Thursday January 31


Issue Date Position
December 28 22 (debut)
January 4, 2008 20
January 11, 2008 17
January 18, 2008 17
January 25, 2008 17
February 1 , 2008 14


Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28


January 4, 2008


January 11, 2008


January 18, 2008


January 25, 2008


January 25, 2008



Listen to the podcast of this interview via iTunes, or just click here to listen, right-click to download.


By Anthony Decurtis

"Life is what happens to you while you're busy making other plans," John Lennon sang, and that lyric could stand as the theme of Detours, the powerful new Sheryl Crow album. What happened in Crow's case — the collapse of her engagement to Lance Armstrong ("Diamond Ring"), a bout with breast cancer ("Make It Go Away") and a world in meltdown ("Shine Over Babylon") — is intense but far from a laugh riot. "Now That You're Gone" and "Love Is All There Is" are the sort of big pop singles Crow is known for. For the most part, though, Detours is a relatively stripped-down affair.

The album was produced by Bill Bottrell, who also oversaw Crow's multi­platinum 1993 debut, Tuesday Night Music Club. Each track assumes its own sonic identity. "Peace Be Upon Us" mingles lush Arabic elements and psychedelic effects; "God Bless This Mess" features Crow accompanying herself on acoustic guitar and sounds as raw as a demo. The easy swing of "Love Is Free" balances the jittery rhythms and schoolyard chants of "Out of Our Heads." What holds these fourteen songs together is Crow's unwavering emotional commitment. She confronts both personal and political terrors, and emerges hopeful — getting where she needs to go, despite the detours.

Rating: 3 1/2 stars out 5



The world could fall apart
But you're my heart, my dear
I will sing this song
'Til we are gone, my dear

How do I keep you from losing your way
Hope you'll go out and you'll come back some day
But love is letting go
And this I'll know

Cause you were mine
For a time

I could shape your mind
But why waste time, my dear
There's so much more to know
And I can show you dear

How do I keep you from losing your way
Hope you'll go out and you'll come back some day
But love is letting go
And this I'll know

Cause you were mine
For a time

I have held you close
And breathed your name, my dear
I was with you then
And will remain, my dear

How do I keep you from losing your way
Hope you will find love like I did some day
But love is letting go
And this I'll know

Cause you were mine
For a time


(Yeah, yeah, yeah)
(Yeah, yeah, yeah)

We could build a house
Or we could build a wall
We can move a mountain
Or we can watch it fall.
And wouldn't it be different
If everyone could see
That everything is sacred
And everyone is free?

Oh, what a beautiful dream
Oh, what a beautiful dream

When everyone is happy
Dancing in the streets,
Laughing with each other
In total harmony;
And no one's going hungry
When every cry is heard,
We will know the meaning
Of heaven here on earth.

Oh, what a beautiful dream
Oh, what a beautiful dream

Everybody's got somebody they need
As long as we're together
Oh, what a beautiful dream

(Yeah, yeah, yeah)
(Yeah, yeah, yeah)
Oh, uh

Just a little love,
Just a little piece,
Every boy and girl
And everything on me;
See the future coming
Leave the past behind,
Everybody's got somebody they need
As long as we're together
Oh, what a beautiful dream

Oh, what a beautiful dream
Oh, what a beautiful dream

Everybody's got somebody they need
As long as we're together
Oh, what a beautiful dream
What a beautiful dream (what a beautiful dream)
Oh, what a beautiful dream

Everybody's got somebody they need
As long as we're together
Oh, what a beautiful dream

(Yeah, yeah, yeah)
(Yeah, yeah, yeah)

Thanks to LuckyKid from Argentina! :-)


Sheryl will play a live session at the BBC's Radio Theatre in London on Wednesday February 13. The show will be broadcast live from 08.00-10.00PM and will also be available on the BBC’s “Listen Again” feature for the next seven days following broadcast.

You can find more info here:
To get tickets, visit:
BBC's Radio Theater:


Lucky New Yorkers! WPLJ listeners will be treated to see Sheryl exclusively in the WPLJ Acoustic Cafe. Sheryl will play some songs for an intimate acoustic set on Friday, February 8th. DJ Race Taylor hosts this show, where he'll ask questions, and so will you!

To get your tickets lock your radio on 95.5 WPLJ!

