Nine-time Grammy Award Winning artist Sheryl Crow closed out the three day partner event with a performance that had partners and HP executives storming the stage. Crow told the crowd she was looking for "committed partyers"(not partners) and stepped into the crowd shaking hands as she sang. Among the lucky attendees to shake Sheryl's hand our own Industry Editor Craig Zarley. The set, of course, included Crow's hits "All I Wanna Do" "If It Makes You Happy" and "Leaving Las Vegas." Crow's encore was a blistering cover of Led Zeppelin's Rockn Roll. It's been a long time since any partner event rocked this hard.
[NEWS] MINI-CONCERT AT JIMMY KIMMEL LIVE IN LOS ANGELES
[CHART] DETOURS - BILLBOARD TOP 200
Feb 23rd , 2008
Mar 1st, 2008
Mar 8th, 2008
[CHART] DETOURS - SWITZERLAND - TOP 100 ALBUMS
Feb 17th , 2008
Fed 24th , 2008
Mar 2nd, 2008
[CHART] DETOURS - GREECE - TOP 50 INTERNATIONAL ALBUMS
Non c'è spazio per 'sole, cuore e amore' nel nuovo disco di Sheryl Crow, 'Detours'. Dopo due anni piuttosto difficili, la cantante americana torna sulla scena musicale con grande energia. La battaglia contro il cancro al seno, la rottura del fidanzamento con il ciclista Lance Armstrong, la guerra in Iraq, la politica ambientale americana, ma anche una dedica al figlio adottivo Wyatt. Sono questi i temi che Sheryl sceglie di affrontare nel suo sesto disco in studio, il cui titolo 'Detour', spiega questa voglia di cambiare, di voltare pagina. Apre la tracklist 'God bless this mess', un brano ruvido, come se fosse una demo o una canzone trasmessa da una radio sintonizzata male. Sullo sfondo il crollo delle Torri Gemelle e una guerra 'basata sulle bugie' ('a war all based on lies') è un ritratto folk di una famiglia con un figlio che torna dall'Iraq. Poi un giro di batteria e chitarra e parte il disco con l'energica 'Shine over Babylon', singolo pilota di 'Detours' in cui la cantante esprime con rabbia la sua preoccupazione per l'umanità. Più scanzonata e pop 'Love is free', ma dal tema molto serio: l'uragano Katrina che ha devastato New Orleans. L'impegno civile e l'opposizione alla guerra in Iraq sono al centro di 'Peace be upon us'.
Un brano caratterizzato da sonorità arabeggianti grazie al contributo di Ahmed Al Hirmi, la cui voce si sposa alla perfezione con quella della Crow. ''Amo credere che la musica possa cambiare in meglio il mondo'' ha detto la cantante nell'incontro con la stampa a Milano. Dal conflitto iracheno al petrolio nel rock di protesta di 'Gasoline' realizzata con la collaborazione di Ben Harper. In uno scenario futuro - immaginario, ma alquanto realistico - l'oro nero raggiunge un nuovo picco e inizia la rivolta come quella del te a Boston nel lontano 1773. Un viaggio tra Londra, Arabia Saudita, Argentina, Tennessee passando per i 'bastardi di Washington'. Continua la protesta con 'Out of Our Heads', firmato da Bill Bottrell, produttore che fece vincere un Grammy Award ad una Crow debuttante. Era il 1993, il brano invece "All I Wanna Do". La Sheryl impegnata si fa ora da parte e dà voce al suo intimo per parlare della rottura con il fidanzato, il ciclista Lance Armstrong. 'Diamond ring', che si riferisce all'anello di fidanzamento, diventa un lamento, un pianto, in cui la voce si fa roca. "Ho rovinato il nostro nido d'amore, facendoti una sola piccola richiesta, un anello di diamanti" canta la Crow. Psicadelico, allucinante il ritornello di 'Make it go away (Radiation song)' che racconta la terribile esperienza del cancro, della chemioterapia.
Completano la tracklist 'Detours', ballata country al ritmo di tamburello e percussioni, la liberatoria ma poco convicente 'Now That You're Gone', 'Drunk With The Thought Of You', l'orecchiabile 'Love is all there is' e 'Motivation' in cui la chitarra acustica di Bottrell e quella elettrica di Jeff Trott si fondono con la voce della cantante. Chiude il disco la dolcissima dedica al figlio 'Lullaby For Wyatt'. 'Detours' è un disco completo, interessante sia nell'ascolto musicale che nella lettura dei testi, un ottimo ritorno per Sheryl Crow.
(Agr - Elisabetta Corsini)
[NEWS] CONTROL ROOM PERFORMANCE COMING SOON
Control Room Offers Music Fans Exclusive Access to Live Performances of Brand New Music from International Superstars Sheryl Crow and Lenny Kravitz
Pre-Tour Showcases for Sheryl Crow and Lenny Kravitz Available Exclusively Online
LOS ANGELES — Control Room announces live performances from Sheryl Crow and Lenny Kravitz this month, showcasing their latest hits from their new albums. With nearly four years between records, the much-anticipated Detours from Sheryl Crow and It Is Time For a Love Revolution from Lenny Kravitz debuted in the top-five of Billboard's top-100 and fans of these chart-topping artists will have the hottest ticket in town as they gain access to two sold-out shows from the comfort of their homes. Control Room offers the only opportunity for fans worldwide to experience these memorable performances and never-before-seen backstage interviews, with Lenny Kravitz on February 28 at http://music.msn.com/lennykravitz and Sheryl Crow on March 6 at http://music.msn.com/sherylcrow.
"We're excited to be the first to bring fans the live performances from these two artists on the heels of their latest releases and before their official tours begin," said Aaron Grosky, president of Control Room. "This translates into an enhanced musical experience for fans and fantastic additions to our live music series on MSN 'Music In Concert.'"
The Sheryl Crow concert was captured at New York's Irving Plaza where the nine-time Grammy-winner performed new songs, along with classics, "Leaving Las Vegas," "If It Makes You Happy" and "My Favorite Mistake." Lenny Kravitz performed new singles "Bring It On," and "I'll Be Waiting," from It Is Time For A Love Revolution, which was released on February 5, to an intimate crowd at the Riviera Theatre in Chicago.
Control Room and MSN "Music in Concert" (http://music.msn.com/inconcert) have delivered the biggest names in music, including Rihanna, Akon, John Legend, Pussycat Dolls, James Blunt, and many more, to audiences worldwide.
About Control Room
As the leading producer and distributor of world-class entertainment, Control Room's live music programming showcases the world's biggest artists from a variety of venues through multi-platform broadcasts via television, broadband and wireless platforms. Control Room has produced and distributed nearly 100 live music events delivering the highest quality productions in the industry with 8-10 camera shoots in Native HD (1080p) and using Dolby 5.1 to ensure the most compelling audience experience. In 2007, Control Room produced the largest entertainment event in history, Live Earth. On July 7, 2007, the 7-continent, 24-hour music extravaganza featured 150 of the world's leading artists to raise awareness for the Climate Crisis with a message of solutions and personal responsibility.
Control Room Ehrin Cummings, 310-550-3883 firstname.lastname@example.org
Monday February 25
[VIDEO] VIRGIN RADIO ZOO SESSION "SUNDAY NIGHT LIVE" - FEBRUARY 2008
Interview + 6-song set - 55 minutes
"Everyday is a Winding Road"
"Shine Over Babylon"
"If It Makes You Happy"
"Love is Free"
Saturday February 23
[VIDEO] THE FILLMORE - FEB 6, 2008
Out of Our Heads
[VIDEO] THE SHOCKWAVES CHART SHOW - FEBRUARY 22
Love is Free DiVx - 704x400 - 16:9 - stereo - 20 mb
(Thanks Rob :-)
[NEWSPAPER - ITA] REPUBBLICA - FEBRUARY 20, 2008
Thanks Bravo Sierra!
SHERYL'S BLOG: "OUT OF OUR HEADS" AND THE CHILDREN OF ABRAHAM
I'm thrilled that we are having such an enthusiastic reaction to the song, "Out Of Our Heads" when we play it live. It gives me great hope that we are all on a course toward waking up and embracing the future as our own. To prevent any misunderstanding over the phrase, "Children of Abraham," I'd like to take this opportunity to clarify what this phrase means and what it's inception was.
Abraham is a prominent figure in both the Torah and the Koran, as well as in the Old Testament. He is claimed by both Arabs and Jews as their ancestor. In a statement from my co-author, Bill Bottrell writes, "The song invokes the phrase, "Children of Abraham" as a plea for peace between Islam, Judaism, and Christianity. We point a finger at the media and the leaders in any camp who incite hatred based on historical feuds. In the song, all parties are gently challenged to reconcile the past and ignore the war-mongers."
For further information on the phrase "Children of Abraham," please see these links:
Sheryl Crow - Detours Review
More like a u-turn, but a welcome return.
by Chad Grischow
February 22, 2008 - Quick, someone handcuff Sheryl Crow and producer Bill Bottrell together. Not that the sweet voiced singer has released much in the way of duds over her career, but there was something special with her sparkling Bottrell produced debut, Tuesday Night Music Club, that, along with Bottrell, makes a triumphant return on her sixth album.
The album might be a thematic detour, but sonically, Bottrell and Crow pull a u-turn; returning her to the rustic acoustic twang that made her debut so irresistible. The hard-living, drink-all-night, sleep-all-day sunny tone has certainly come and gone, but the homespun, soul-baring charm of Crow is back. In many ways, Crow's latest feels like a weathered response to the carefree innocence of her fantastic, free spirited debut. After some rough recent years, including a broken-off engagement and a battle with cancer, Crow has more on her mind at this point than men and drinking. Sure, they are here too, but hard looks at politics, war, and survival far outnumber them.
Spirited spoken-word verses lead listeners to the year 2017 on sixties-inspired guitar and organ shimmy "Gasoline", where the people of the world unite and attack the oil fields demanding free petrol. It is better in theory than execution, as the shout-a-long hook and the spoken verses fail to mix well. She takes on world peace with mysterious middle-eastern vibe on "Peace Be Upon Us", sounding something of a clone of Prince's "Thieves In The Temple", with the repetitive, bland hook dragging down what is otherwise a compelling English-Arabic duet. She takes on the war's reasoning on the home-recorded lo-fi acoustic strummer "God Bless This Mess" with, "The President spoke words of comfort with teardrops in his eyes / Then he led us, as a nation, into a war based on lies".
A twangy gleam fights through the dark, moody edge of "Shine Over Babylon", signaling the end of the world. She turns a sharply critical eye towards the idolization of spoiled rich kids and their 'get everything free' lifestyle on the stinging bounce of acoustic "Motivation". When not taking on the world's issues, Crow takes a look at her own life experiences for inspiration on songs like the churning lap-steel and organ fuelled "Diamond Ring", practically throwing the titular item back at her ex, "Diamonds may be sweet / But to me they just bring on cold feet". No song feels as personal and emotional as the haunting "Make It Go Away", with a pleading conclusion that will haunt you long after over.
Even the seemingly innocuous love songs feel defiantly personal this time around. Cautiously happy with her sudden freedom, "Now That You're Gone" is a fantastic post-breakup gem full of entangled electric and acoustic guitars and swelling strings in support of Crow's aching vocals. Brutally honest lines, like, "I'm afraid some long lonely road / Will lead me back to you again", jab in the verses while the soaring hook celebrates his absence. She pours herself into the glistening "Love Is All There Is" for a heart wrenching break-up song about the loneliness at the end of a relationship. Only the vibrant "Love Is Free" pop tune, with its bouncy acoustic and rubbery bass, feels like it does not contain an actual piece of Crow's life in it.
Detours is a welcome return to the acoustic charm of her debut, also marking the most consistent release of her career. Sheryl Crow has never sounded so honest, refreshing, and just plain good.
2. "Love Is All There Is"
3. "Love Is Free"
4. "Now That You're Gone"
5. "Shine Over Babylon"
[POLL] AND THE WINNER IS...
POLL 1 : YOUR FAVORITE STUDIO ALBUM (DETOURS NOT INCLUDED)
1) The Globe Session 43.32% (94 votes)
2) Sheryl Crow 27,19% (59 votes)
3) Wildflower 12.90% (28 votes)
4) Tuesday Night Music Club 8.76% (19 votes)
5) C'mon, C'mon 7.83% (17 votes)
Total Votes: 217
What? Wildflower above TNMC? Now, that's really interesting (or perverse... depends on your viewpoint :-) Anyway, the Super Winner is The Globe Session with the 43 percent of the preferences. A well-deserved honor for a beautiful and superbly produced album (hell, I miss Trina Shoemaker!). TGS works because the hooks that get you are both musical and lyrical. There aren't many catchy songs, just well-executed, crafty little tunes, with a great instrumental support (check out the album credits).
Here's the results from the same survey I conducted in 1999
1) Sheryl Crow 39%
2) Tuesday Night Music Club 31%
3) The Globe Session 29%
Next poll will start in May 2008, and it will include "Detours".
PS: i voted for Sheryl Crow, if you ask me
POLL 2 : YOUR FAVORITE DVD
1) C'Mon America 2003 53.29% (89 votes)
2) Rockin' the Globe 17.96% (30 votes)
3) Wildflower - live from NY 14.97% (25 votes)
4) Live in London 13.77% (23 votes)
Total Votes: 167
No surprise here, but the "Live in London" surely deserves a better position!
Thank you to everyone who participated!
Friday February 22
[NEWS] SHERYL CROW TO HEADLINE NEW ORLEANS JAZZ AND HERITAGE FESTIVAL
SANTA MONICA, Calif., Feb 21, 2008 /PRNewswire via COMTEX/ -- On April 25, nine-time Grammy winner Sheryl Crow will headline the first night of this year's New Orleans Jazz & Heritage Festival (also known as JazzFest) as part of a short run of dates -- a preview of her extensive upcoming summer tour. Last week Crow's sixth studio album, the highly personal Detours, debuted on Billboard's Top 200 Album Chart at #2, and has already been hailed as a classic. The album marks the return of producer Bill Bottrell and "USA Today" calls it "Crow's Magnum Opus."
New Orleans holds a special place in Crow's heart; she recorded her eponymous second album there, and she pays tribute to the city's undying optimism and resilience in her current single, "Love is Free."
Crow will also be playing dates in Wichita, KS (April 22), Tulsa, OK (April 23), Pensacola, FL (April 26), Jacksonville, FL (April 27) and Clearwater, FL (April 29) in preparation for her full-scale nationwide tour this summer. One dollar from each ticket sold will go to the United Nations' World Food Programme.
