2008 Woodie Awards
'Detours' lacking musically
Crow's new lyrically strong album dragged down by weak melodies, vocals
Jennifer Howell
Issue date: 2/13/08 Section: The Mix
Sheryl Crow's newest musical endeavor, "Detours," debuted on the extremely busy Feb. 5. Just like Super Tuesday, Crow's album is loaded with political angst and cries for change. Nobody listening to the music can miss her lean to the left on current issues.
Tackling events from the Iraqi war to heartbreak, Crow's lyrics are both personal and universal.
"It's difficult to be awake and not be affected by all that is going on around us," Crow told Billboard Magazine.
Her lyrics definitely reflect this sentiment, but is the music actually any good? This artist has given her audience a glimpse into both her mind and soul, and the result is unfortunately mediocre.
Popping "Detours" in on a Sunday afternoon, with the windows down, is probably not the best idea. Though Crow previously urged us to just "Soak Up The Sun" in 2002's platinum-selling "C'mon C'mon," her newest record feels a bit heavier.
Crow's reunion with producer Bill Bottrell, who produced "Tuesday Night Music Club," has resulted in lyrically charged songs flowing from commentary on Hurricane Katrina ("Love Is Free") to her own failed relationship with Lance Armstrong ("Diamond Ring").
In the song "Shine Over Babylon," listeners are left to ponder their own religious stances as Crow asks, "If there is a God where is he now?" It isn't the lyrical content that causes this album to fall short; the problem lies with the melodies.
USA Today praised the album's "itinerary of spare, folksy numbers, big blasts of pop bouncy rock and splashes of reggae and Arabic." The album opens with acoustic strums accompanied by Crow's signature husky voice. While this artistic maneuver is meant to bring intensity to the record, the only word that seems to come to mind is "whiney."
Now I am not going to claim that I am the most qualified person to determine what is or isn't good music. All I know is that Crow's album did not thrill me. There seems to be too much emphasis placed on the lyrics, and the melody just takes a back seat.
By the time I reached song three, I found myself hoping that the record would end.
During the song "Gasoline," first-year visual communications major Caitlin Bradley supported my views by stating, "I liked it before she started singing." Only during the song "Lullaby For Wyatt" could I sit back and say without a hint of irony that I enjoyed listening to it.
I am not going to completely deny that "Detours" holds some creative merit, but it isn't for everyone. It will probably be a favorite of middle-aged women across the nation, but none of Crow's songs will be this year's college anthem.
Previous Sheryl Crow lovers, don't let my critique keep you from purchasing the album. I have never been a fan, so maybe my negativity is the result of my biased outlook. Pick it up; listen to if for yourself, and then judge. Better yet, borrow it from someone else so that afterward you won't regret spending your hard-earned cash.
Tackling events from the Iraqi war to heartbreak, Crow's lyrics are both personal and universal.
"It's difficult to be awake and not be affected by all that is going on around us," Crow told Billboard Magazine.
Her lyrics definitely reflect this sentiment, but is the music actually any good? This artist has given her audience a glimpse into both her mind and soul, and the result is unfortunately mediocre.
Popping "Detours" in on a Sunday afternoon, with the windows down, is probably not the best idea. Though Crow previously urged us to just "Soak Up The Sun" in 2002's platinum-selling "C'mon C'mon," her newest record feels a bit heavier.
Crow's reunion with producer Bill Bottrell, who produced "Tuesday Night Music Club," has resulted in lyrically charged songs flowing from commentary on Hurricane Katrina ("Love Is Free") to her own failed relationship with Lance Armstrong ("Diamond Ring").
In the song "Shine Over Babylon," listeners are left to ponder their own religious stances as Crow asks, "If there is a God where is he now?" It isn't the lyrical content that causes this album to fall short; the problem lies with the melodies.
USA Today praised the album's "itinerary of spare, folksy numbers, big blasts of pop bouncy rock and splashes of reggae and Arabic." The album opens with acoustic strums accompanied by Crow's signature husky voice. While this artistic maneuver is meant to bring intensity to the record, the only word that seems to come to mind is "whiney."
Now I am not going to claim that I am the most qualified person to determine what is or isn't good music. All I know is that Crow's album did not thrill me. There seems to be too much emphasis placed on the lyrics, and the melody just takes a back seat.
By the time I reached song three, I found myself hoping that the record would end.
During the song "Gasoline," first-year visual communications major Caitlin Bradley supported my views by stating, "I liked it before she started singing." Only during the song "Lullaby For Wyatt" could I sit back and say without a hint of irony that I enjoyed listening to it.
I am not going to completely deny that "Detours" holds some creative merit, but it isn't for everyone. It will probably be a favorite of middle-aged women across the nation, but none of Crow's songs will be this year's college anthem.
Previous Sheryl Crow lovers, don't let my critique keep you from purchasing the album. I have never been a fan, so maybe my negativity is the result of my biased outlook. Pick it up; listen to if for yourself, and then judge. Better yet, borrow it from someone else so that afterward you won't regret spending your hard-earned cash.
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