Also check out:


Wednesday January 30


The outspoken musician discusses her fiercely personal album "Detour," her dust-up with Karl Rove, and why all she wants to do is save the world.

By Eryn Loeb

To listen to a podcast of the interview with Sheryl Crow, click HERE.

Ever since lodging "All I Wanna Do" in our heads back in 1993, Sheryl Crow has been steadily writing and performing solid, decidedly nonwimpy pop music. Her self-titled 1996 record was bolder and rawer than her debut album, "Tuesday Night Music Club," and garnered the kind of mixed reviews that so often greet sophomore efforts. But the contemplative balladry of 1998's "The Globe Sessions" was greeted with raves. She showed she had friends in high places with "Sheryl Crow and Friends: Live From Central Park" (1999), which included guest appearances from Eric Clapton, Chrissie Hynde, Stevie Nicks and Keith Richards. The sunshiny confection "C'mon C'mon" was released in 2002, followed in 2005 by the more pensive "Wildflower."

A nine-time Grammy winner, Crow has resisted sugarcoating. Back in 1996, a certain big-box retailer refused to sell her music after being named in her song "Love Is a Good Thing": "Watch our children while they kill each other/ With a gun they bought at Wal-Mart discount stores." More recently, Crow has been vocal about her opposition to the Iraq war. And after being diagnosed with breast cancer in 2006, she became known as an advocate for that cause, too. (She has since recovered, and calls herself a "poster child for early detection.")

Apart from her music, these days the 45-year-old singer is perhaps best known as an environmental activist. (She even became something of a punch line after suggesting that people should use less toilet paper.) In the spring of 2007 she and fellow activist Laurie David headlined the Stop Global Warming College Tour, aiming to raise awareness about global warming and put pressure on lawmakers to curb it.

Crow's new album, "Detour" (slated for release on Feb. 5), is meant to be a rousing call to action. Songs like "Love Is Free" and "Peace Be Upon Us" address the current state of the world, from the mess in New Orleans to the war in Iraq. Others like "Lullaby for Wyatt" (named for her young son) and "Drunk With the Thought of You" are more immediately personal. While people bemoan the shortage of contemporary singer-songwriters building on the protest tradition, Sheryl Crow stands out as that rare commercially successful artist who puts political issues at the heart of her music. She spoke to Salon by phone about tying it all together. (Listen to a podcast of the interview here.)

How did you decide what direction to go in with the new record, and how did the concept evolve?

I worked with Bill Bottrell, who produced the "Tuesday Night Music Club" record. I had not worked with him since 1993. The two of us have gone on many detours in our lives that brought us back to this point. We always knew we had a great creative relationship, so it just felt like it was time to get back together. It was really like a homecoming for the two of us. It was a very creative and emotional and intense process. We recorded 24 songs over the course of about 40 days. Conceptually, I think the two of us agreed that the record had to be very raw, and [I was] committed to writing about what's going on right now in the world and also what was happening with me personally. I think most people know that the last three years were very informative and intense years for me, so that had a very heavy impact on the content of the record.

I'd just adopted Wyatt -- he was 3 weeks old when I started the record. Just having him around rendered me completely fearless and unable to edit myself. He sort of made the whole writing process feel more urgent and intense. The lyrics really just spilled out; it was almost like a writing binge for me.

The first single, "Shine Over Babylon," certainly seems meant to fit into the tradition of political songs, and you've described it as being in the tradition of Bob Dylan. What are your thoughts on the relationship between music and social change?

Well, I would love to think that there is a correlation there. I know that when I was growing up -- I was maybe 10 years old when the Vietnam War was coming to an end -- there was an intense social movement of kids who were like 10 years older than me, college-age kids [who] were really taking it to the streets. Young people certainly had a voice at that time, and their musicians brought, I think, a real voice to what they were feeling. We've seen that sort of wane over the last 20 years. We've gotten more geared towards entertainment and away from having artists try to help us [sort out] what was happening socially. I don't know that there's a great impact now, but I like to think that there are people out there who are talking about these very things. I know that in my life I'm surrounded by people who are concerned about the environment and upset about what's happening in the government and extremely disturbed about where we stand in the world theater and where we're being led as a people.

Has it been challenging in any way to integrate your political activism and your music career?