Pic 1: Sheryl attends Dolce & Gabbana show during the Autumn/Winter 2008/2009 women's collections at Milan Fashion Week on February 21, 2008. Photo: AFP / Giuseppe Cacace
Pic 2: Sheryl poses for the photographers - Photo: Reuters / Stefano Rellandini
Pic 3: Sheryl wears a creation part of the Dolce & Gabbana women's Fall/Winter 2008/2009 collection Photo: AP / Luca Bruno
Pic 4: Sheryl with Naomi Campbell
Pic 5: the Goddess ;-)
EspritLibre: Dolce e Gabbana... potpotpot...
[VIDEO - ITA] INTERVISTA: UN DISCO PER SVEGLIARSI
[LIVE] SHERYL TO PERFORM AT CENTURY II APRIL 22
Grammy-winning rock singer Sheryl Crow will perform a concert on April 22 at Century II, Brett Harris with radio station B-98, one of the presenting sponsors, said today.
A spokesman for Century II would not confirm the performance, saying details had not yet been completed.
Harris said tickets were to go on sale Friday through WichitaTix, at 316-219-4849, or at www.wichitatix.com. Ticket prices were not immediately available.
Crow's hits include "Everyday is a Winding Road," "A Change Would Do You Good" and "If It Makes You Happy."
Source: Wichita Eagle
[INTERVIEW - ITA] LA MIA RINASCITA FOLK: UN FIGLIO TI FA PRENDERE LA VITA PIU' SUL SERIO
Milano - In fondo il volto di Sheryl Crow è la miglior recensione del suo nuovo disco Detours: è bello di quella bellezza da ventre dell’America, da Missouri dimenticato dal mondo, ed è attraversato da rughe asciutte, sensuali e pensierose. E così lei ieri era a Milano per parlare, certo, delle sue nuove canzoni ma anche per annunciare pure a noi dell’altro mondo che è rinata dopo il tumore al seno, dopo aver lasciato il super campione di ciclismo Lance Armstrong e aver adottato, da single, un bimbo di due settimane. Adesso Wyatt Crow ha più o meno nove mesi e lei gli canta la ninnananna in Lullaby for Wyatt che è l’ultimo dei quattordici brani e uno dei pochi in cui lei parla di lei, si confessa lasciando perdere l’impegno politico, o meglio sociale, e smette di essere quello che è: il vero guru al femminile della generazione di quarantenni che non guardano Desperate Housewives, hanno una vita piena di cose alle spalle e sanno come iniziarne un’altra con cose diverse. Laureata (all’Università del Missouri) e majorette (al liceo della sua città), Sheryl Crow ha appena compiuto 46 anni, venduto tonnellate di dischi con il suo folk rock ed è talmente competente da non aver bisogno di aggrapparsi a slogan usa e getta. Parla e dice tutto. Tipo: «Dopo aver adottato un bambino, le cose si prendono molto più sul serio» e sarebbe una frase ordinaria se a pronunciarla non fosse un’ex corista di Michael Jackson, ex amante di Eric Clapton, vincitrice di 9 Grammy, pianista e bassista e chitarrista che ha visto il mondo da tutti gli angoli possibili, specialmente da quelli nascosti.
Sheryl Crow, lei è una delle poche cantanti che hanno ancora fede nel rock.
«Mi piace sempre credere che la musica possa cambiare in meglio il mondo».
Però è ancora obbligata a cantarne la tristezza. Come in Peace be upon us, in cui duetta con l’arabo Ahmed Al Hirmi.
«Il mio produttore Bill Bottrel ha chiamato un suo amico, un principe arabo, che ci ha messo in contatto con quest’artista».
Ma cantate pure in arabo.
«E per imparare la fonetica sono stata aiutata da un mio collaboratore di madrelingua. E in più ho smanettato molto su internet».
Ormai tutto passa da lì.
«Per molto tempo la tecnologia non è stata di grande aiuto per chi fa musica. Ma adesso dà una mano grossa così, persino per approfondire concetti lirici».
E non solo quelli. Anche le presidenziali americane corrono su YouTube.
«Di sicuro lì si possono avere molte informazioni in più su candidati e programmi».
A lei basta un disco. In Detours ci sono riferimenti ai disastri ambientali (Gasoline suonata con Ben Harper) e a New Orleans devastata da Katrina (in Love is free)...
«Ma internet aiuta la gente a capire meglio la realtà che ci circonda specialmente in politica, dove finalmente una donna e un nero concorrono per la Casa Bianca».
Lei chi ha scelto, Hillary od Obama?
«Nessuno dei due, accetterò il verdetto del Partito democratico».
Però internet è intasata anche dal gossip. Ha sentito del matrimonio lampo del premier Sarkozy con Carla Bruni?
«Mi sembra che lei sia molto attirata dal potere e anche dai musicisti. Sapete, Clapton, Mick Jagger eccetera. Però il gossip non mi piace, non so se nasca dai lettori o dall’offerta assidua dei giornali».
Problema vecchio. Però qualcuno dovrà farci i conti.
«Di sicuro, specialmente dopo il caso Britney Spears, i genitori adesso dovrebbero chiedersi come mai i loro figli sono ossessionati dalla celebrità o da pazzie tipo perdere la verginità sotto i 15 anni».
«Lo porto sempre con me: è qui al piano di sopra».
Chissà che musica ascolterà da grande.
«Anche se il jazzista Herbie Hancock ha vinto il Grammy per il miglior album, come in passato hanno fatto altri grandi come Steely Dan o Tony Bennett, credo che il futuro della musica passi ancora dall’impegno, dall’idea che non bisogna essere superficiali e credere che ogni piccolo comportamento sia fondamentale. Adesso io vivo in campagna a 45 chilometri da Nashville e vedo la vita per come è: un insieme di questioni importanti che devono ancora essere affrontate».
[NEWS - ITA] INTERVISTA A SHERYL SU JAM DI MARZO
Quel vecchio marpione di Paolo Vites e' riuscito per la quarta volta a intervistare Sheryl. Non e' un uomo fortunato?
Sul suo blog trovate un breve resoconto dei quattro incontri, avvenuti nel 1998, 2002, 2005 e 2008:
L'intervista - come anticipato dal titolo - sara' pubblicata sul numero di marzo di Jam Non perdetevela!
Grazie ancora una volta Paolo!
[NEWS - ITA] SHERYL CROW A MILANO: CANTO IL RISVEGLIO MIO E DELL'AMERICA
E' una Sheryl Crow rilassata e sorridente quella che oggi, 19 febbraio, incontra la stampa italiana per presentare il suo nuovo disco “"Detours”". Pantaloni sfilacciati e stivaloni da cowboy, fisico da ragazzina e sorriso a 32 denti e una risposta per tutti: una Sheryl Crow sembra rinata, dopo la fine della chiacchierata storia d'amore con Lance Armstrong e dopo aver superato un tumore al seno. E' soprattutto grazie all'arrivo del figlio adottivo Wyatt, che la accompagna. Non è con lei durante la conferenza stampa (perché rovinargli un'infanzia serena e innocente facendogli incontrare dei giornalisti a pochi mesi di vita?), ma lo si intravede nei corridoi dell'hotel, accudito da una ragazza dello staff della cantante.
“"Il titolo 'Detour' vuole raccontare un risveglio", spiega. "Personalmente mi sono risvegliata durante una seduta di radiazioni per curare il tumore, chiedendomi chi ero e cosa davvero importava per me. La sofferenza ti fa capire molte cose"”. Ma più che le questioni personali sono quelle sociali che sembrano interessare Sheryl Crow: “"Come nazione, noi americani ci stiamo risvegliando solo ora, accorgendoci di essere finiti fuori strada, su una deviazione, un 'Detour' appunto. Finalmente iniziamo a chiederci come siamo finiti in questa guerra inutile e come possiamo uscirne”".
Di politica la Crow parla nel disco in canzoni come il singolo “"Shine over Babylon"” o in canzoni come “"Peace be upon us"”, dove canta in arabo: “"Sono andata in Rete a cercare la frase che volevo tradurre, e poi mi sono fatta aiutare per la pronuncia. Mi sto accorgendo solo ora di che fantastico strumento sia la Rete: prima ero molto preoccupata dal fatto che la gente scaricasse la mia musica, ora mi rendo conto che strumenti come YouTube permettono di creare qualcosa e condividerlo subito. Voglio che più gente possibile ascolti la mia musica”".
A proposito di internet, è innegabile l'effetto che sta avendo sulla campagna elettorale americana. "“Vero, è possibile avere informazioni sui candidati in tempo reale. Barack o Hillary? E' fantastico che si possa scegliere tra due opzioni di questo livello, una donna e un uomo di colore. Sosterrò chiunque dei due diventi il candidato ufficiale. Ma credo che la nostra campagna elettorale sia troppo lunga: non è possibile che duri tre anni, e che costi così tanti soldi.”
Ne ha anche per il mondo della musica, non solo per quello della politica: “"Tutti questi reality che lanciano cantanti e tutto questo pop significa che si sta investendo più sull'intrattenimento che sui noi stessi. Purtroppo, come dimostrano casi come quello di Britney Spears, ho la sensazione che non abbiamo ancora toccato il fondo, e che alla gente piaccia leggere e vedere queste storie. D'altra parte mi pare che tutte queste pop-star che si stanno autodistruggendo abbiano o abbiano avuto come manager i propri genitori, che usano i propri figli per compiacere se stessi. Da madre è qualcosa che mi fa molto male”".
Nonostante non siano ancora state fissate date, Sheryl arriverà in Europa a giugno, passando probabilmente anche dall'Italia, forse dal festival “Just like a woman”.
Valentina Giampieri di Menstyle.it ha pubblicato sul suo spazio web "Degna di Note" un piccolo post e una manciata di foto scattate durante la conferenza stampa di "Detours", avvenuta ieri all'Hotel Principe di Savoia di Milano.
Sheryl Crow has a new album out, so she invited the national press here to talk about her music, motherhood and her Williamson County farm.
Sheryl decided to buy land in Tennessee during her 2006 bout with breast cancer because she realized she wanted to be closer to her family. She has a sister who lives here, and her parents are in Kennett, Mo. Sheryl shared a burger with a Rolling Stone reporter at College Grove's Bethesda Market & Deli, where she keeps a tab. The magazine reports that her 17 horses have chewed the leaves of the maple trees that line her farm, which just grew after she purchased more than 100 acres from a neighboring farm.
"In fourth grade, I asked Santa to bring me a horse, and he never brought me one," she tells Rolling Stone. "I'm getting back at him."
Sheryl, who also has an apartment in New York, has decided to sell her Los Angeles home and make Middle Tennessee her home base.
She tells Rolling Stone that she wrote and recorded the album, Detours, at her farm. "Out here at the farm, where there's no semblance of civilization, I felt isolated, safe. I was just in my own cocoon, where it was just me and the baby and the guitar and the newspaper and whatever I would allow in, which was very freeing."
She met with Reader's Digest in Lillie Belle's Tea Room in Franklin. "We're building a chicken coop and planting an organic garden," she tells Reader's Digest. "We've got a stocked fish pond. I don't know about the beef thing. It's too hard for me to have a couple of cows and then kill them and eat them."
Tuesday February 19
[VIDEO] JOOLS HOLLAND - FRIDAY FEBRUARY 15, 2008
"Out of Our Heads" / "Love is Free" / "Everyday is a Winding Road"
Interview xViD - 720x416 - 16:9 - stereo - 54 mb
Taper: pumpanani1 LIneage: Pure DVB > TVBook Pro > iMovie HD > iDVD > AutoGK/xViD
Audio: PCM 2/0.0, 1536 kbits/s
Video: MPEG-2, 720x576, 25fps, 16:9, PAL
Monday February 18
[BOOTLEG] SUNDAY NIGHT LIVE WITH BEN JONES (VIRGIN RADIO) - FEB 17, 2008
Sunday Night Live With Ben Jones, Virgin Radio
Sunday February 17, 2008
01 - Intro
02 - Everyday Is A Winding Road
03 - Interview
04 - Shine Over Babylon
05 - Interview
06 - Band Intros
07 - If It Makes You Happy
08 - Interview
09 - Detours
10 - Interview
11 - Interview
12 - Strong Enough
13 - Interview
14 - Love Is Free
MP3 - 192 kbps - stereo - 63 mb
Thank you once again, Rob!
Sunday February 17
[PICS] SEMPER FI!
Photo: Chris Hudson - click to enlarge
Jackson County Fair, Jackson, Mississippi - August 6, 2003
[REVIEW] DETOURS - CHICAGO SUN-TIMES
By Jim DeRogatis
Sheryl Crow has long since reached the level of celebrity where her personal narrative is hard to separate from her artistic output; it's obligatory to note that in the two years since her last album "Wildflower," her romance with star cyclist Lance Armstrong foundered, she won a battle with breast cancer, she moved to the hills outside Nashville and she adopted a baby. But if you're expecting any of these so-called "Detours" to yield profound emotional insights on her sixth album, you don't understand the fundamental appeal of the 46-year-old lite-rocker: Her lyrics are about as profound as the average fortune cookie, but damn, she rarely fails to deliver a heap o' hooks ideally suited to her husky, barroom-at-closing time voice.
I say rarely because "Wildflower" was a dreadful disappointment in this regard -- a soggy, sullen bore that eschewed soaking up the sun and having some fun in an attempt to make capital-A "Art." Crow has still got Big, Serious Thoughts on her mind here. But she has reunited with producer Bill Bottrell, her collaborator on 1993's career-defining "Tuesday Night Music Club," and whether she's addressing America's political woes ("God Bless This Mess"), environmental catastrophes past and future ("Love is Free" and "Gasoline"), her aforementioned health woes ("Make It Go Away [Radiation Song]") or that rotten bum Lance ("Diamond Ring" and "Now That You're Gone"), she remains relentlessly and almost convincingly glass-half-full optimistic. And that fits her guilty pop pleasures just fine.
[REVIEW] DETOURS - THE SUNDAY TIMES
By Dan Cairns
Everything that is good about her, and none of what isn’t – that just about sums up Sheryl Crow’s sixth studio album. The gimlet-eyed old trouper, appropriating styles for sales figures, is absent; and the communicator who understands that the well-worn combi of vocal and rock guitar can still ensnare you utterly, all present and correct. Reunited with Bill Bottrell, who produced her debut album, Tuesday Night Music Club, Crow sounds liberated, as indeed she is: from the cancer that invaded her, from the fallout from her relationship with Lance Armstrong. The strengths that first propelled her to stardom – a talent for strung-out narratives, set to killer, if ramshackle, tunes; an unblinking emotional veracity – are here in abundance, on the biting God Bless This Mess and Gasoline, on the heartfelt title track and Make It Go Away (Radiation Song), on the loose-limbed Out of Our Heads and Peace Be upon Us. Detours is a real return to form.
4 out 5 stars
[REVIEW] DETOURS - TOLEDO BLADE
By Richard Paton
Sheryl Crow reunites on her new release with Bill Bottrell, who produced "Tuesday Night Music Club," so it's no surprise that "Detours" sounds good, whether she is singing to a folk-style acoustic guitar, fronting sturdy, guitar powered rock, or kicking with a swampy retro vibe.
