MARY LOUISE KELLY, HOST:
Flick on your radio any time over the last quarter century, and there was a decent chance the song playing would be Sheryl Crow. Maybe it was this one...
(SOUNDBITE OF SONG, "EVERYDAY IS A WINDING ROAD")
SHERYL CROW: (Singing) Every day is a winding road.
KELLY: ...Or this one.
(SOUNDBITE OF SONG, "ALL I WANNA DO")
CROW: (Singing) 'Cause all I want to do is have some fun. I got a feeling I'm not the only one. All I want to do...
KELLY: And then there is my personal favorite.
(SOUNDBITE OF SONG, "MY FAVORITE MISTAKE")
CROW: (Singing) Did you know when you go it's the perfect ending to the bad day I was just beginning?
KELLY: Sheryl Crow has won nine Grammys. She has sold more than 50 million albums. She's got a new one out. It's called "Threads," and she says it's her last.
Sheryl Crow, welcome.
CROW: Thank you.
KELLY: So last album - why?
CROW: With technology, it's a little bit like putting the toothpaste back into the tube. We can't go back and expect particularly young people to listen to albums from top to bottom. It's almost a dying art form.
KELLY: And just to put people's minds at rest, you're not done recording. You're still going to put singles out there.
CROW: I can't imagine what I would do if I wasn't recording or touring. I mean, touring, for us, is really where the joy is at. I love going in and recording songs. And if people want to put together an album, they can do that. They can put together a compilation or their own playlist, but I like the idea of being able to write in the immediate and putting it out when it really matters.
(SOUNDBITE OF SHERYL CROW SONG, "BORDER LORD")
KELLY: Well, if you're going to make a final album, this is a heck of a one to go out on - 17 songs, all of them collaborations. And the list of people you collaborate with is insane - from Bob Dylan to Bonnie Raitt to St. Vincent to Chuck D to Keith Richards. I'm super curious how this comes about. Do the - do agents set this up, or is this a case of you picking up the phone and calling Keith Richards and saying, hey, Keith, you want to do a song with me?
CROW: No, this was completely organic. It started off with a session with Kris Kristofferson, who I think most people know is in the throes of either Alzheimer's or Lyme's disease, not making recent memories anymore. And I worked with him in the studio and just felt like this is important. This is what I want more of. I want to pull in the people that have inspired me before I knew them who have become a part of my life. And I started reaching out personally to people, and everyone said yes.
(SOUNDBITE OF SONG, "BORDER LORD")
SHERYL CROW AND KRIS KRISTOFFERSON: (Singing) Tapping time and thinking of the time we never had the time to take.
KELLY: Anybody surprise you by how fun or how challenging they were to work with - somebody where you knew you loved their music, but you hadn't actually sat down and tried to record with them before?
CROW: I think the major and most impactful recording for me was "Redemption Day." The song is recorded with Johnny Cash. And clearly, he's no longer with us, but he recorded...
KELLY: He died in 2003, I think. Yeah.
CROW: He did. And he had recorded in 2003 right before he passed. About two months before he passed, he recorded a song I wrote called "Redemption Day." And recording with him in the studio with his vocal in my headphones was just an incredible experience. I can't even explain it. It was so emotional. He felt so present to me, and I think I didn't - I wasn't prepared for how emotional that would feel.
(SOUNDBITE OF SONG, "REDEMPTION DAY")
SHERYL CROW AND JOHNNY CASH: (Singing) There is a train that's heading straight to heaven's gate, to heaven's gate. And on the way, child and man and woman wait, watch and wait...
JOHNNY CASH: (Singing) ...For redemption day.
KELLY: I want to ask about some of the other collaborations on here - Emmylou Harris.
KELLY: And I've seen where you've spoken about her as a role model for someone whose music just keeps getting deeper as she gets older. You've talked about how when she hit her 50s, she set the bar on how a woman can get more beautiful, more sexy, more meaningful with age. I want to play a little bit of that and then ask you about it. That's "Nobody's Perfect."