Not at all. Clearly I'm not one of the young kids out there just getting started. I'm not a flavor of the month. Also, I'm older than [the musicians] getting played on the radio. For me it feels like there's a lot of freedom in that, a lot of freedom in being able to talk about what I want to talk about. Not to mention that I don't feel like I have any choice: These are the things that are interesting to me, and that matter to me, and it would be difficult for me to betray myself and not write about them right now.

How did you first get involved in working on environmental issues and global warming?

I started working in the world of the environment when I was out with Don Henley, which was 1991, I guess. He had just basically purchased Walden Woods in an effort to preserve what is considered to be the cradle of the environmental movement. That's where I became very aware of what direction we were moving in as far as the planet is concerned. Then this past spring Laurie David and I did a college tour where we talked about the state of the environment. At that time, people were still trying to debate and argue and even refute the science that's out there. I think in the last six months we've seen an undeniable movement towards having to acknowledge and accept that the science is there, and that our planet, which is a living organism, is truly suffering because of the way we're living.

I'd love to hear you tell the story of your confrontation with Karl Rove at the White House Correspondents' Association dinner back in April.

Well you know, Laurie David and I like to take full credit for him leaving office, but that's probably not exactly accurate. [Laughs] It was a very innocent encounter. Laurie and I had been feeling like we were leading a grass-roots movement of young college kids who were really concerned about what the planet was becoming, what kind of planet they were being left, and feeling a little cheated by it. They were starting to try to find innovative ways to change their college campuses, to try to incorporate a green lifestyle into future work situations. At that time, and even still, the administration was in denial and dragging its feet about doing anything about emissions or just acknowledging that the IPCC [Intergovernmental Panel on Climate Change] reports were concrete evidence of the demise of our planet.

So Laurie started a conversation with Karl -- or Mr. Rove, excuse me, we're not on such familiar terms -- about the science we have and what the administration was doing. And I walked up, being excited of course about what Laurie and I were doing; it was our first opportunity to actually talk to anybody in the administration. And I guess I walked into a beehive that was already swarming. He was exceptionally rude to the two of us, and at one point he told us both to take our seats. I can tell you how it ended: with me saying, "You can't speak to me like that, you work for me." He said, "I don't work for you, I work for the American people." And I said, "I am the American people." It was a very short and curt conversation.

And probably about as effective as it could be.

Yeah, it was going nowhere from the beginning.

As you traveled around to college campuses on the Stop Global Warming tour with Laurie David, spreading this global warming gospel, what kind of reception did you get from students?

Kind of broad. I think it was a pretty fair sample of how the people around this country are reacting: with disbelief, with fear and panic, and with a feeling of being defeated. [There were also] those people who were feeling like the movement can make a difference, and that it has to be urgent, it has to be the foremost cause of this generation. The interesting thing about college students is that their ingenuity is so without cynicism, and, as we've seen with all social movements that spring from this age group, they have the will and the desire and the belief that they can really change things. The real challenge is trying to incite that kind of momentum instead of feeling that it's too late.

It can be tricky to figure out how to balance being environmentally conscious with the things you do every day. I imagine that some of those adjustments are especially challenging in some of your situations, like putting on big concerts. Have you taken steps to change your energy use in those situations, or change the way you travel?

We're definitely trying to go completely carbon neutral on our tour. On our college tour we [used] biodiesel and we bought carbon offsets. I think a lot of tours are trying to figure out a way to really apply these standards. Guster has started an organization that's trying to go green with tours. My farm [in Nashville] is completely [fueled by] biodiesel, and my cars are all hybrids. One of the things that Laurie and I said throughout this tour is that you don't have to do everything if you just do something, whether it's changing light bulbs, driving an eco-friendly car, not running the hot water, trying not to use your dryer at full-blast heat. Just small, simple things that can make a difference if everybody does them.



By Elysa Gardner, USA TODAY
Picture: Robert Hanashiro, USA TODAY

Most critics have yet to weigh in on Sheryl Crow's new album, Detours, which is out Tuesday. But at least one has found that Shine Over Babylon, a track on the disc, puts him to sleep. That would be Wyatt Steven Crow, the singer/songwriter's 9-month-old son.

"We went out on the road when he was around 4 months old," Crow recalls. "And whenever he would get a little fussy, we would just put on Shine Over Babylon and he'd go straight down." There's actually a tender ballad on the album called Lullaby for Wyatt, but "he didn't want to hear that. He wanted to hear something loud and boisterous."

