她 '94 年參加的時候剛發片，
也是被安排在第一天，
那時候這麼大的場面對發片不久的她來說應該是蠻陌生的，
她那天的表演被評為 tentative，
'99 年她又站在 Woodstock 的舞台上，
（據說 '94 跟 '99 重複的藝人只有六個）
可以看看她這五年來到底有什麼成長。
Sheryl Crow Remembers the
Mosh Pit and the Beer
'94 Woodstock Star Talks About Her New
Record With Woodstock.com
By Gary Graff
When it comes to Woodstock 99, Sheryl Crow
is a woman of few, but decisive, words.
What does she anticipate for the Woodstock 99
festival?
"Loud music, warm beer, loads of a fun. And a
few jillion ATMs."
What part does Woodstock -- the original
festival -- play in her creative or musical
makeup?
"None, but it is fun to watch the film and hear
the music now."
What are her memories of playing at
Woodstock 94?
"The crowd moshing during 'Leaving Las
Vegas.'"
Is she going to add anything appropriate to the
occasion to her set at Woodstock 99?
"Perhaps an homage to the Who. " Abbie
Hoffman, where are you now...?
But while Woodstock '94 was part of Crow's
success story as an emerging artist,
Woodstock '99 finds her in a different place --
more settled and with a different focus that's
enriched her music and kept the Grammy
Awards coming. Simply put, Crow now has a
life after spending the first few years of her
career dedicated to nothing but her music and
making a name for herself after the Kennett,
Missouri, native -- inspired to begin writing
songs after attending a Peter Frampton concert
-- spent years singing back-up for the likes of
Michael Jackson and Don Henley.
"I really enjoy working ... but I was on the road
for six years straight, and I realized that I didn't
have anything else besides what I'd been doing
this whole time," says Crow, who watched a
four-year relationship and engagement fall victim
to her work-heavy lifestyle.
So she shut down for awhile to discover what
she was missing and to do something about it --
though that, in turn, sparked the creative
process that resulted in her latest Grammy
winning album, The Globe Sessions.
"I think going into the studio to work on (The
Globe Sessions) was what opened my mind to
the breakdown of my own life," Crow explains.
"And before I knew it, I had a collection of songs
that were really introspective, and at that point I
realized my personal life had really suffered
because of my absence from it."
So Crow took steps to make a life for herself as
well as to protect her creative time. She made
"a practice" of hanging out with friends and
"getting back in touch with people that I care
about." She also sculpted out time to "just be
quiet, hang around at home and read."
Besides her apartment in New York, which
she's been renovating, Crow bought a
Spanish-styled house in Los Angeles --
ironically one she tried to purchase previously
but lost in a negotiation. And Crow says that
owning property more than anything else
speaks to her efforts to pursue a permanent
change in the way she lives.
"Part of the thing of being on the road is that
feeling of being nomadic and having very little
responsibility," she explains. "I've never enjoyed
owning a lot of stuff; in fact, I joked about every
time I've had an apartment that I've always just
walked away, locked the door behind me and let
the next person worry about all the junk I left
behind. "And now I'm starting to sort of conduct
my life more like an adult and have tried to
adjust to having a real home and real
responsibilities. And it's fun. It makes me feel
like I'm encroaching on a different phase of my
life. "
That doesn't mean the work has suffered,
though. During her time away from touring, Crow
scored an independent film called Dill Scallion
and had a small role as a junkie in The Minus
Man, which was shown at the last Sundance
Film Festival.
And there's The Globe Sessions, whose songs
freely mine Crow's emotions and experiences
for what she acknowledges is the most personal
of her three releases.
"I have the wonderful privilege of creating a story
around my own stories," she explains, "so
certainly there's no song that's strictly
autobiographical. But they are loosely based on
my own experiences.
"It was basically a matter of committing to
putting out that album or trying to create
another album, and it felt like it was timely and
pretty honest -- well, it was very honest -- and
pretty concise, and my decision to put it out,
although it was a pretty daunting decision, felt
like it was the right decision."
During concerts on her latest tour, however,
Crow has found she has little trouble tapping
into the original emotion that inspired the songs.
"There are a couple of songs where every night
onstage I'll experience how I felt when I wrote
it," she says. "Like, for instance, 'Don't Hurt'was
a song I wrote out of real anger and
disillusionment, and I still really associate that
song with the experience. It does reach me
emotionally. Then there are other songs I feel
I'm a little more removed from, like 'My Favorite
Mistake.'"
Crow plans to spend most of the rest of the year
touring; she's on the entire run of this summer's
Lilith Fair, and she's contemplating a series of
acoustic shows, probably on college campuses,
during the fall.
She'd also like to put some dates together with
Stevie Nicks, the once and future Fleetwood
Mac singer and a personal hero who Crow
collaborated with on the soundtrack for Practical
Magic, which led to the two working together on
Nicks' next solo album.
"I guess my role in this is really to try and
create what she feels is an accurate picture of
who she is," Crow says. "She's a really prolific
writer. I think the thing she has suffered in the
last few years is when she goes into the studio,
there's always a male producer that wants to
make her into something that is maybe not as
intimate as what she sees her music as being.
Trying to get that on tape is going to be the real
trick."
--
gender is just an excuse, relationship shouldn't just be an excuse,
love is often an excuse, although sometimes these excuses are all
we have to hold onto,
death is the reason and living is the celebration
- Beth Orton
--
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