But Crow has been through well-publicized bad times - her break-up with Lance Armstrong, a battle with breast cancer. And despite her obvious joy at the adoption of her son, who guests with gurgles on the final cut, for the most part this disc has a darker tone.
Upset about the war in Iraq? Check. ("God Bless This Mess"). Miffed at the aftermath of Hurricane Katrina? Check. ("Love Is Free"). Concerned about killing in the name of God? Check. ("Peace Be Upon Us," with some Arabic lyrics). Angry at environmental decay? Check. ("Gasoline").
So by the time you're five tracks into the album it's not like she doesn't have a point, but isn't there some lightness amid the gloom?
Not so much. Now we're on to songs about break-up ("Diamond Ring") and breast cancer ("Make It Go Away (Radiation Song)").
Crow wraps up the disc, which debuts at No. 2 on the Bilboard charts, with the beautiful "Lullaby For Wyatt," but for most of its length, "Detours" is a downer.
[REVIEW] DETOURS - SAN FRANCISCO CHRONICLE
By Joel Selvin
The reason the new Sheryl Crow album is probably her best since her smashing 1993 debut, "Tuesday Night Music Club," may well be the return of "Tuesday Night" producer Bill Bottrell, who moved to Mendocino immediately after finishing the first Crow record. If it took 15 years for these two to come together again, the result is worth it, a scintillating collaboration, colorful, vibrant and pointed. Crow starts off concerned with world events and winds up with some of the most personal songs she has ever written. It's all wrapped in strong, detailed production, from the Stones-like crunch of "Gasoline" to the semi-funk groove and ELO-style strings on "Now That You're Gone," one of several songs apparently inspired by Crow's failed romance with cyclist Lance Armstrong. The record manages to sound fresh and classic at the same time, littered with bits of Beatles-esque melodies and production - "Diamond Ring," another song about Armstrong, takes its cue from John Lennon's most naked emotional solo work. Since she emerged on the pop scene, Crow has done a lot of growing up in public, and "Detours" sounds like the fruit of both personal and artistic maturity.
Aargh, Joel Selvin? THAT Joel "I love to misquote Sheryl Crow's former colleagues" Selvin? ;-)
[LIVE REVIEW] THE SCALA - FINANCIAL TIMES
By Ludovic Hunter-Tilney
Published: February 17 2008
It was a tiny venue for a star who has sold over 25m records. As a result, I was close enough to Sheryl Crow to be dazzled by her perfect white teeth when she smiled, which she did frequently, even while singing songs about collapsing relationships and global disaster.
No matter how depressing the subject matter, Crow can’t help radiating sunniness. It’s particularly evident on her new album Detours, which arrives following a tumultuous time for the 46-year-old. Two years ago, her engagement to Lance Armstrong ended when the champion cyclist abruptly back-pedalled out of her life. A few days later, she was diagnosed with breast cancer, from which she has since recovered. Last year, she adopted a baby boy.
All this upheaval has filtered into Detours, which Crow recently described as “pointed and political and sardonic and caustic”. There are songs about her personal life alongside screeds about war and environmental catastrophe.
She opened with an acoustic number about the Iraq war, “God Bless This Mess”, a pretty but unconvincing pastiche of Vietnam-era protest singers such as Joan Baez. Her straightforward vocals suit rock better than folk, as shown when the backing band struck up on “Shine Over Babylon”, a superbly catchy number in which Crow sang about “cities drowning” and “madman oil drillers” over solid riffs and a spiralling backbeat.
Another fine new song, “Gasoline”, was similarly apocalyptic. A sci-fi parable about oil running out, its futuristic lyrics were balanced by comfortingly familiar musical references, with Crow singing in the style of Bob Dylan while her band did a Rolling Stones impression. The borrowing was made explicit when they briefly segued into a cover of “Gimme Shelter”.
It was likeable but hardly hard-hitting. Similarly, Detours’ title track was vaguely touching about lost love, but the sentiments were washed away by slick acoustic-rock harmonies. A moment in another track when a passionate rasp entered her vocals served to highlight the lack of emotion elsewhere. Still, the smile dazzled and the songs were enjoyable. “All I wanna do is have some fun,” Crow sang in her final number, a signature hit from the early 1990s. The aspiration lives on in her music, if not her lyrics.
Detours (A&M) - 3.5 stars
Published On Friday, February 15, 2008 7:54 PM
By CHRISTIAN B. FLOW
Crimson Staff Writer
If you’ve ever hobnobbed with a bunch of be-suited big-shots (or tried to convince an educated person of the opposite sex that it’d be a good idea to come upstairs and have another drink), you probably know it doesn’t hurt your cause to be informed. Reading the newspaper, watching CNN, keeping an eye on the oil prices—these things tend to work in your favor. And, if you happen to be a singer whose top singles have hooks like “All I wanna do is have some fun” and “I want to soak up the sun,” these activities might signal a legitimizing stride into a world weighing bigger issues than beaches and bars.
Sheryl Crow makes it quite clear where she’s striding from the get-go with her new studio album “Detours,” which bills itself as the work of a contemplative and reborn artist engaging in a weighty wrestling match with concerns ranging from the White House to a bout with breast cancer to a broken engagement with cycling star Lance Armstrong.
The political material comes first, and it comes strong. The album’s first and shortest track, “God Bless This Mess” might well be its best. With an acoustic guitar and a set of scratchy, vinyl-sounding vocals, Crow brings us a sobering vision of a country moving from the unifying emotion and tears of 9/11 to a much less galvanizing involvement in a “war based on lies.” The consequences are starkly depicted: a domestic tableau riven by a young veteran’s vacant manner and a society that’s wrung-out, disillusioned and distant. “Everyone I call up doesn’t have the time to chat,” Crow wearily relates. “Everyone is so busy doing this or doing that.”
From that point forward, Crow delivers five successive tracks with political content. She flashes some of her old colors on the album’s second cut, “Shine Over Babylon,” opening with the languidly conversational, almost flippant sort of vocals (more lazy recitation than melody) that were the hallmark of her number one hit “All I Wanna Do.”
But here, again, the subject matter has a deeper bottom. There’s an allusion to the “seven hills,” presumably of Rome; a couple stark rebukes to capitalist greed (“We celebrate the golden cow / Praise the bloated bank account”); and an invocation of Babylon, whose most salient historical bullet-point is that its walls came tumbling down. These references all paint a picture of an America that’s ready to crumble.
More of the same on “Gasoline,” where Crow, narrating a future oil shortage, takes a swing at “Those bastards up in Washington / Afraid of popping that greed vein.” She also draws our attention to the problem of climate change—the year is 2017 and, with the “sun… growing hotter,” London is suffering “sweltering heat.”
There’s no question that Crow has been reading her World Book—in the space of the first five tracks we’re taken on a travelogue that drops us at Lake Pontchartrain (in the up-beat post-Katrina ballad “Love is Free”), Riyadh, Alexandria, the Ganges, Saudi Arabia, Argentina, and Washington.
Of course, with worldly knowledge there’s always a catch: if you don’t want to sound like the name-dropping tool at a Rhodes Scholar cocktail schmooze, you’ve got to be ready to offer a little something more than a list of proper nouns. And sometimes, in the wake of “God Bless This Mess,” Crow’s erudite message gets a little garbled. It’s not clear, for instance, whether “Gasoline” is advocating a cut-back on emissions or a populist cut in oil prices (which would seem to have the opposite effect).
In the end, it doesn’t really matter, because Crow pulls out of the political ballgame a little more than a third of the way through the album, and starts playing on the old heartstrings. The album’s title track, “Detours,” is a plaintive address to a mother about the pangs of heartbreak (probably a nod to the Armstrong breakup). This is followed by a string of pieces in which Crow is sometimes frustrated and sometimes indignant about the same subject—namely, her shattered heart. One such track, “Diamond Ring,” proves too much for even the patient listener, who might only make it through the first couple rounds of a wretched Crow cawing about the jewelry she couldn’t have at the top of her lungs.
Fresh from her bout with breast cancer, Crow treats the trials of chemotherapy in the chillingly desperate, highly repetitive “Make It Go Away.” Soon after, the album ends inauspiciously with the nondescript, though certainly soothing, “Lullaby for Wyatt:” a stripped-down, decidedly gentle piece aimed at Crow’s recently adopted son, which might do well among tired babies and devotees of easy-listening radio stations.
Crow has made it clear that she doesn’t expect this album to have the success of her multi-platinum breakout work “Tuesday Night Music Club,” which sold over four million copies domestically and also represented her last collaboration with producer Bill Botrell. But at the very least, Crow will probably accomplish two important goals: satisfying her legions of fans with the traditional stuff, and maybe even drawing a sizable contingent of new buyers with the buzz created by her new, politically informed edge.
—Reviewer Christian B. Flow can be reached at email@example.com.
[REVIEW] DETOURS - TELEGRAPH.CO.UK
The best of the new releases...
Making the records she wants to make: Sheryl Crow
Sheryl Crow is an admirable lady. She uses her rock-star status to campaign for the environment and against the war in Iraq. She's beaten depression and cancer, to come through proudly shaking her golden mane and making the records she wants to make.
And since the 1993 release of Tuesday Night Music Club, her mix of country-rock and pop has racked up a whole heap of the platinum discs and Grammy awards. My local B&Q swears by her. The songs rock just enough to keep the steel-capped toes tapping in the powertools aisle, and are just lyrically emotional enough to engage those flipping through the paint charts.
Her seventh album sees her tackling tough topics such as radiotherapy, selfish capitalism and global warming to a familiar pop-rock beat. All credit if her message sinks in for those in the soft furnishings department. But, musically, it's really little more than aural wallpaper.
[LIVE REVIEW] THE SCALA - FEBRUARY 14 - GUARDIAN UNLIMITED
During her reliably dull first phase, when she was synonymous with generic country-rock, Sheryl Crow racked up 25m album sales and nine Grammys. Then, ablaze with late-blooming ire, she began denouncing the "fascist" American government, and her next record, 2005's Wildflower, became her lowest seller to date. Ironic that, having finally become interesting, she has paid for it with diminishing popularity.
Staging her first UK date in two years at the small-scale Scala seems to emphasise that her appeal has become more "exclusive".
That doesn't stop her from filling the stage with an arena's worth of speaker stacks, obscuring the view for a third of the audience.
But nobody minds; people are happy just to be in the same room with her. There is enough love flowing in the direction of the stage that Crow stops singing occasionally and lets the crowd finish the song for her.
Why an artist of no great musical distinction inspires such devotion is something only the faithful could explain.
Even more perplexing is that Crow barely speaks during the set, thus wasting an opportunity to pontificate about the political issues that have been firing her up.
New album Detours is packed with rumination about the mess America is in, but she mentions neither that nor her recent successful battle against breast cancer.
That leaves us with just the music, and if there is a less magnetic singer of faceless west coast pop-rock, I would like to know about it.
My Favorite Mistake, Everyday Is a Winding Road and All I Wanna Do stand out only by virtue of being hits, and most of the new material - save for the gospel singalong Out of Our Heads - barely registers.
Yet grown men are screaming, "I love you, Sheryl!" Eh? As they say in California: go figure.
Jim Abbott | Sentinel Pop Music Critic
February 15, 2008
It has been a tough stretch for Sheryl Crow since the 2005 release of Wildflower.
Her very public relationship with cyclist Lance Armstrong ended and she was diagnosed with breast cancer (which has since gone into remission). As a kicker, Wildflower was a commercial disappointment, by her standards.
Crow has responded with Detours, an album loaded with topical material about Iraq, post-Katrina New Orleans and other relatively deep thoughts. For any singer, that approach is far from risk-free with audiences.
Fortunately, these 14 songs are as musically breezy and accessible as anything that Crow has done. If there's medicine in the lyrics, it's coated in some appealing pop-rock sugar.
Detours is the singer's first collaboration with producer-songwriter Bill Bottrell since 1993's breakout Tuesday Night Music Club, and the result exudes a similar laid-back intimacy on songs such as the lilting title track and the propulsive rhythms of the acoustic "Out of Our Heads."
On the latter, the serious message is leavened by an impossibly cheery chorus that almost sounds like a children's lullaby: "Someone's feeding on your anger," Crow sings, "Someone's been whispering in your ear."
The most pointed lyrics are in the opener, the old-school folk anthem "God Bless This Mess." Crow sounds like Dylan in 1963, singing about "the day the skyscrapers came down" and the president "who led us into a war based on lies."
Also intensely serious is "Make It Go Away (Radiation Song)," Crow's solitary reaction to her cancer treatment. Compared with the other songs, it's an abrupt change of gears. That one, as well as the 4-plus minutes of "Lullaby for Wyatt," makes the second half of the album seem a tad long.
The best parts of Detours put the words into a more energetic context.
With its expansive chorus, "Shine Over Babylon" melds its talk about "cities drowning under boiling fountains" into a grand, gospelly combination of guitars, voices and strings. "Love Is Free," about New Orleans, is a super-catchy ditty that belies the serious message.
Musically, that one and the slinky rocker "Gasoline" recall the charm of "All I Wanna Do." At such moments, Crow shows that even if she has something on her mind, she still knows how to have fun.
[REVIEW] DETOURS - BLENDER MAGAZINE
Rock & roll party girl airs her sense of disgust
Reviewed by Karen Schoemer
Sheryl Crow’s been working up to this. Shortly before the Iraq invasion, she wore a no war guitar strap onstage at the Grammys. Last year she joined environmentalist Laurie David for a Stop Global Warming college tour and sparred with former Bush adviser Karl Rove during a Washington, D.C., dinner. She’s 46, a single mother who’s survived breast cancer and her breakup with Lance Armstrong. The sun-soaking rock-chick persona that’s served her well since her 1994 debut is getting old. She sure seems to think so.
On her sixth studio album, Crow gets superserious, tackling one heavyweight topic after another. “God Bless This Mess” starts as an off-the-cuff acoustic rumination on family holidays, then balloons into a bitter appraisal of Bush’s post-9/11 march to war. “Shine Over Babylon” is a surrealist diatribe about America’s failed Mideast policies. “Love Is Free” condemns the havoc Bush’s Katrina response wreaked on ordinary lives. And “Diamond Ring” is a primal scream about the Armstrong affair: “Diamond ring/Fucks up everything,” she wails. Apparently he’s her least favorite mistake.
For all its ambitions, Detours aims too low. Crow camouflages her leftist ideas in lighter-than-usual Stones grooves and flat arena beats, as if hoping the red-staters won’t notice she’s gone pink. “Gasoline” offers an apocalyptic vision of rioting farmers and Mini Cooper drivers fighting over dwindling reserves, then cheaps out with a feel-good chorus: “Gasoline will be free/Yeah yeah yeah.” “Out of Our Heads” is an unwelcome Madonna moment that marries sermonizing with disco overload. The party atmosphere feels forced.