Wyatt was "the informing factor for how I wrote and what I wrote about on this record," she says. But Crow, 45, drew on a variety of experiences in crafting her new songs — including her brush with breast cancer and the breakup of her highly publicized engagement to champion cyclist (and fellow cancer survivor) Lance Armstrong.

"The last three or four years were really life-changing for me," says Crow. "Having this beautiful, innocent little spirit who's looking to me for answers and comfort, compounded with everything else that

was going on around me and around everyone else, all the chaos in the world — it just created this sense of urgency, and a real fearlessness."

"The last three or four years were really life-changing for me," says Crow. "Having this beautiful, innocent little spirit who's looking to me for answers and comfort, compounded with everything else that was going on around me and around everyone else, all the chaos in the world — it just created this sense of urgency, and a real fearlessness."

Rolling Stone contributing editor Anthony DeCurtis, who reviewed the album, says Detours is "a gambit to make (Crow's) artistry triumph over celebrity, both in the sounds she explores and the range of issues she addresses. She's beginning to take her social and political identity pretty seriously, and that's reflected here."

New album sounds political notes

Crow's new material is as politically pointed as it is introspective. On God Bless This Mess, Crow sings of a president who leads his "nation into a war all based on lies." The fiercely eco-friendly Gasoline takes aim at "the characters in Washington afraid of popping the greed vein."

"The more dire things become, the more we seem to feel defeated," says Crow. "All this information comes at us, but we can just turn off the TV and not be emotionally invested.

"Thankfully, though, I'm seeing people waking up. We've seen how dysfunctional our government can be, and we have an opportunity now to demand some serious answers and repercussions — to get off this detour we've been on and back on what our course should be."

Crow, who will perform in August at the Democratic National Convention in Denver, isn't yet leaning toward one presidential candidate to lead this charge. Though she's a fan of Hillary Clinton, she says, "I appreciate so much that John Edwards is hammering this idea of special interests, that almost every decision in our government (is dictated) by special-interest groups who don't represent the people. And I love the idea that Obama is at least speaking about change. But I don't know who can get us out of this quagmire."

Crow is even less committal about her relationship status. "I'm dating" is all she'll say. There are songs on Detours that seem to allude to Armstrong, notably Diamond Ring, on which she sings, "Diamonds may be sweet/ But to me they just bring on cold feet/ Diamond ring … (expletive) up everything."

But Crow describes the song as more "theatrical" than confessional, and notes that Armstrong — whom she refers to only as "my ex" — wasn't her first fiancé. "The fact that the diamond ring represents the solidification of a relationship seems ironic to me. I seem to get the ring when it's a last-ditch-effort kind of thing. The relationship is already starting to fall apart, so it's like, 'Let's get engaged and see if that makes it better.' "

Marriage remains a possibility

Not that Crow has soured on the idea of marriage. "I would love to be married. I come from a close-knit family, and I believe in the power of a wonderful relationship based on being equal and being allies. I love being in relationships, and I've learned more about myself through them." She adds that she considers Armstrong a friend: "I'm on good terms with my ex, and I have a lot of respect for him."

Still, Crow, who had been linked to Eric Clapton and Owen Wilson prior to dating Armstrong, says being connected "to some very visible, successful, wonderful people is not without its complications. After being diagnosed with breast cancer and going through treatment, I paused for a moment to look at my life and ask, 'What's missing?' And I thought, 'Maybe I'm clinging too much to this picture of what a conventional family is supposed to look like. Does it have to look like Mom and Dad and baby?' Not necessarily."

Crow says that she "always felt I would adopt a child, even if I had my own biologically. I've always had a strong maternal instinct." And so far, she has found motherhood "strangely not difficult. (Wyatt's) a great kid. He came into the world very much at ease. He was smiling at 2 weeks old. He's just a really joyful little dude."

So would Crow consider adopting, or trying to conceive, a sibling for Wyatt? She's not saying. "I'm so happy with where I am that I can't even think about two seconds from now."


Tuesday January 29


From Kim Ruehl,
Your Guide to Folk Music.

