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‘Detours’ proves emotional, cheerful route worth taking
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by Cailley Hammel
Tuesday, February 12, 2008
Sheryl Crow has experienced ups and downs since her last album, Wildflower, including a highly publicized breakup with Lance Armstrong (who then went on to date Ashley Olsen, of all people), a bout with breast cancer, disappointing sales and the adoption of a son. Crow found inspiration in these life-changing events and compiled them into her latest album, Detours.
Detours opens with the slightly subdued, hazy-sounding “God Bless This Mess,” a track which immediately sets up a political agenda. But the effect is subtle, as Crow manages to pull it off in a way that, without close attention, is nearly missed.
What follows is a collection of hits and misses. Highlights include “Love Is Free,” the current single, a prime example of the “new” Sheryl Crow — lighthearted, carefree and with a tone of sunny disposition. Yet the best songs come when she gets away from that image, such as “Shine Over Babylon” and “Gasoline,” which hark back to the classically loud and bold Sheryl Crow.
But bearing Lance Armstrong in mind, heartbreak obviously plays a central role in Detours, especially in the second half. With back-to-back songs about the pain of a broken heart and then the freedom it brings, this flip-flopping results in an unnecessary and often overly emotional statement of the obvious. We get it: Love sucks, and it is really great to be independent again. Move on, Sheryl.
Crow also tries to break out of her mold by trying out new styles, with varying success. There’s the choppy “Diamond Ring,” featuring a near caterwaul which really does nothing but make one dart for the skip button. Or “Out of Our Heads,” which is a somewhat saucy song with a nagging chorus.
Other notable songs include “Make it Go Away (Radiation Song)” which, inspired by her bout with cancer, shows the emotional side of Crow fans don’t often get to see. She even goes so far as to bring her son into the picture with “Lullaby for Wyatt,” a soft, sweet way of finishing off the album.
Clearly, this album is a largely cathartic effort. With wild swings in emotion, from chipper to somber — but with a history like hers, it isn’t hard to see “why the hell [she’s] so sad” — Sheryl Crow’s Detours shows she is growiSheryl Crow has experienced ups and downs since her last album, Wildflower, including a highly publicized breakup with Lance Armstrong (who then went on to date Ashley Olsen, of all people), a bout with breast cancer, disappointing sales and the adoption of a son. Crow found inspiration in these life-changing events and compiled them into her latest album, Detours.
Detours opens with the slightly subdued, hazy-sounding “God Bless This Mess,” a track which immediately sets up a political agenda. But the effect is subtle, as Crow manages to pull it off in a way that, without close attention, is nearly missed.
What follows is a collection of hits and misses. Highlights include “Love Is Free,” the current single, a prime example of the “new” Sheryl Crow — lighthearted, carefree and with a tone of sunny disposition. Yet the best songs come when she gets away from that image, such as “Shine Over Babylon” and “Gasoline,” which hark back to the classically loud and bold Sheryl Crow.
But bearing Lance Armstrong in mind, heartbreak obviously plays a central role in Detours, especially in the second half. With back-to-back songs about the pain of a broken heart and then the freedom it brings, this flip-flopping results in an unnecessary and often overly emotional statement of the obvious. We get it: Love sucks, and it is really great to be independent again. Move on, Sheryl.
Crow also tries to break out of her mold by trying out new styles, with varying success. There’s the choppy “Diamond Ring,” featuring a near caterwaul which really does nothing but make one dart for the skip button. Or “Out of Our Heads,” which is a somewhat saucy song with a nagging chorus.
Other notable songs include “Make it Go Away (Radiation Song)” which, inspired by her bout with cancer, shows the emotional side of Crow fans don’t often get to see. She even goes so far as to bring her son into the picture with “Lullaby for Wyatt,” a soft, sweet way of finishing off the album.
Clearly, this album is a largely cathartic effort. With wild swings in emotion, from chipper to somber — but with a history like hers, it isn’t hard to see “why the hell [she’s] so sad” — Sheryl Crow’s Detours shows she is growing both musically and emotionally.
3 stars out of 5ng
both musically and emotionally.
3 stars out of 5
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