Detours works better when it scales back. The title track is an intimate country lilt about feeling bereft and unloved and needing her mom. “Mother, teach me to love with a paper-thin heart,” Crows sings, in a pitch-perfect voice hanging between country ache, soul yearning and pop eloquence. It’s cute, it’s sad, it’s a killer and a beaut—just like Crow, when she remembers to trust her instincts.
[VIDEO] GOD BLESS THIS MESS - LATER... WITH JOOLS HOLLAND - EXCLUSIVE PERFORMANCE
Watch Sheryl perform God Bless This Mess in her dressing room
WMV 428x240 - 10 mb - stereo
Friday February 15
[REVIEW] DETOURS - METRO WEEKLY
By Doug Rule
Published on February 14, 2008
For all its strengths, k.d. lang's new album is not as great as hoped, while Sheryl Crow's is her best album yet
Sheryl Crow is 46, the same age as lang. And though she ponders some of the same ideas and notions as lang on her latest album, Detours, she does it with as much spark and even more spunk than she had just 15 years ago when she broke through the mainstream. For the set, Crow reunited with Bill Bottrell, the famed producer behind her debut album Tuesday Night Music Club. That, coupled with inspiration Crow has drawn from all that has happened in her life the past few years, has resulted in the strongest and best album of her career.
Since 2005's middling Wildflower, Crow was diagnosed with breast cancer, broke up with Lance Armstrong and adopted a baby. All of those developments play supporting roles on Detours, helping to give it exceptional range of subject matter and emotion. But Crow focuses more on bigger-picture stuff, from politics to the environment. She strums her acoustic guitar and sings with her mouth pressed up to the mike on album opener ''God Bless This Mess'' to convey the dire weariness of living in a time of war and economic stress.
Two songs later, ''Love Is Free'' is another eminently catchy, straightforward bluesy pop anthem that has become Crow's stock in trade -- she's got four of them on this album alone. But unlike the insouciance of her earliest hit ''All I Wanna Do'' or the carefree silliness of her most ubiquitous, ''Soak up the Sun,'' her new anthems aren't just fun for fun's sake. ''Love Is Free'' is an homage to a post-Katrina New Orleans, where to cope you have to make happiness -- or love -- spring from grief and greed. ''Oh everybody, devil take your money/Money got no hold on me,'' she sings on the song. ''Everybody making love 'cause love is free.''
Chances are, you'll be singing right along with many of these songs after only one playback. You'll probably cry too, over album closer ''Lullaby for Wyatt.'' The beautiful song is very much in the spirit of her debut album's closer, ''I Shall Believe,'' though in this case it's a mother's realistic ode to a young child. ''How do I keep you from losing your way? Hope you'll go out and you'll come back someday.''
With songs like this, it's a joy to come back to Sheryl Crow any day.
Description: Infectious country and blues tinged pop and rock tunes from the multi Grammy Award-winning performer.
In 1993, Sheryl Crow professed that all she wanted to do was have some fun. Fifteen years on, however, things have got a lot more serious.
A fight with breast cancer and a broken engagement with cycling champ Lance Armstrong have caused Crow personal strife, while the US's foreign policy has been the target of a number of public outbursts from the enduring troubadour.
Last night it initially appeared that Crow was in no mood for a love-in. Without a word or a smile, she began the sombre set opener God Bless This Mess, a refrain on the troubled situation in Iraq from her forthcoming album Detours.
While it was an intimate and brave way to start things, the muted reaction it received suggested it was not exactly what the many middle-aged couples in the audience had in mind on Valentine's Day.
The breezy reggae of Love Is Free was closer to the mark, with its bright acoustic guitar and gentle percussion drawing parallels to fellow eco-friendly peacenik Jack Johnson.
Predictably, the biggest cheers were saved for the old classics. Strong Enough prompted a mass singalong, while Everyday Is A Winding Road eventually got the crowd moving with its infectious beat and bottleneck guitar riff.
Crow will play Hyde Park in June, in a bill that includes Eric Clapton. If she keeps the music for the stage and confines the politics to Speakers' Corner then it will be one not to miss.
Source: Evening Standard (thisislondon.co.uk)
God Bless this mess
Shine over Babylon
Love is free
Leaving Las Vegas
Cant Cry anymore
Now That youre gone
Drunk with the thought of you
Out of our heads
If it makes you happy
Doctor my eyes
Soak up the sun (Cmon Cmon)
All I wanna do
[MAGAZINE] SHERYL CROW'S DETOURS: THE SINGER ON KEY TRACKS OF HER NEW ALBUM
In Issue 1046, Crow tells Austin Scaggs how she beat cancer and Karl Rove to return with her most powerful disc yet. Here's her own analysis.
"Love Is Free": Crow lived in New Orleans' French Quarter while recording her second disc. This jubilant, upbeat single reminds her of the Big Easy street bands, and it serves as her tribute to the city. "What I love about the people of New Orleans is their incredible stoicism, and how they manage to find strength through the most difficult times," she says. "This song is about not forgetting who these people are."
"Out of Our Heads": "If we could only get out of our heads and into our hearts," Crow sings in this loose, reggae-ish number, partially inspired by a speech she heard by the Dalai Lama. "I feel like this album leans toward the folk-music tradition," she says. "I think of Bob Marley as a folk musician, in that his lyrics are socially conscious, hopeful and inspiring. The song is a reminder that even when things get dire, now is not the time to sleep."
"Diamond Ring" On this cathartic rocker, Crow bemoans the demise of her relationship with Lance Armstrong (and two previously failed engagements) and channels the vocal grit of Melissa Etheridge, belting, "Diamond ring/Fucks up everything." "The diamond ring seems to symbolize so much," she says, "but at the end of the day it doesn't create any type of foundation."
"Motivation": Crow takes the current class of dysfunctional Hollywood starlets and trust-fund babies to task on this track. "When I wrote it, I was feeling the deluge of news about Britney, Lindsay, Paris and the Olsens," she says. "Right there is just a wealth of inspiration." Best line? "Daddy pays for the wedding with a fistful of dollars/Cost him as much as the state of Guatemala."
Source: Rolling Stone magazine
[VIDEO] ASK A ROCKSTAR: SHERYL CROW
[STATS] DETOURS - TOP 100 ALBUMS IN CANADA - FEB 14
The top selling albums in Canada compiled from a national sample of retail store and mass merchants' reports collected, compiled, and provided by Nielsen SoundScan.
Thursday February 14
[STATS] DETOURS - BILLBOARD 200
[STATS] AMAZON.COM and ITUNES SALES RANK - FEBRUARY 14
[STATS] "LOVE IS FREE" - TRIPLE-A NATIONAL AIRPLAY PANEL - CHART HISTORY
January 4, 2008
January 11, 2008
January 18, 2008
January 25, 2008
February 1 , 2008
February 8 , 2008
February 15 , 2008
* Triple A most added (3rd) - 5 new stations: KBCO (Denver/Boulder, Colorado), KMTT (Seattle, Washington), WCLZ (Portland, Maine), WMMM (Madison, Wisconsin), WRNX (Amherst, Massachusetts)
* Triple A most increased plays (4th) : WRNX +15; WZEW +10; WCOO +9; WTTS +6; WRNR +4; KGSR +3; Sirius Spectrum +3; KTCZ +2; WXRT +2; KINK +2
[STATS] "LOVE IS FREE" - HOT 100 DIGITAL SONGS - FEBRUARY 14
The Hot Digital Songs chart ranks the best-selling digital singles in the United States, according to Billboard.
[STATS] "LOVE IS FREE" - ITUNES TOP 100 SONGS - FEBRUARY 14
44. Love is Free (Interscope)
[PICS] LADIES & GENTLEMEN... THE BAND!
Ed Sullivan Theater, NYC, Feb 4, 2008 - Photo by Chris Hudson (click to enlarge)
[BOOTLEG] BBC RADIO THEATRE - FEBRUARY 13, 2008
Soak Up The Sun
Love Is Free
All I Wanna Do
Now That You're Gone
My Favorite Mistake
Out of Our Heads
If It Makes You Happy
Shine Over Babylon
Everyday Is A Winding Road
MP3 128 kbits - 45 mb - stereo
Wednesday February 13
[NEWS - ITA] JUST LIKE A WOMAN: AD APRIRE IL FESTIVAL SARA' SHERYL CROW
Savona. Ad aprire l'ottava edizione del festival Just like a Woman, nel Complesso Monumentale del Priamar, lunedì 7 luglio 2008, sarà la cantautrice rock-pop statunitense Sheryl Crow.
Chitarrista e polistrumentista, Sheryl Crow ha venduto 18 milioni di dischi dal 1993 ad oggi, ha vinto 10 Grammy Awards ed è stabilmente ai primi posti delle classifiche mondiali.
È nota per il suo forte impegno civile e politico a fianco dei Clinton, contro la guerra in Iraq, per le sue battaglie a favore della ricerca sui tumori, contro la politica sulle tematiche ambientaliste dell'Amministrazione Bush. In Italia ha partecipato all'edizione 1996 del Pavarotti & Friends For War Child cantando in coppia con il maestro scomparso, accompagnati da Eric Clapton alla chitarra, La Ci Darem la Mano dal Don Giovanni e la sua Run baby run.
Il suo ultimo concerto italiano fu nel 2002 all'Arco della Pace a Milano.
La data di Savona al Just like a woman festival (è prevista solo una seconda data italiana a Lucca) è inserita nel tour che porterà Sheryl Crow, oltre che negli USA, in Europa e Australia, per presentare il suo nuovo album Detours, in uscita in Italia il prossimo 17 febbraio.
La madrina di Just like a woman sarà invece Amanda Sandrelli: oltre a presiedere la giuria della Finale del Premio Janis Joplin, l'attrice presenterà il suo nuovo spettacolo musical- teatrale Storie di passioni e di Tango in cui, accompagnata da Giampaolo Bandini alla chitarra e Cesare Chiacchiaretta al bandoneon, interpreterà le pagine più suggestive di alcuni dei poeti e scrittori più famosi della storia argentina, come Jorge Luis Borges.
A completare il cast dell'edizione 2008, saranno le regine della musica Miriam Makeba e Marianne Faithfull, ma le date dei loro concerti sono ancora in fase di definizione.
Il 19 luglio 2008, inoltre, sul palco di Just like a Woman, si svolgerà la finale della seconda edizione del Premio Janis Joplin, il concorso per voci femminili vinto nel 2007 da Marta Mattalia di Cuneo (le 3 selezioni live si svolgeranno invece a Milano il 7 maggio, a Firenze in data ancora da definirsi, e ad Asti il 16 maggio).
In quell'occasione sarà presentato anche il workshop di specializzazione JLW Vocal Camp. Le iscrizioni per concorso e workshop sono già aperte.
A battle with cancer behind her, Sheryl Crow concentrates on her music, her activism -- and her new son.
By Sara Davidson
Focus on the Positive
Successful and in control, Sheryl Crow had won nine Grammys, sold more than 30 million records and was about to marry Tour de France legend Lance Armstrong when it all fell apart. The engagement was broken off—neither will say by whom—in early 2006, and two weeks later, Crow, now 46, was diagnosed with breast cancer. Her health crisis forced her to “let go of the pain of the breakup” and take care of herself.
For 20 years, Crow had ridden a high-speed train. Raised in a small Missouri town by a father who played trumpet and a mother who taught piano, she quit her job as a grade school music teacher when she was 24 and headed to Los Angeles. Writing and performing her very personal, often politically charged songs, she dated stars like Eric Clapton and Owen Wilson and was engaged three times but never married. She spoke out against the Iraq war and global warming, even sparring with Karl Rove, the President’s advisor, at last year’s White House Correspondents’ Association dinner.
After her cancer diagnosis, she underwent a lumpectomy and radiation, took stock and started making changes. She applied to adopt a child, moved to Nashville to be close to her family and in April 2007 welcomed son Wyatt, now 11 months.
With a new CD, Detours, just released, Crow sat down with Reader’s Digest at Lillie Belle’s tearoom, on the outskirts of Nashville, and spoke about motherhood, music and her commitment to change the world.
RD: One of the most personal songs on your new album is “Lullaby for Wyatt.” Do you find it overwhelming to be suddenly caring for a baby?
Crow: Not at all. In my last relationship [with Armstrong], I had three stepkids. And I was a teacher for two years, so it came very easily.
RD: As they approach middle age, some women panic about whether they’ll have children. Did you feel that?
Crow: Not really. My objective wasn’t to bring another kid in, but to love a child and share in the kind of family environment I grew up in.
Face the Music
RD: When did you start taking steps to adopt?
Crow: I was halfway through radiation. In many ways, the radiation process demanded that I decide what I wanted my life to be about. I had to let go of the mommy-and-daddy, two-story-house idea. Lots of children out there need caring parents. If you have one parent who’s consistently there and loves you unconditionally, that’s what I call a functional family.
RD: How do you think having Wyatt will affect your career?
Crow: More importantly, how will the record industry, which is suffering because people don’t feel they need to pay for music anymore, affect my career? That’s a question I would ask way before what kind of impact my son is going to have. As far as my life is concerned now, every decision I make will be based on where he’s at.
RD: Has being a mom affected your dating life?
Crow: I have been dating. But Wyatt’s going to be quite the little gatekeeper when it comes to who gets to stay. Over the years, I’ve been attracted to people who were much more egocentric. Now I’m ready for someone who’s not so consumed by his own life. I want a partner committed to give-and-take.
RD: What’s the best advice you ever got about relationships?
Crow: When I was engaged the second time, I asked my mom how she and Dad made it for so many years. She said that every single day, you have to decide you’re committed to the person. My sisters are both divorced. We look at our parents, who’ve been married 53 years and still walk and laugh together every morning -- and that’s a hard template to live up to.
RD: On one Detours track, you say you “blew up our love nest” by asking for a ring.
Crow: I believe a commitment is a desire to honor and respect somebody and enjoy your life with that person. It doesn’t come from getting a big old honking diamond ring.
RD: Can you say anything more about the breakup?
Crow: I just know that when two people part, it’s always mutual, whether they admit to it or not. Relationships are hard work.
RD: After three busted engagements, do you still think you might marry?
Crow: Oh yeah. In fact, the older I get and the more I learn about myself, the better equipped I feel I become for a relationship. Sometimes the best way to learn is by doing things that don’t work.
Something to Believe In
RD: You sing that love was the illness, and disease the cure, on “Make It Go Away.” Are you saying cancer cured your heartache?
Crow: I was diagnosed after being in a relationship with somebody who’s famous as a cancer survivor. We’re still good friends, and I have a lot of admiration for him. But at the time, it was extremely painful, and what forced me to let go was my diagnosis and what that dictated—which was showing up for myself, handling it on my own, not flying back into that relationship. The only person who can save you is you: That was going to be the thing that informed the rest of my life.