Sheryl Crow on her latest album, 'Detours,' and the importance of political song

On her seventh studio album, Sheryl Crow is striking chords that are, on the one hand, a seemingly natural musical progression and, on the other, a departure from her previous pop records. While some of the songs echo the personal themes of love and struggle we’ve come to expect, others, like "Shine Over Babylon," tackle larger, more community-centric issues.

She’s spoken rather publicly about her advocacy for environmental issues and peace. On Detours, she brings that together with her gift as an exceptional songwriter. I had the pleasure of speaking with Crow over the phone about what music fans can expect from the album:

Kim Ruehl: So, tell me a little about this record and where the title Detours came from.

Sheryl Crow: The theme that runs throughout the album [are] these detours that take us away from how we thought our life was going to be. How we ultimately come back and investigate how to get back to who we really are. [It came] from having some major relationships and having breast cancer, trying to refine my life—not define it, but actually refine it. Also, where we are as a nation and the fact that we've gotten so far away from what America was founded on. Our reputation has been very damaged, and all this in the last seven years. How do we get back to who we are, what we stand for? So that's the theme on the album. There are quite a few political songs and a lot of personal songs. It's a very personal record.

One of the press releases they sent me, the quote from you was that it's one of the most honest records you've ever done...

It is. I think I went in, with a little baby just looking to me for all the answers. It certainly creates a sense of urgency to write about the things that are going on around me. It was, for me, just an idea of needing to get these songs out. Just needing to get them on paper and get them recorded, and not to be distracted. Because I think we've really mastered this posture of going to sleep and not being awake to what’s around us. That's largely why we are where we are.

Do you think those topical songs are harder to write than the more personal songs?

No, I think they all kind of come from the same place. Because it is deeply personal to me what's happening in our country, what's happening on our planet. When you consider what kind of a parent you are [and providing for] your kid, I think it becomes personal. You have a kid, you don't really feel like okay, well I hate what's happening to our planet, but I'm not going to be here, anyway. It definitely becomes more personal.

Is there an element of this that's hoping that you can change some minds? Do you expect that at all? Do you think music is capable of that?

I'm not really concerned with changing anybody's mind. I don't know where people’s minds are. I think most people are distracted. I think for me, it's really about creating a dialogue and waking people up. These are the things that are going on and to not talk about them would be irresponsible. To not do something about it would be irresponsible.

Certainly "Gasoline" calls to mind early Dylan, and there are a lot of folk influences coming through on this record. Do you identify with folk music? Do you think this is more of a folk record?

I think it's largely steeped in folk tradition and it's lyric-driven. I think folk music is typically lyric-driven and intelligent. And I think there are a lot of words on this record, a lot of verses. A lot of these songs we had more verses than what we needed.

Where did "Gasoline" come from? I was just enjoying the narrative, reading the lyrics. What made you come up with that, aside from the obvious?

You know, part of what amazes me is that we're in a war based on, basically, oil ownership. We're very tied to oil, we're tied to coal. In the '60s and '70s when the Vietnam War was going on, every single day you saw people out on the streets rebelling, revolting. You don't see that now. You hear about people trying to change the way they live and not become oil-dependent, but the bottom line is that the government has made it so that we are dependent on oil. The kids are going over there and fighting for this idea of democracy, when really it's all about oil, about oil ownership. So the song was really inspired by that, acknowledging that things are not as they appear. And what if we do wake up and become enraged, and we did take it to the streets? It's kind of a sci-fi [story] looking back on a future when people actually demanded that our oil dependency come to an end.

Why do you think that so many other artists aren’t joining in?

I think it depends on the age group. I think some artists didn’t grow up listening to Dylan and the great commentators. So that tradition has kind of been weakened. I think we've also gotten away from writing songs that are not an attempt to get on radio. We’ve had that kind of thrust down our throats for so many years that commerce is tantamount, that's king, and hopefully it's changing. People tell me that other artists are writing about what's going on. I've yet to hear it. I know that a lot of people say Pearl Jam's doing it. I need to check out what they're doing. But, I'm hoping there's going to be a shift. I don't see how you can be an artist and not be writing about what's really going on.

Do you feel like this is a departure from what you were doing before? Sonically, it sounds like a natural progression, but looking at the difference between a tune like "Shine Over Babylon" and "Soak Up the Sun," it's just a totally different energy.