(SOUNDBITE OF SONG, "NOBODY'S PERFECT")
EMMYLOU HARRIS: (Singing) Stickers on a suitcase tell me where you've been.
KELLY: So talk to me about this song and about working with Emmylou Harris.
CROW: Well, it's such a joy to sing with her, and she, for me, is my great hope with my career. I look at what she's done and who she has constantly been and who she's become, how she's still curious, still growing, still rocking, still out there fighting for the things she believes in and still looks like herself and is just beautiful. And she's rocking out, and everybody wants to be in her band. For me, to get to sing with her and to have our voices blend is - I mean, that's my kind of high.
(SOUNDBITE OF SONG, "NOBODY'S PERFECT")
SHERYL CROW AND EMMYLOU HARRIS: (Singing) Nobody's perfect. How could anyone be? Nobody's perfect, especially me.
KELLY: You are 57 now.
CROW: I am.
KELLY: So you're right there with her, trying to figure out how you - how to do this in your 50s. Has your voice changed? Can you do things with it that you couldn't when you were - I don't know - 20?
CROW: Well, strangely, my voice has gotten better. I mean, there are a lot of people that lose their range. I think my range has really increased.
CROW: I am from a long line of singers, and my mom has, unequivocally, the most incredible voice. She could have sung opera, I'm convinced. And she's 83, and she - her voice is as gorgeous and as controlled as it ever was.
KELLY: Now I want to hear a collaboration with your mom (laughter).
CROW: I know. I dragged her into the studio to record some things with her and put together a combo and stuff. And so I have that. She would kill me if I ever put it out. All that to say, hopefully, genetically, I'm going to be able to enjoy what she's still enjoying.
KELLY: You've talked about how you tend to write songs about the stuff that you are thinking about - gun control or climate change or love. What are you writing about these days?
CROW: Wow. You know, it's been an interesting process in the last - really, the last 10 years to be writing music on the planet as the mom of two children. So I write from a sense of urgency about what really matters. Music, for me, is my outlet. It's the thing I love most.
CROW: I go to it with all of my emotions. I guess at the end of the day, it's unavoidable for me to at least acknowledge the elephant in the room.
KELLY: And what is the elephant in the room for you right now?
CROW: Well, you know, I turn on the TV, and I see that the rainforests are burning. I'm an environmentalist at heart. So are my children. They ask me the hard questions. My 9-year-old asked me the other day if we were going to cut down all the trees until we couldn't breathe anymore. And I think about a 9-year-old and what a 9-year-old should be thinking about, and that's not his mortality. So you know, I can see writing a song about children and the load they're bearing right now. In fact, I may go home and do that now.
KELLY: I love it - and then come back and talk to us about it.
CROW: That's right.
KELLY: What song should we go out on?
CROW: Oh, my goodness. I would have to say a song featuring Stevie Nicks and Maren Morris called "Prove You Wrong."
KELLY: Here we go.
(SOUNDBITE OF SONG, "PROVE YOU WRONG")
STEVIE NICKS: (Singing) You said if you left, I'd be laid up in a bed of tears.
KELLY: Well, Sheryl Crow, it has been a pleasure. Thank you.
CROW: Thank you, Mary Louise - appreciate it.
KELLY: That is Sheryl Crow, speaking to us from Nashville. Her 11th - and, she says, last album - is titled "Threads."
(SOUNDBITE OF SONG, "PROVE YOU WRONG")
CROW: (Singing) It wouldn't take much to prove you wrong. I got my mind made up.
NPR transcripts are created on a rush deadline by Verb8tm, Inc., an NPR contractor, and produced using a proprietary transcription process developed with NPR. This text may not be in its final form and may be updated or revised in the future. Accuracy and availability may vary. The authoritative record of NPR’s programming is the audio record.