RD: Are you living with the uncertainty that your cancer could recur?
Crow: I was a “good person.” And I thought, How could this happen to me? When you’re diagnosed with a life-threatening illness, you face the idea that good works don’t necessarily lead to a good outcome. And while I believe I’m cancer free, when I’m not feeling so great, [I worry] that maybe I have cancer again.
RD: And does it scare you when that happens?
Crow: No. I’ve finally found an unshakable peace because I don’t fear death. But there are things I fear that I never feared before, like the end of the world for my son, the kind of chaos he’ll have to live through if we don’t pick up steam here.
RD: About 180,000 women will be diagnosed with breast cancer this year. What advice would you offer?
Crow: Get a second opinion. Then let the doctor you feel comfortable with help you navigate the system. Generally, treatments are fairly standard. And try to keep your life as normal as possible. After a while, the cancer seems so much bigger, and you can become invisible. Do something every day that’s in line with what your life was—jogging or reading or getting on the phone with your sister.
RD: Last year, you lobbied Congress with the National Breast Cancer Coalition. Tell us about your work with them.
Crow: I support NBCC because they train and empower women and men to get involved in science and access to care, as well as in the political aspects. I was thrilled to work on their bill to fund research into environmental links to breast cancer. NBCC activists are tackling the difficult matters that need to be addressed if we’re going to see the end of breast cancer, and I will be right there with them.
RD: You’ve always been politically active, but this album seems to take an especially strong stand.
Crow: Having a little baby around while making the record just created this urgency in me. How do you explain to a kid what a polar bear looked like or why it’s so hot in the summer? How do you explain that we inherited this earth and didn’t take care of it, and now it’s going to be up to him to try to put a big Band-Aid on it?
RD: You sing angrily about the war and global warming. Do you see any reason to be hopeful?
Crow: We can’t cling to despair. We don’t have time to wallow.
RD: So how are you planning to help clean up the mess?
Crow: I work with the Natural Resources Defense Council, as well as stopglobalwarming.org. And I’m trying to figure out how to get wind and solar power to my ranch and to get my whole farming community off the grid.
RD: Do you grow your own food?
Crow: We’re building a chicken coop and planting an organic garden. We’ve got a stocked fishing pond. I don’t know about the beef thing. It’s too hard for me to have a couple of cows and then kill them and eat them.
RD: What else can people do?
Crow: It’s doing what you can do. Some things seem expensive but ultimately save you money, like energy-efficient lightbulbs. Driving a hybrid car is a lot less money than a huge gas-only SUV. It’s like what my mom was always talking about when we went camping. We left our campsite looking better than when we got there.
Close-Up with Crow
What are you reading now?
Hunters and Gatherers by Francine Prose, but the same 12 pages for three months. Since I had my baby I read three pages, and then the next night I have to go back and reread two of them.
Best movie you’ve seen recently?
Juno. And I thought Michael Moore’s documentary Sicko was brilliant.
Person you admire at this moment?
The Dalai Lama.
If you could come back as an animal, what might it be?
Probably a yellow Lab.
If you could travel back in time, where would you go?
I would like to have lived during the ’60s, to have seen Hendrix and Dylan, to feel that we as a generation couldchange the future.
[NEWS] NOTHING SCARES SHERYL CROW THESE DAYS
Singer’s newfound ‘fearlessness’ comes through on ‘Detours’
Photos taken in New York on Feb. 1, 2008 by Rick Maiman
NEW YORK - Not much scares Sheryl Crow these days.
Not breast cancer, which she’s battled into remission. Not public heartbreak, which is less raw now. Not writing bolder lyrics, which means less radio play.
“The last three years were a real awakening for me,” Crow says, during a stop to promote her first album since 2005. “I’ve felt a fearlessness I’ve never felt before.”
That bravery is the product of a one-two punch — the diagnosis of a life-threatening illness only days after the collapse of her engagement to bike champion Lance Armstrong.
Last spring, she poured out her feelings in a studio built at her new Tennessee farm. With newly adopted baby Wyatt keeping her company, she knocked out 24 songs in 40 days. The result is “Detours,” a CD that veers from the intensely personal to the unabashedly political, from cancer and love lost to Hurricane Katrina and the Iraq war.
“A lot of defining moments brought me to a place where by the time I sat down to write, I felt not only inspired but urgent about what I was writing about,” she says
A key feature of the new disc is a more strident political stance taken by a songwriter more known for such good-time hits as “Soak Up the Sun,” “All I Wanna Do” and “If It Makes You Happy.” And while she’s been outspoken before about social issues — attacking genocide on “Redemption Day” and guns on “Love Is a Good Thing” — Crow says her new fearlessness can be heard in the evolution of one lyric in particular.
Six years ago, her song “Steve McQueen” originally contained the lines, “We’ve got liars in the White House/And all our pop stars look like porn.” She reluctantly scrapped it, afraid to offend Bill Clinton fans. In the final version of that song, “liars” became “rock stars.”
On the new disc, Crow goes right after the current commander in chief. On “God Bless This Mess,” she sings that President Bush after 9/11 “spoke words of comfort with tears in his eyes/Then he led us as a nation into a war all based on lies.”
“It was almost like, ‘OK, the gauntlet’s been thrown. I’m going in,’ ” Crow says. “I’m not the only one that feels the way I feel. And I don’t feel afraid to say the way I feel.”
Steve Berman, president of sales and marketing at Interscope Geffen A&M, says the album’s content seems perfectly suited to its recent release date — Super Tuesday.
“She’s not afraid ... of running from what’s happening in the world today,” he says. “Sheryl, as an artist, has the ability to do what few artists can do.”
Avoiding the spotlight
Crow, who turned 46 on Feb. 11, looks easily two decades younger than her age. She wears formfitting jeans and a clingy top, highlighting her petite, athletic shape. Her hair is a sun-kissed collection of loose curls.
A product of Kennett, Mo., she lived for years in Los Angeles as a backup singer and then star, and later in Texas, with Armstrong. Now she’s made a home in a 154-acre farm outside Nashville, Tenn.
The intense media interest in her life following the very public breakup with Armstrong and subsequent cancer diagnosis is not something she misses. Her current distance from the tabloids — and, of course, the new baby — have helped clear her head. Wyatt is 9 months old and almost walking.
“I’m really, really happy with where I am in my life,” she says. “And certainly, after having gone through breast cancer, I feel like I have a clear overview. I feel that whole experience really brought me back to remembering who it is I’ve always wanted to be."
On the 14-song CD, Crow deals with cancer (“Make It Go Away”), heartache (“Now That You’re Gone,” “Detours”), cultural understanding (“Shine Over Babylon,” “Peace Be Upon Us”), worldwide rioting over gas shortages by 2017 (“Gasoline”) and flooded New Orleans (“Love Is Free”).
“I grew up in middle America. I grew up with parents that raised me knowing the value of a dollar and with a lot of respect for my elders, a lot of respect for myself and the people around me,” she says.
Fans looking for specific references to former beau Armstrong are out of luck, though the song “Diamond Ring” has the lyric: “Diamonds may be sweet/But to me they just bring on cold feet.”
“I get to talk about it on my own terms, hopefully in a poetic way, in a way that’s inspired from the spirit,” she says. “The gory details aren’t as interesting anyway.”
The new CD sees Crow reconnecting with Bill Bottrell, who produced her 1993 debut album, “Tuesday Night Music Club.” Despite its success, the pair fell out over the proper apportioning of credit.
She called him up out of the blue last year, said a record was welling up inside her like a geyser and wanted to know if they still had a creative “juju.”
“He said, ‘I’ve been waiting for this call for years.’ That made me feel like, ‘OK, we’re on the right course,’ ” she recalls. “I think it’s the most frank record, definitely. And the least crafted record perhaps.”
Wake-up call for nation
Crow hopes the new album is a wake-up call for a nation that’s been in a deep slumber during the Bush years. Her dislike of the administration is palpable.
“A lot of people in my age group I think are talking about the same thing — how in the last seven years, we as a nation have been taken on a grand tour away from what this nation was meant to be,” she says. “I’m feeling awake with not only frustration but with a feeling of possibility and an urgency to try to incite people to owning our power.”
Part of that urgency, she says, comes from worrying about Wyatt and what kind of future he’ll have. He gets his own song on the new CD — “Lullaby for Wyatt.” Crow says the idea of adoption evolved from her experiences over the past few years. She found in the darkness that she had a lot of love to give.
Whether or not her fans snap up the new CD in droves doesn’t necessarily worry her. “Now I’m past the point of really caring,” she says.
“My objective is that I just want to write about the things that really matter to me and that’s how I wound up with a record like this. If it gets played, that’s fantastic.”
Copyright 2008 The Associated Press. All rights reserved.
I am so honored and blown away by your generosity! Thank you SO much for my birthday present of the incredible donations to the Delta Children's Home in my name. It is so dear to me and every little bit helps.
I have always said I have the most wonderful fans but you are well beyond that. You are simply amazing people.
Thank you again....and again.
click to enlarge
This year the Birthday Drive Campaign has collected 14,786 dollars! Thanks to all the generous donors!
Launched for the first time in 2001, the Birthday Drive Campaign over the past seven years, has raised almost 95,000 $.
La cantante americana torna alla vita normale dopo un periodo complicato; la fine di una lunga love story e problemi di salute. Elementi ed avvenimenti che hanno ulteriormente temprato la sua personalità, quella di una donna sensibile, ma forte ed indipendente capace di affrontare e superare ogni prova. Un impeto musicale per esprimere quello che sente, il doloro che ha provato che ora esorcizza attraverso le note di questo nuovo album, ferite inflitte dalla malattia e dall’amore. Mantiene il suo stile, aggiunge qualche innovazione, ma quello che più colpisce la sua fermezza nel proseguire un percorso artistico di spessore.“Detours” è tutto da ascoltare e interpretare liricamente!Guerriera.
Sheryl Crow could not have picked a better name for her latest album. Detours is a departure from the Crow we are used to, following a tumultuous and eventful period in her life. This very different direction is something that is sure to delight fans.
Produced by Bill Bottrell, the album still contains a few of the radio friendly cuts Crow has produced before, but features them alongside some truly heartfelt compositions that really present a different side of Crow. With songs dealing with the breakdown of her engagement (Diamond Ring) and her cancer scare (Make it Go Away), Crow is really laying herself on the line and this stripped down, raw side is deeply touching.
Assured and committed, this album is a wonderful example of what is possible with a great artist, excellent production and an assured song choice. With all of those pieces there, Detours was sure to be a success.
[REVIEW] DETOURS - OHIO.COM
Crow finds her way after making 'Detours'
Latest album is impressive arsenal of styles and vocal approaches
Sheryl Crow seemed destined to meander down one of those winding roads she claims that every day is, adrift into adult contemporary la-la land, where every song is kinda nice and sorta bland.
Following three solid albums, Crow's introspection on 2005's underwhelming Wildflower felt just as forced as the pretend perkiness of 2002's C'mon, C'mon and its pop-pandering Soak Up the Sun single. Her sure-footed mix of rock, country, blues and pop seemed to get lost in some sort of ill-advised chase.
Well, Crow is lost no more. She has found her way with Detours, a remarkable album that is as ambitious stylistically as it is lyrically focused.
Crow certainly has plenty of issues to work through — from her public breakup with Lance Armstrong, a battle with breast cancer and the adoption of her son, Wyatt, to her outspoken views on the environment and the war in Iraq, as well as her dinner spat with Karl Rove. And with the help of producer Bill Bottrell, who helmed her breakthrough Tuesday Night Music Club, she attacks them with an impressive arsenal of styles and vocal approaches.
God Bless This Mess is her twist on a Dylanesque folk song, taking on the Bush administration and showing her support for the troops. Now That You're Gone is a post-breakup song that glides by like a sweet slice of Bonnie Raitt R&B, while the gorgeous, spare Diamond Ring exquisitely draws out the discomfort that comes with busted engagements.
In Gasoline, Crow takes the detailed, party vibe of All I Wanna Do and turns it into a futuristic indictment of government energy policies. Even the current single, the bouncy, Cajun-tinged Love Is Free, mixes the carefree with warnings about crooked politicians.
It's a masterful move she uses throughout Detours and a reminder not to count her out ever again.
— Glenn GamboaNewsday
Monday February 11
HAPPY BIRTHDAY SHERYL!
46 years old and just getting better and better!
Here's a little message for you:
I wish you a very happy birthday and hope you have many, many more
Oh, I almost forgot: Detours is a great record! Really fucking good stuff, really good songs. I just love it!
[GEAR] SECTION UPDATED!
- Gibson Custom Historic 1957 Junior Single Cutaway
Sheryl attends the Ralph Lauren Fall 2008 fashion show during Mercedes-Benz Fashion Week Fall 2008 at Skylight Studios on February 8, 2008 in New York City. Credits: Getty Images; Sipa USA
[SHOP - ITA] DETOURS DELUXE EDITION SU DEEJAYSTORE
Su Deejaystore e' possibile acquistare in formato digitale sia l'intero album (a 9 euro e 99), sia i pezzi singoli (a 0.99 cents), compresa l'esclusiva "Doctor My Eyes", precedentemente riservata ai soli clienti iTunes.
Sheryl Crow has been in the wars somewhat since her last album, Wildflower. She was diagnosed with the early stages of breast cancer in 2006, and then split up with her fiance, US cycling hero Lance Armstrong shortly afterwards. So it's a pleasant surprise to hear that Love Is Free sounds positively buoyant with that 'feel good' factor.
Love Is Free is typical Sheryl Crow really, from the 'one-two-three' count-in to the singalong chorus. The lyrics are inspired by the survivors of Hurricane Katrina, and while there is an unavoidable political bent to some lines ("they kinda like to keep you in your place"), Crow prefers to celebrate the spirit of the people caught up in that disaster.
There are no big surprises here, but after what Crow's gone through in the last couple of years, she's probably just glad to be back in the day job. If you're looking for some superior folky pop, then there aren't many that do it as well as Sheryl Crow.
- John Murphy
[LIVE] REVIEW - LIVE AT THE FILLMORE - FEBRUARY 7
Forty-six years old, cancer survivor, no sex tape, hasn’t done time or been convicted of a crime. Her mistake on her first song of the night indirectly lets you know that you are part of something special — the show you’ve come to see is being performed by quite possibly the last great woman of rock and roll.
“You know there is no lip-syncing here when I am messing up my own lyrics,” Sheryl Crow jokingly comments after blowing a lyric on her first song of the night. She fades back into what will be an otherwise flawless, inspiring, bittersweet performance.
Crow’s refreshing concert forces a comparison to the bitter music world of today being inherited by studio phenoms Britney Spears, Lindsay Lohan and Ashlee Simpson. Simpson, who became infamous for a lip-sync mishap on “Saturday Night Live,” is a stark contrast to Ms. Crow, who is giving audiences something real to talk about. Something that has not been manufactured by studio wizards and synthesizers. Something devoid of all the smoke and mirrors that accompany today’s “dancers” posing as musicians.