Yeah and they're different times we're living in. That record obviously came out when Clinton was in office. Although, that is an environmental song and there is some social commentary in that song. My desire to write a pop chorus kind of went by the wayside with this record.

Do you think people will be surprised?

I don't know, I guess so. I guess if they hear it [laughs]. Some people won't listen to it because of my past records. Some new people will get turned onto it. I just hope people will find something on there that resonates with them and that creates some kind of sense of community, that we all feel the same way.

You got into the industry and into the spotlight before the internet really took off and we got into this download culture. How has that changed your career and how you write, and what you think of in terms of putting work out into the world?

Well a couple of things, it hasn't really changed the way I write. Although I do love the idea that the worse things get, the more I feel like being an anarchist. The more offended I am by what this administration has pulled off, the more I feel like I've got to write about it. It's almost like a dare, you know. So in that way, it hasn’t really changed that much, but I love the idea that technology is changing things in a way that....well, in a climate where everything is about commerce in entertainment, it's creating a new way to get music heard. I think the days of trying to get music bought are probably behind us. I love the idea that there are so many ways to get the music out there.

So this album is coming out on Mardi Gras day and it's also Super Tuesday. You've got a little competition as to what people will be paying attention to. Was that intentional?

[laughs] You know, I don’t think anyone realized it was coming out on Super Tuesday. I think it was completely random, but I'm glad.

Is there anything else you want people to know? What's coming up for you?

Well we're going to do a bunch of promo before we hit the road. We're going to Europe to do promo, we'll do some in New York and LA, all those TV Shows. And then we'll be hitting the road in May and we'll tour throughout the summer, for sure.

This interview was conducted Jan. 28, 2008.

Notes from the author:


Monday January 28


Issue Date Position
December 28 22 (debut)
January 4, 2008 20
January 11, 2008 17
January 18, 2008 17
January 25, 2008 17*

* Triple A most added - 3 new stations: KENZ (Salt Lake City, Utah), KGSR (Austin, Texas), KTHX (Reno, Nevada)


Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28


January 4, 2008


January 11, 2008


January 18, 2008


January 25, 2008



January 28, 2008

Sheryl Crow's new album charts her personal and political growth as well as her new-found bliss at finally being a mum, writes Phillip McCarthy.

After 25 years navigating the mosh pits of the music world, Sheryl Crow knows how to make her strings spark some meaningful synergy for her - and not just musically.

The signature Crow image, in concert or on video, is the lithe, honey-haired performer in the spaghetti-string top dexterously working the guitar. Judging by who's buying her music and her image, her look and sound blend as an effective harmony.

Since early 2007, Crow has been the spokesmodel for a L'Oreal hair colour range and she has nine Grammys to her credit.

At 45, she has just proved she is no victim either. Her ninth album, Detours, comes out in February. All of which is fairly remarkable given the dizzying series of romantic and health setbacks Crow has endured over the past couple of years.

Insight leads to transformation

The cliche about rocker chicks is that they cop a lot of bad breaks in life and love. Crow definitely has had her moments. Two years ago, her four-month engagement to Tour de France cycling champ Lance Armstrong imploded. It was just weeks before the wedding day and Crow had even posed for a magazine shoot in a Vera Wang gown.

It wasn't the only bad news. Later that same February Crow was diagnosed with early stage breast cancer. She underwent surgery and 33 sessions of radiation therapy over two months. The treatment was a complete success; the cancer was caught before it spread. But Crow admits that a slow recovery in the shadow of possible relapse "is an antidote to smugness".

"You think you have control over your life," she says.

"In some of us the tendency is more pronounced. But no matter who you are, you realise, you're pretty helpless when it comes to the really big stuff: life, love. It brings out the fragility and that was a good lesson for me. It almost seemed that I wasn't just letting go of my relationship but also letting go of my control over life.

"To be in a very public relationship and have it end and then to face your own mortality soon after is confronting. It does shake you to your core. I think I also grew up a lot. There was self-enlightenment and there was transformation. But there's a saying, 'that which does not destroy us makes us stronger'."

That's an activist mantra, a slogan for the empowered, but Crow suggests she learnt a few home truths from her experience.

"I got reminded of some realities," she says. "I wasn't going to die from breast cancer because it was caught so early. When I was doing the radiation I had these moments of insight about the basics: you come into the world alone, you go out of the world alone, and in between that, if you aren't showing up for yourself, you're not living your life."

