.
Also issued as the b-side of UK CD single IF IT MAKES YOU HAPPY, 1996.

Ba

2009 A&M Records