You realize you are watching one of the greats, and fear that though Joplin came before her, the performers that come after her will be as synthetic as Pamela Anderson’s chest.
One of her new songs, “Gasoline,” embodies her new call to arms for fellow musicians. “I’m really encouraging artists to write about what’s going on, because we seem to be very distracted by some lightweight topics,” she said. “I think it’s time to start writing about the reality of what’s around us.” The song fades into the final lines of the Rolling Stones’ “Gimme Shelter” — “war, children, it’s just a shot away” — a tribute to one of the greatest rock bands we have known.
Crow doesn’t dwell, she doesn’t preach, she simply rocks. She owns the stage in a very singular manner. A singer/songwriter, you might imagine her as at a loss without a guitar as Santa without a sleigh. But Ms. Crow with or without the guitar seems to dance and groove all night. It’s a rhythm, a soul, an attitude. She is feeling the music and wants you to feel it too. In her hips, in her shoulders, they way she cocks her head, shoots a stare or gestures a hand.
She can move, she can groove; you can only imagine she would have been a force to stand toe-to-toe with had her vocation been basketball. (She actually was a track phenom in high school at hurdles.)
She closes the performance with a song that puts it plain: “All I wanna do is have some fun,” remarking as she finishes, “I really do just want to have some fun, no matter how messed up life gets.”
Her very public breakup with Lance Armstrong peeks its head up as she concludes “You’re My Favorite Mistake” with, “and that list keeps on getting longer.”
“Buy my CD, steal my CD, just listen to it, I really don’t care,” Crow quips. It is not about the money for Crow, she has a message in her music and wants you to listen to it. One of the few acts not selling sex, Crow is selling the raw, honest-to-goodness rock and roll that few possess and fewer are promoting.
Crow is one of the most underrated, under-followed rock acts out there. It should make tickets modestly easy to come by, so go out there and get them, you won’t be sorry. I would have been sorry only if I missed it.
Saturday February 9
[VIDEO] HANGING WITH SHERYL CROW IN NEW ORLEANS
Friday February 8
[TV] VH1'S TOP 20 COUNTDOWN
Don't miss this weekend's edition of VH1's Top 20 Countdown Show with special guest SHERYL CROW Premieres: Saturday, 2/9 @ 9am on VH1 Repeats: Sunday, 2/10 @ 8am & Tuesday, 2/12 @ 9am
[INTERVIEW] A CHAT WITH SHERYL CROW - WWW.BULLZ-EYE.COM
By: Red Rocker (firstname.lastname@example.org)
Interview date: 01/28/2008
Run date: 02/07/2008
Empowered by agelessness, buoyancy, and renewed appreciation for life following a battle with breast cancer, three-time Grammy Award winner Sheryl Crow is back in the spotlight for a relatively novel reason – her music. Crow’s sixth studio album in 15 wildly successful years, Detours, dropped February 5 and marks a reunion of sorts with producer Bill Bottrell. Bottrell helped architect Crow’s debut, Tuesday Night Music Club, which launched a rocket ride for the former Michael Jackson background singer. During some downtime before blazing her latest promotional trail, the new mother found a few minutes between feedings to chat with us about her disgust over this country’s political detours, a fondness for antiquing, and her ongoing pursuit of the perfect song.
Bullz-Eye: So where are you waking up this morning? Is it freezing cold where you are?
Sheryl Crow: Actually, it’s going to get warmer today. I’m in Nashville.
BE: Is that home now?
SC: Yeah. It’s been freezing here, but it’s supposed to get up to like 50 today, which will be very nice.
BE: Well, I’m calling from Dayton, Ohio, home of the fabulous Fraze Pavilion, a place I think you know well.
SC: Yeah, yeah. I actually like Dayton a lot. Good antiquing up there.
BE: If I remember, you stumbled around the Oregon District when you were last in town.
SC: Yep. Yep. (trying to recall)
BE: So you’ve got a new record coming out, which I have, unfortunately, not heard, other than the two video clips I saw on Amazon for “Shine over Babylon” and “Love Is Free.” They were both done acoustically in this particular video. Don’t know if the whole album sounds like that, but what can you tell us about Detours?
SC: Well, I’m trying to think what you would’ve heard…
BE: It was out on Amazon on the retail page for your new album…
SC: Oh, yeah, yeah…that was a little acoustic thing we did for Amazon. The album is not actually acoustic, but there are definitely a couple of songs that are acoustic, one of which is “God Bless This Mess,” which you might’ve seen. The album is very lyrically driven. Thematically, it’s pretty consistent, in that it deals with how life takes us on journeys away from who it is we think we’re going to be and it winds up dictating that we examine who we really are. I think definitely in the last, um, seven years this country has been taken on a massive detour, and we’re gonna really have to figure out how to get back to who we are. So that’s what the album is about. I feel bad you haven’t heard it. It would be much easier to talk about it.
BE: I’m glad I at least got to hear the two songs on Amazon, “Love Is Free” and “Babylon”. “Love Is Free” has got to be about New Orleans, yes?
SC: Yes, it is. I spent a lot of time down there making my second record, and I feel like I have a relationship to the city. How we’ve left these people, we’ve kind of lost them in our consciousness. It’s disparaging. The thing that’s amazing about these people is how they maintain this incredible stoicism that they’ve had throughout history. It’s really what the song is about.
BE: What we see from five or six states away on the nightly news or on the sports programming of the weekend is how New Orleans is back to normal. Just had the National Championship game down there, Mardi Gras is kicking up, come on back down, everything’s back to normal. Something tells me that’s not the case.
SC: No, it’s most definitely not the case. Just by visiting down there you can see that most the city’s not been built back, and it’s pretty grave. But yeah, obviously they want to get tourism going again, and that’s a valuable point.
BE: I know you have some political stands that are near and dear. Is Detours more politics or human nature?
SC: It’s a combination of both. There’s a large section of the songs that are very politically driven and very straight-forward. Not so much political as in stating my case, they’re more just a comment of what’s going on. The idea is that we’ve become desensitized to what’s happening, from the environment to this war to our administration being corrupt. We’ve allowed these things to happen by virtue of the fact that we seem paralyzed by just how much there is to deal with. Then there’s a large part of the record that’s very personal, from relationships to having had cancer to, just, all kinds of things.
BE: Certainly, your life has changed greatly these last few years, from cancer to starting a family to new music. I don’t know how, but we still got you out on the road last summer for a few dates. My wife and I saw you here, in fact, the very week that we discovered she had breast cancer herself. We’ll never forget that week for obvious reasons.
SC: Oh, my goodness!
BE: She’s been fighting it mightily ever since, and we’re finally done with chemo just this week. It’s amazing how the timing of our meeting today came to be.
SC: Wow. My heart is with her. How is she doing?
BE: She’s actually doing very well. It’s the mother in her that keeps her going. As you well know, cancer is a mighty force but it has to take a back seat to being Mom. You can’t stop living.
SC: Oh, well, that’s great to hear. My heart will definitely stay with you. That’s just an intense experience to go through, especially with little ones. Uh, God.
BE: (clearing the air) Looks like Bill Bottrell is back on board for this record. You haven’t worked with him since, what, the second record a little bit?
SC: Since the first record. Well, the second record I think we worked together for one day (laughs).
BE: Obviously still on good terms if he’s back 15 years later?
SC: Yeah, yeah, I think the two of us had our own separate detours we had to experience in order to come back and be fully evolved people. We really had an amazing experience, very inspired and a lot of fun. It was much like a homecoming, just a fantastic experience.
BE: You’ve started to pop up on the CMT and the country format. I guess that probably started with your Kid Rock duet a few years back. Is Detours going to feel, at all, country?
SC: Not particularly. I would say it errs on the side of folk music, although, it’s really hard to say. I think you’ll get it when you hear it. It’s pretty much in-your-face and very heavy at times.
BE: Moving to Nashville recently, what was the draw there?
SC: I’ve been trying to move here for years. My last relationship took me to Austin, but I didn’t follow through with my plan. Once I was diagnosed with breast cancer, I felt like I had to get closer to home. My sister lives here, been here 20 years, and my family all lives within 3 ½ hours. Also, raising a baby by myself, I felt like I needed to have my family. So, the timing just seemed right.
BE: Well, you mentioned it, congratulations on the addition of your son last year.
SC: (Giddy) Thank you!
BE: That’s gotta be a life changer.
SC: It is just a great joy, I have to say. I was ready at this moment in my life to have my life shift. It’s been a real blessing and a lot of fun. He’s a real happy baby, easy going. I’m just in hog heaven.
BE: He’ll be a year old in spring, right?
SC: In May, yeah.
BE: He’ll be walking in no time!
SC: He’s trying so hard to walk. It’s getting more and more interesting. He’s into everything. It’s just really, really, fun.
BE: Career-wise, 15 years ago you’re singing back-up to Michael Jackson. Things had to get pretty crazy pretty fast when Tuesday Night Music Club took off. From there you’re on a run of great albums, great tours, great collaborations. You’ve played with everyone from the Stones to Chrissie Hynde to Kid Rock to Brooks & Dunn last year. What’s left to do?
SC: Oh, man, that’s hard. I don’t think you ever feel like you’ve done everything you want to do. For me, it’s such a compelling time to be an artist right now. I guess I’m always in search of the perfect song, which I don’t feel like I’ve written yet, nor am I sure I ever will. You know, a song like The Beatles “Yesterday.” I’ve been really, really lucky to work with a lot of people I admire and love and have been inspired by. There’s always those people out there to work with, you know, young up-and-comers and also people I’ve already played with. I’m always looking forward to getting a chance to play with (Bob) Dylan or, um, Stevie’s (Nicks) a dear friend and huge source of inspiration. I’ve had the great pleasure of working with Willie Nelson, that’s always fun. You never get bored.
BE: So what are you listening to these days, either on the radio that catches your ear or on your Ipod?
SC: Well, making the record I wasn’t really listening to much. But, well, I’m enjoying Feist and…um, well, who else…I listen to a lot of old stuff. I listen to a lot of country. I don’t have the radio on a lot, but when I do it’s on Willie’s Place, which is an XM station. I guess mostly country music.
BE: When are we going to get a Sheryl Crow station on XM?
SC: (Laughs) Hey, I know! Right?
BE: Am I one step ahead of you?
SC: I know. I’m just not sure if I wanna work that hard.
BE: (Laughs) Are you going back out on the road this year?
SC: Yeah, definitely. We’re gonna do Jazzfest, then Beale Street and a couple other festivals. Then we’re going out the end of April probably through August.
BE: Any hints on who it might be with?
SC: Don’t know yet.
BE: You think it could be a country bill, or will it remain more Pop or mainstream Rock?
SC: I don’t know. We’re sorta in between a lot of tours that could be good pairs. And a lot of people aren’t touring this summer, so we’re just gonna have to wait and see.
Teddy Bear (Interscope Rep): Hey, sorry, I got some other writers lined up. We’ve gotta wrap up.
BE: Well, thanks so much for your time, Sheryl.
SC: Please tell your wife I’m thinking of her and best of luck. Stay strong.
BE: I certainly will. You’ve been a great inspiration to her and we love all your stuff.
New York City, February 7th, 2008 - Sheryl leaving The Fillmore at Irving Plaza - Credit: Doug Meszler
[SET LIST] LIVE AT THE FILLMORE - FEB 6, 2008
God Bless This Mess
Shine Over Babylon
Love is Free
A Change Would Do You Good
Now That You're Gone
My Favorite Mistake
If It Makes You Happy
Drunk With The Thought Of You
Out of Our Heads
Everyday Is a Winding Road
[VIDEO] LATE NIGHT WITH CONAN O'BRIEN - LOVE IS FREE + INTERVIEW - HDTV 720
Love Is Free HDTV 1280 x 720p - stereo - 100 mb
Interview HDTV 1280 x 720p - stereo - 100 mb
[VIDEO] "DOCTOR MY EYES" - LATE SHOW, FEBRUARY 5 - HDTV 720
Doctor My Eyes HDTV 1280 x 720p - stereo - 100 mb
[STATS] "LOVE IS FREE" - TRIPLE-A NATIONAL AIRPLAY PANEL - CHART HISTORY
January 4, 2008
January 11, 2008
January 18, 2008
January 25, 2008
February 1 , 2008
February 8 , 2008
* Triple A most added - 2 new stations: KCUV (Denver, Colorado); WTTS (Indianapolis/Bloomington)
[RECENSIONi] DETOURS - DA JAM! NUMERO 145
Il buon vecchio Paolo Vites ci dice la sua sull'ultimo disco di Sheryl
Detours, di Paolo Vites
Per le sue riflessioni sull’amore (perso) e sulla guerra (in Iraq) la cantautrice si affida di nuovo al produttore del suo fortunato esordio, Bill Bottrell
La notizia, musicalmente significativa, è che Sheryl Crow ha deciso di affidarsi nuovamente a Bill Bottrell, il producer che l’accompagnò nella fortunata avventura di Tuesday Night Music Club, il disco che la fece conoscere al mondo. È una notizia che farà piacere a chi non ha mai amato la Sheryl che si affidava a se stessa, per alcuni troppo glam, per altri addirittura pop. Si potrà discutere sulle capacità compositive della donna, sicuramente non eccezionali (come peraltro tutti o quasi quelli della sua generazione: qualcuno pensava fosse una nuova Joni Mitchell? c’è in giro un nuovo Bob Dylan?), ma discutere sulla qualità dei suoni di un album come C’Mon C’Mon è senz’altro sintomo di poca abitudine alla buona musica. Quello era un disco che dal punto di vista della produzione non aveva nulla da invidiare ai grandi album degli anni 70. Forse anche di più, perché meglio registrato.
Detours a ogni buon conto segna il ritorno ad atmosfere scarne, semiacustiche o a base di rock essenziale e ruvido. Probabilmente non c’è la canzone che spicca su tutte, l’hit single, anche se il livello è medio-alto come sempre la Crow ci ha abituati.
L’altra notizia è che, liricamente, Sheryl produce il suo lavoro probabilmente più coraggioso, aprendosi senza remore sui travagli della fine della recente love story con il campione del mondo di ciclismo Lance Armstrong e poi in alcuni dei suoi brani più politicamente espliciti di sempre.
Di questa “nuova” Sheryl Crow piace allora l’onesta semplicità, la voglia di mettersi a nudo che manca spesso (o quasi sempre) ai suoi colleghi, che preferiscono mascherarsi dietro fumose dichiarazioni pseudo-poetiche. In questo, Sheryl dimostra di appartenere a un modo di intendere la musica prettamente folk.
Ci sono diversi bei momenti, in Detours: la title track, ad esempio, un brano blandamente country con un bel refrain, o l’incazzosa Diamond Ring, dove lascia andare una prestazione vocale maiuscola su base rock (“We made love all day in our little hide away, but I blew up our love nest by making one little request: diamond ring”) per mandare un bel fanculo all’uomo che le aveva promesso di sposarla, salvo pentirsi per paura di perdere chissà quale libertà.
È un buon pezzo anche la dylaniana Gasoline, divertente cavalcata rock-blues in cui si sogna una rivoluzione popolare per il petrolio libero, stile rivoluzione americana del 1776 (della serie: agli americani, più che i diritti civili, è sempre importata di più la libera economia) così come lo è il folk acustico di protesta God Bless This Mess, registrazione lo-fi per sola voce e chitarra (“I heard about the day that two skyscrapers came down, firemen and policemen people came from all around (…) The president spoke words of comfort with tears in his eyes, then he lead us as a nation into a war all based on lies”). Assolutamente coinvolgente e divertente, poi, la caraibica – un po’ bubblegum music un po’ Beatles, quelli più hippy e caciaroni – Out Of Our Heads (questa volta la rivoluzione deve essere in nome dell’amore).
Discorso a parte per Shine Over Babylon, il pezzo politicamente più duro ed esplicito, ma musicalmente non troppo esaltante, e per Peace Be Upon Us, in cui Sheryl canta alcuni versi in arabo, in una sorta di ballad dai toni mediorientali e vagamente psichedelici.
Sheryl Crow is returning with Detours, her first album since beating breast cancer, splitting up with fiance Lance Armstrong and adopting a baby son.
It sees the singer, who has won nine Grammy Awards, tackling political and environmental issues such as the war in Iraq, Hurricane Katrina and oil supplies.
A lot has happened to you in the last couple of years - how have those personal experiences informed and influenced this album?
My life really shifted in a huge way when I was diagnosed, but even more so in conjunction with having a very public split.
All that culminating at the same time really required that I revisit who I had become.
I think that's what these detours in our lives do. They take us on journeys that somehow lead us far away from what our original path was, or who we set out to be, and dictate that we come back and remember who we are.
And that is really happening on a grand scale also in this country. In the last seven years, we've become a completely different nation and we're now realising we're having to address some of the damage that's been done.
Was the writing a form of therapy when you were going through the cancer treatment?
I didn't do any writing when I was going through the whole experience. I really tried to just be in the experience and not run to my guitar or computer to try to distract me.
That was a big lesson for me, to really feel the emotions and work through them as opposed to making myself productive.
Because being productive I think is one of the things that kinda led me to getting sick in the first place, just overworking and constantly being productive.
Are you officially cancer-free now?
As far as I know. I've got one more year before I'm really out of the woods, but yes, I think I'm doing good.
Did that make you take stock of how important some of the political and environmental issues were?
I was really involved in environmental issues for a long time. When [son] Wyatt came along, the environment became a really pressing issue. When you really think about what kind of planet we're leaving for our kids, it's dire and becomes very urgent.
This record allowed me to step back and write about the things that were urgent to me, seeing how we've all changed through the last seven years.
We've learnt to distract ourselves from what's really going on, we've gone to sleep and a lot of the negative that's happened in the last seven years has happened on our watch. But I'm seeing a real shift, and that makes me excited.
Can music change the world?
I love the idea. I'm not sure it can change the world but I certainly think it can resonate in people and start to wake up the molecules, just like Dylan did in the 60s. He became a spokesperson for what people were collectively feeling.
It bound people together, it gave them a common voice. I don't know if we're moving towards that. I'm hoping that as we wake up, then music will begin to matter again and be valued.
Who would you vote for out of the current crop of US presidential candidates?
I haven't really settled on a candidate, but I am really enjoying the idea that it's possible to have an inspired leader again, and I hear that mostly from Obama. The fact that he's really starting to incite some hope in people is promising.
Have you ever considered getting involved in politics?
Hell no. No way. I can serve my country better by being a musician.
Would you say you're optimistic or pessimistic about the future?
I'm very, very optimistic. I'm hoping when people hear this record they'll feel a sense of hope in the lyrics, even though it can sound kind of apocalyptic at times.
I'm hoping people will feel the sense of hope that I feel, that we do have an opportunity here if we can just pull ourselves out of this sleep state and really start to mobilise and create change, start creating our own future.
Detours by Sheryl Crow is released in the US on 5 February and the UK on 18 February. The musician talked to BBC News entertainment reporter Ian Youngs.
[INTERVIEW] THE NEW YORK TIMES - FEBRUARY 5
Basking in the Sun Though Wary of a Storm
By JON PARELES - Picture: Josh Haner
Published: February 5, 2008
NASHVILLE — It had rained hard through Sheryl Crow’s last day of rehearsals with her band as she prepared for her two sold-out shows at the Fillmore at Irving Plaza on Wednesday and Thursday. They were practicing in a converted barn — with carpets on the wall and guitars in overhead racks — at what’s called the Hit Farm in the credits to “Detours” (A&M), the rambunctious and vulnerable album she will release on Tuesday.
The Hit Farm, about 45 minutes from Nashville, is Ms. Crow’s 154-acre ranch, where horses graze, the tractors run on biodiesel, the vegetable gardens are being converted to organic farming, and solar power will provide sustainable electricity.Partway through one of her hits, “My Favorite Mistake,” sunlight came through a window, and Ms. Crow walked away from the band, still singing into her wireless microphone, to get a better look. The late-afternoon sky had turned bright blue, with puffy white clouds, and the view of lush, rolling hillsides had a certain glow.
Ms. Crow recognized it: “Tornadoes,” she said. After rehearsal she was driving a visitor and her two yellow Labradors, Rex and Flossy, to one of her farmhouses, where dinner was awaiting the band and crew. “I grew up in the flattest part of America, and it’s just Tornado Central,” said Ms. Crow, who was born and raised in Kennett, Mo., and turns 46 on Feb. 11. “When the sky looks bright, and it’s been dark all day, and it’s almost nighttime, I just get the creeps.”
She checked the emergency radio as she gave an interview and shared a bottle of Châteauneuf-du-Pape. Nearby, her 9-month-old son, Wyatt Steven, plinked a toy piano under the eye of a nanny and band members. During the interview squalls knocked over garbage cans and slammed her farmhouse doors. A tornado blew through a town just a few miles away.
Storms often lurk behind sunshine in Ms. Crow’s songs. Since the release of her 1993 debut album, “Tuesday Night Music Club,” she has sold millions of albums with the cheerful choruses of hits like “All I Wanna Do” and “Everyday Is a Winding Road,” sung with girlish exuberance over twangy guitars. But those choruses are catchy wishful thinking — an escape from the disenchanted, uncertain verses.
“It’s part of my nature, that grounding part of me,” she said. “While everything is great, there’s still that little, ‘Mmm, everything could fall apart.’ ”
“I don’t believe it, I don’t buy into it,” she continued. “But when you write, if you try to get out of your own way, your subconscious will manage to elbow its own way in there.”
On “Detours,” more darkness surfaces, although the choruses stay hopeful, and there’s a streak of 1960s peace and love. The album begins with songs about the state of the world: the Iraq war in “God Bless This Mess”; what Ms. Crow calls “a little apocalyptic diatribe” in “Shine Over Babylon”; thoughts of a flooded New Orleans in “Love Is Free”; and visions of scarcity and riots in the near future in “Gasoline,” a cowbell-bonking rocker with the joyful chorus “Gasoline will be free!” (At rehearsal, it easily segued into the Rolling Stones’ “Gimme Shelter.”)
Then it turns personal, including the soul-style breakup songs “Diamond Ring” and “Now That You’re Gone” and the desolate “Make It Go Away,” about undergoing treatment for breast cancer in 2006. “I crawl into my circumstance/Lay on the table begging for another chance,” she sings over a sparsely strummed acoustic guitar. “I was a good girl, now I can’t understand/How to make it go away.”
In the three years since Ms. Crow released “Wildflower” — a collection of pensive, string-laden songs that was her first studio album to sell less than a million copies — she has changed everything from her residence to her commercial expectations. Early in 2006 her engagement to the cyclist Lance Armstrong ended. The new album’s title song “was a direct response to the ending of a very public relationship and feeling very, very backed in a corner and also very private,” Ms. Crow said. “I was just feeling like crawling into my closet with a guitar and writing.”
Soon after the breakup her cancer was diagnosed. By the end of that year, after treatment, she had moved from Los Angeles to the Tennessee farm, which is close to family members in Nashville and Missouri. She adopted Wyatt in May 2007.
“Not to sound cornball,” she said, “but writing a record with a new baby, it just makes everything feel so much more urgent. I felt like I had my fist in the air, going I dare you to censor me, I dare you — like a crazy woman.”
After producing her last four studio albums herself, Ms. Crow made “Detours” with Bill Bottrell. He produced “Tuesday Night Music Club,” working with a collective of underdog Los Angeles musicians he had gathered. That album, with its informal, homegrown arrangements, made Ms. Crow a star and sold millions of copies. But it left a bitter aftertaste, as her collaborators — with whom she shared songwriting credits and publishing royalties — squabbled publicly over who deserved what.
“Bill and I never really had any beef with each other,” Ms. Crow said. “When everything went down, he just kind of disappeared from the whole scenario in order to not be in anyone’s corner.”
She added, “In my diplomacy, I never really told the truth about it, which is that the people who worked on the record are who they were before I ever met them. They were discontented and bitter.”
By telephone from his home in California, Mr. Bottrell said: “The truth is hard to describe, but it lies between what all the people were shouting. It was all very vague and very complicated. She wrote the majority of the album. The guys and I contributed writing and lyrics, including some personal things. However, the sound was the sound that I developed.”
Ms. Crow had intended to make her second album with Mr. Bottrell and wrote songs with him, but he left after the first day of sessions in New Orleans. So she produced the 1996 “Sheryl Crow” herself, disproving any notions that she had just been the girl singer on her debut. Songs like “Redemption Day,” about genocide, and “Love Is a Good Thing,” about gun control and consumerism, were the first signs of the political streak that surfaces so strongly on “Detours.”
The experience led Mr. Bottrell to drop out of the recording business for a few years. He resumed his career to produce Shelby Lynne’s 2000 album, “I Am Shelby Lynne,” and was nominated for a Grammy Award as producer of the year.
He ran into Ms. Crow, he said, at a post-Grammy party. “We were both really pleased to see each other,” he said. “She said, ‘Let’s work together,’ and I said, ‘Well, maybe we should talk.’ And she said, ‘Talk? Let’s just work.’ ”
And work, he said, is what they did when they got together. “We never spoke of the old days,” Mr. Bottrell said. “There’s a solipsism about it — you just close your eyes and do it.” He had brought some partly finished songs, including the bouncy, Rickie Lee Jones-like groove of “Love Is Free”; the stately blare of “Shine Over Babylon”; and the hippie-reggae jam “Out of Our Heads.” For the Eastern-tinged “Peace Be Upon Us,” Mr. Bottrell used connections in Bahrain — where he had spent six months waiting to work with Michael Jackson — to find a guest vocalist, Ahmed Al Hirmi, for a verse in Arabic.
Ms. Crow, Mr. Bottrell and a handful of other musicians recorded 24 songs in 40 days — a change, Ms. Crow said, from the agonized decision-making of the albums she produced herself. They made most of “Detours” in the basement rooms that Ms. Crow has turned into a recording studio: a parlor with couches and keyboards, a control room and bedroom-size spaces for guitars, drums and vocals. Her gold records are on the wall.
“It’s the first time I’ve ever hung these,” she said. “I had never taken them out of the packages.”
Now, like many established stars, she is thinking on a smaller scale. “There’s something really fantastic about knowing I’m not going to get played at radio,” she said. “I’m not interested in making the kind of music that would compete in that genre, so it’s great. It leaves me to my own devices without the framework of a pop commercial hit.”
She made a full-scale video for “Love Is Free” but has also released cheap, quick ones for “Shine Over Babylon,” “Gasoline” and “God Bless This Mess” on her Web site and YouTube. For “God Bless This Mess,” in which she sings that the president “led us as a nation into a war all based on lies,” she took her guitar and sang in front of the White House. “You roll out of bed, no hair, no makeup, totally guerrilla, fall out of a van with a couple of guys with video cameras,” she said, “and it’s on YouTube a couple of days later.”
She wouldn’t mind a Top 40 hit, of course, and neither would her label. Songs like “Gasoline” and “Out of Our Heads” sound ready for singalongs, while “Now That You’re Gone” brings classic soul concision to the ambivalences of a breakup. Video treatments awaited her perusal on her kitchen counter as she cuddled Wyatt before taking him off to bed.
“I can’t even read those,” she said with a laugh. “I always tell my manager: ‘Which one do you like? Just give me the brief synopsis. Tell me if I have to do anything stupid.’ ”
As for the album, “I just want people to hear it,” she said. “I’m sure I’m going to get hit from a lot of different angles with the album being pointed and political and sardonic and caustic, but I don’t care. I want people to love it or hate it.”
[DETOURS] 5 NEW REVIEWS
- The Washington Times
- USA Today
- Rocky Mountain News
- Boston Globe
- Dallas Morning News
- Philadelphia Daily News
[VIDEO] TODAY SHOW - INTERVIEW + LOVE IS FREE + WINDING ROAD || HDTV 720
Intro + Interview + "Love is Free"
HDTV 1280 x 720 - Stereo - 130 mb
"Everyday is a Winding Road"
HDTV 1280 x 720 - Stereo - 100 mb
Monday February 4
[NEWS] SHERYL SEEKS RIGHT NOTE FOR DENIM
NEW YORK — With a new album out Tuesday and her first apparel line slated to hit the sales floor in late June, 2008 promises to be a busy year for Sheryl Crow.
As first reported in WWD on Oct. 10, the nine-time Grammy Award-winning singer signed a manufacturing deal with Western Glove Works to develop and distribute a denim-based collection dubbed Bootheel Trading Co. by Sheryl Crow. The new line will be the second celebrity-backed denim collection for Winnipeg, Manitoba-based Western Glove Works, which owns the Silver Jeans and 1921 labels, and manufactures Victoria Beckham's DVB Denim collection.
Crow has had a long relationship with the fashion industry, most recently serving as the face of Revlon Colorist. She's also a front-row fixture at the fashion shows of designers such as Marc Jacobs and Valentino. Despite her apparent enthusiasm for the highest ends of the fashion spectrum, Crow said that when it came time to do her own line she wanted it to reflect her personality and be accessible to a wider audience. Denim was a natural and obvious entry point.
"Denim is a product that represents me from my earliest beginnings," said Crow. "I've always been kind of a jeans girl."
This turns out to be an understatement. Denim was a daily uniform for Crow growing up in Missouri's boot heel, an agricultural region in the southeast corner of the state from which the brand gets its name and inspiration.
"It's well known for cotton farming and God-fearing, good people with a good work ethic," said Crow. "For me it has a lot of meaning."
That heritage has carried over into her career as an entertainer, and denim remains a wardrobe staple. Today, she has more denim in her closet than she can count and a vintage jeans collection that includes classic Levi's styles and Landlubber jeans from the Seventies.
Michael Silver, a partner in Western Glove and the founder of the Silver Jeans and 1921 labels, said Crow's background and knowledge of denim made it easy to find common ground when they met last summer for lunch in Chicago to have preliminary discussions.
"We were all on the same wavelength and it all made sense," said Silver. "It's Americana. It's what she's about and denim was synonymous with her way of life. She lives in it and performs in it."
[BLOG] NEW MESSAGE FROM SHERYL
Hey you guys! As you might imagine, things are off to a hectic start with promoting the new record, which comes out this Tuesday(!), and with rehearsing the band. The new material really sounds rockin' and what's really exciting for me is that we have added some new members to the band. John Button will be playing bass for us and he is super great. The groove sounds big and deep with him laying down the bottom. We found John through the many high profile gigs he's done. (You might remember him as Michelle Branch's bass player when she opened up for us a few years ago).
You may also remember my early drummer, Wally Ingram. He is back in the capacity of percussionist and it is so amazing to have him with me again after all these years. We share some of my favorite touring memories ever, not to mention, he is one tough cookie. He underwent cancer treatment for throat cancer and beat it! Everyday is a kick-ass celebration of life with him back behind me grooving like a madman!
I am excited to announce that yes, I have hired 2 wonderful back-up singers. Nayana Holly, whose dad toured with me as a back-up singer on the Michael Jackson tour when she was just 3 years old. Aging myself here. And Stephanie Alexander. They are both great singers and I feel quite spoiled to have them out with me.
We also have a new sound engineer and let me tell you, the sound is astounding. He is the best there is. Sean Sullivan is his name and he has a long list of credits but more importantly, he is making us sound rocking!
We are playing our first gig with the new material this Wednesday night at The Fillmore NY at Irving Plaza, NYC. I am really looking forward to it.
Will check in periodically.
Sheryl Crowe....oh wait a second...there's no E on the end of my name, for those of who read USA Today. Now, that's just plain good journalism!
Saturday February 2
[ARCHIVE] SHERYL CROW: RACY LADY
Sunday Mirror, Aug 18, 2002 by Jonathan Green
If anyone was ever an unlikely candidate for a stunt driver, it's petite (she's 5ft 3ins) pop star Sheryl Crow. But having decided that loads of dangerous - but cool - driving stunts are what she wanted in the video for her latest single, Steve McQueen, the 40-year-old Missouri- born singer's had to learn about the finer points of burning rubber in order to make the whole thing look realistic. Her aim is to recreate some of the most memorable scenes from Steve McQueen's movies, and M Celebs has been granted exclusive access to the set in a quiet suburb of Los Angeles.
It's two o'clock in the afternoon, and the stillness is suddenly broken by a '67 Ford Mustang, which roars deafeningly through a tree- lined street. Speeding down a hill, it hits a ramp and sails impressively through the air. Surely that wasn't multi-million album- selling superstar Sheryl Crow at the wheel? The car thuds to the ground and skids to a halt. Emerging from it in a blonde wig, and with a pot belly straining under a woman's tight, black top, is what looks like a middle-aged man with a moustache. Can the years of rocking and rolling have exacted this terrible physical toll on the sexy singer?
Well, actually, no. The woman herself - looking slim and gorgeous - appears from behind a crew truck, and makes her way over to us clad in a similar black top to the man on her right. 'It's a testament to a true stuntman if he'll put on woman's clothing,' Sheryl says with a laugh, smiling at Rick Seaman, her alter ego. If you've seen a car chase in any Hollywood film, chances are it was probably Rick taking the pain at the wheel in everything from Charlie's Angels to Lethal Weapon 4 and Austin Powers.
Today, Rick and stunt double Jennifer Caputo are recreating the famous car chase from Bullitt, where McQueen's police lieutenant races after the bad guys at 150mph. Over the next few days, Sheryl will jump motorcycles and race Ford GT's round racetracks - just like in The Great Escape and Le Mans (a lesser-known film about France's annual 24-hour car race). And this time, she's going to do many of the stunts herself.
Sheryl's inspiration for the song harks back to a more simple time before the cult of celebrity, she explains - something she is more aware of than most since her closest friends number, amongst others, Gwyneth Paltrow and Madonna. 'Steve McQueen represents more than just being a famous movie star,' says Sheryl. 'He represents a loss of innocence. Now we are so fixated on celebrity and we know every single detail of our heroes' lives. People of his generation were much more mysterious.'
Yet his character chimes with her own wayward, ripped-denim style rock, evoked in hits such as All I Wanna Do and Everyday Is A Winding Road. 'He represents the great American spirit, the iconoclastic hero, out on the open road, rebellious - he's the American Dream,' the tiny star explains. 'One of the things we were really conscious of was paying homage to the original movie without making it spoofy.'
Sheryl admits to being a bit nervous about what she is about to do. The Mustang has been rigged with dual controls. Rick and Sheryl will tear down a hill and pull a 180 turn at the end, at which point the camera will zoom in on Sheryl, making it appear as though she's been doing all the driving. As Rick fires the car up, Sheryl's showing a few signs of nerves, but once strapped in, they're off. The Mustang thunders down the hill and at the end pulls a squealing handbrake turn. There's a close-up of Sheryl as she spins the steering wheel back and forth. Then the camera cuts.
Out of the car Sheryl is quaking with adrenaline. 'All the breath ran out of my body,' she gasps. 'I thought I was going to have a heart attack. I felt safe with Rick although there was one point when I looked over at him and his face was totally white and I thought maybe I shouldn't be so trusting,' and with that she bursts out laughing.
The following day she teams up with her stunt instructor, Jennifer Caputo, for the motorcycle scenes.
'Anything they want me to do - fires, falls - I'll do it,' says Jennifer.
She stands in for Sheryl on jumps like the famous motorcycle- sailing- over-a-barbed-wire-fence in WWII film The Great Escape.
The end product - a glossy, tightly-cut affair - seems to 'pay homage' as Sheryl wanted. Steve McQueen's wife (his third, former model Barbara Minty) and grandchildren turn up on set to get Sheryl's autograph. As the filming draws to a close, Sheryl rolls her neck around to loosen the stiff muscles. 'It was great to stretch myself, but I have so much respect for stunt people these days,' she says. But for Rick Seaman, who has risked his life on more occasions than he cares to remember, it's a relief it's all over. 'Just to be able to take that damn wig off,' he shrugs, as he walks away from the scene.
It's OFFICIAL!!! Wally has been asked to re-join Sheryl Crow's band as the new percussionist. Sheryl Crow has a new album coing out, Detours, that will hit the streets on February 5th, 2008. You can PRE-ORDER Sheryl Crow's Detours now! Click here to purchase via Amazon & click here to purchase through ITunes. Sheryl Crow along with Wally and the rest of the band will be hitting the late-night talk show circuit to promote the new album. In addition, while in New York the band will play two special shows at The Fillmore at Irving Plaza on February 6th & 7th. These shows will sell out, purchase tickets while you can!
2/1/08 * Today Show
2/4/08 * Late Night with David Letterman
2/5/08 * The View
2/5/08 * Conan O Brien
2/6/08 * The Fillmore at Irving Plaza * New York, NY
2/7/08 * The Fillmore at Irving Plaza * New York, NY
3/10/08 * The Tonight Show
3/12/08 * Ellen DeGeneres Show
3/13/08 * Jimmy Kimmel Live
3/14/08 * Last Call with Carson Daly
That's a great news! Being a fan of Sheryl since 1994, i'm just happy to see him again... live and kickin'!
Now, bring back the one-man band aka R. Scott Bryan! ;-)
(Fabio? Sei in solluchero scommetto!)
[REVIEW - ITA] DETOURS
Beh, una specie:
L’album è per certi versi un ritorno al passato, poiché è prodotto insieme al noto Bill Bottrell, che già è stato produttore del primo album di Sheryl. Quindi un marchio di qualità, ed una garanzia degna di grandi hit come Run Baby Run. Allo stesso tempo il disco è un grande passo avanti per un’artista sempre più matura, ispirata e al massimo delle proprio talento vocale e compositivo. Il singolo ‘Shine Over Babylon’, è per quanto metaforico, un attacco molto esplicito all’amministrazione di Washington che dimentica le vittime di New Orleans e della guerra in Iraq.
Now’s your chance, Sheryl Crow fans: We’ll be talking to her next week, and we want questions from you. Send us a YouTube video of yourself asking her a question by 9 a.m. EST on Monday, February 4th. The best questions will run in a special video Q&A with Sheryl next week – it’ll be like you’re interviewing her face to face, minus the awkward pauses!
To submit your video question, you can either:
Join our YouTube group here and upload your video to the group
The singer's latest effort explores deeper, more personal themes without sacrificing her pop-sheen craftsmanship.
By Ann Powers, Los Angeles Times Staff Writer
February 3, 2008
Sheryl Crow "Detours" (A&M) *** ½ out ****
THERE'S a concept in psychology of the "good-enough mother" -- the exemplary caregiver who satisfies a child's needs without smothering budding independence. Today's stressed-out parents have turned to this 1950s ideal of relaxed but sensitive nurturing again, almost as an alibi. A "good-enough" mom deserves praise even if she doesn't purée her own baby food. In fact, as rampant consumerism, shrinking resources and reality-TV psychosis cast us all as competitors, the phrase "good enough" has become a general salve.
Sheryl Crow is one star who embodies this ideal -- a "good-enough" mother for us all. For 15 years, her singles have provided radio with basic nutrition, and her albums have consistently settled around No. 3 on the charts. Her new "Detours" disc (due in stores Tuesday) is a carefully designed midlife highlight, musically varied and lyrically audacious. Yet it remains true to Crow's consummately casual artistry.
Dogged at first by accusations that she was just an Eliza Doolittle, trained to jump by talented men, Crow has proven her mettle so many times that her unique position is now taken for granted. She may be the most successful woman rocker ever, with the most consistently auspicious career. But she's still often dismissed as merely competent.
It's a trick. Crow is indeed eminently capable; her Beatles-based songwriting is tight as a drum, her former session-singer's voice cracks only on cue, and her deceptively loose-sounding arrangements make ear candy of the traditional structures she loves. Putting craft first, she's been modest about articulating a larger vision. She has one, though, and on "Detours," she gives it more room.
Crow's hits aren't heroic. Leave the chest-pounding to the divas, and the world-conquering to the arena boys: Crow has carved out her niche within the overlooked commonplace world, creating an oeuvre that's all about imperfection, failure and striving despite (often within) self-doubt.
Her masterpieces are ballads such as "Strong Enough" and "If It Makes You Happy," inward-looking expressions of pain that hold out just enough hope to keep love possible. Her vocal delivery, the way she paces the leap to falsetto on a chorus or pushes toward a yell midphrase, is what brings their ambivalence to life.
Her breezier songs express the same complex view of life as a series of downs made tolerable by more fleeting ups. Two of her biggest recent hits, 2002's "Soak Up the Sun" and 2005's "Steve McQueen," exemplify Crow's way of turning an arched eyebrow toward rock's liberationist bravado. The first is anti-consumerist bubblegum, its slacker-righteous lyrics disguised by Crow's shiny, multitracked vocals. "Steve McQueen" adds a dollop of weariness to the classic road song, with Crow riding a Texas bar-band riff toward Thelma-and-Louise-style oblivion.
The albums that bore these hits were decent successes, but Crow still hasn't made that career-topping work that sends long-lived artists toward legend status.
"Detours" is that attempt, a bold album that puts Crow's convictions -- and her chops as a singer and songwriter -- front and center. A reunion with producer Bill Bottrell, who helmed her debut, and a response to the intense public scrutiny she endured during her romance with cycling champ Lance Armstrong, it foregrounds musical risk-taking and lyrical truth-telling. It's a move toward the territory of the heroic, and occasionally swells into grandiosity. But to Crow's credit, she can't let go of her qualifiers and her doubts.
Coming after a series of life-shaking events -- a battle with breast cancer, the split from Armstrong, single motherhood through adoption -- "Detours" is being sold as one of Crow's most personal albums. There's a plain-spoken lullaby for her son. There are a couple of kiss-offs thrown toward Armstrong; the best is a glammy vamp that would have been perfect for Bottrell's other former protégé, Shelby Lynne.
"Make It Go Away" eerily invokes radiation therapy, and Crow sings it with wrenching clarity as a click track conjures the horrible tedium of illness. Crow definitely laid herself out in these songs, though the greater sense of intimacy may simply be a result of her time in the tabloids with Armstrong, which clothed her in the faux-accessibility of celebrity. As a singer, she's always been great at hitting nerves. That doesn't change just because we're now supposed to believe they're her own.
What feels most real is Crow's political conviction. Some of Crow's role models, such as John Mellencamp and Neil Young, have transformed themselves into fervent polemicists, and "Shine Over Babylon," the first single from "Detours," suggests that Crow might be headed in that direction: An environmentalist jeremiad with a furiously sweeping hook, it's the opposite of subtle. But elsewhere, she turns her big statements into party songs, a twist that alleviates the weight of the lyrics and turns that gift for ambiguity into a sneaky consciousness-raising tool.
"Love Is Free" confronts the horrors of post-Katrina Louisiana; its countrified jauntiness goes down easy, but with a bitter tang. "Peace Be Upon Us" calls for tolerance by incorporating Arabic elements into what could be a Bangles song. "Motivation" resurrects the satire of "Soak Up the Sun," poking fun at famous boys in $100 T-shirts and the girls who admire them, as a sliding guitar line and a popcorn drum part push the shoppers along.
Crow's progressive lyrics hit like rubber-band pings fired by some joker in the back row at school. No one is likely to sing her verses at a march on Washington. But by addressing serious issues in the language of pop, they remind us that political speech and casual breeze-shooting can and do often intersect.
These lighter-toned takes on the state of the world let Crow take pride in the everyday tone that she's mastered. They're interrupted now and then by love songs -- the one in which she plays a smitten ingénue is harder to buy than the one about her "paper-thin heart." Better than either are the two offhand ballads in which Crow goes into a tiny private moment and gently extracts its essence.
The one that opens "Detours" is a character song; the other closes it, and it's all Crow's. Both are simply arranged to highlight her conversational singing. "God Bless This Mess" imagines a telemarketer trying to understand how the fallout from 9/11 cracked apart her unremarkable life; it's two minutes of telling, taciturn sadness.
"Lullaby for Wyatt" is Crow's love song to her son, and what's beautiful about it is her frank uncertainty about how to guide this little creature through such a messed-up world. "You are mine, for a time," Crow breathes as her baby cries in the background, a good-enough mother already realizing that she's going to have to let go.
Albums are rated on a scale of four stars (excellent) to one star (poor).