What Crow really wanted, in the life orbit between the solo entry and the solo exit, was to be a mum. So her affirmation of life after recovery was to adopt a son, Wyatt, bringing him home a day after his birth in April last year.

Then she bought a farm just outside Nashville and installed a state-of-the-art recording studio and her new son. Now, she says, everything seems urgent. The new album certainly steps out on the idea that the personal is political and the Detours of the title embraces it all.

There's her own roundabout route to motherhood via the back roads of health and love setbacks. There is also what she calls her country's "tragic detour under the eight-year rampage against the environment and Iraq under Bush".

Opportunity for change

In the eclectic 14-track mix are songs that talk sweetly about Wyatt and the future and sharply about George Bush for endangering them both. In between there are a few rueful words about love and marriage, possibly for one of her exes, and some apocalyptic thoughts on global warming. Even before Detours - and its caustic assessment of the Bush legacy - the chances of the Bush White House ever being in the market for their own warm-up tune from the Crow catalogue was remote.

Crow almost certainly made the Administration's "showbiz enemies" list after a run-in with Karl Rove, Bush's one-time svengali. It came at a press dinner last year during which Crow tried to engage Rove on the shortfalls of the Administration's environmental approach. Things turned nasty when Rove made it clear he wasn't in the mood for a discussion. He pulled away and a friend of Crow's tried to stop him.

Is Crow planning to make a habit of physically confronting the politically powerful when she judges that their performance doesn't measure up? "I've got a son now. I can't let these people trash his planet," she says.

She's angry, she says, but it's more about ratcheting up pressure on backsliding politicos than some sort of random, knee-jerk self-pity.

"I'd certainly concede that my life isn't what I thought it would be: in some ways it's better. I had no idea that I'd be able to make music at the level that I do and I'd be as visible as I am. That's a gift.

"I didn't know I'd have the opportunity to change the way people see things. I always had this idea that, in my 20s, I would get married and have babies. It didn't happen and that's cool.

"I'm grateful for where I am and I am not ruling out any of that; maybe the time frame was inaccurate. But the thing is I can do a lot of these things for myself by myself."

We're in the seventh-floor room of New York's latest boutique hotel, the Bowery.

Crow looks fit and trim and is dressed casually. Not so long ago, she said she owned 17 pairs of functional leather pants; it seems like the type of fashion failing Janis Joplin might have had. Crow is not wearing any of them today. She's wearing jeans and an embroidered top. Her signature long blonde tresses fall demurely about her shoulders.

"I haven't really been body-conscious," Crow says. "It's funny because I'm in a field where everything is about the body, particularly cleavage, which I never had in abundance. But I come from good genes and my body responds to working out but I'm now at a place in my life where I'm not obsessing about that sort of thing. If I want to be running for an hour, I'll do it.

"I'm not going to worry about my body changing if I don't do it for 10 days in a row. If I'm having a good time talking to my son I'm not going to get bent out of shape by skipping the run."

Romance and recovery

Crow has always been hands-on about her music; she writes it, sings it, plays it and, for her albums between Tuesday Night Music Club and Detours, she was producer. In 1993, she fell out with the production team that helped make Tuesday Night Music Club a big hit. For this album the old team was reunited and Crow could finally delegate again. But she stills frets.

"It was so great not having to worry about all those things a producer takes care of," she says. "I've been worrying about the order of the songs on this album because it is not final yet. There's a lot of very political stuff and at the moment it's all at the front. My fans like the personal stuff, songs about what's been going on with me, so we're going to discuss that now."

She's done duets on stage or on record with singers as varied as Willie Nelson, Tony Bennett, Mick Jagger and Sting and contributed soundtrack music to movies such as Bridget Jones's Diary and Tomorrow Never Dies. She's done a few cameos, too, playing a singer in the 2004 Cole Porter biopic De-Lovely.

She's got a network of close girlfriends who happen to be big Hollywood names. She got one of them, Gwyneth Paltrow, to appear on her 2002 album, C'mon, C'mon.

She helped Jennifer Aniston through her marital bust up, she saw her longstanding music friend Stevie Nicks through various health crises and she inherited Julia Roberts's nanny to look after Wyatt.

Then there's a weakness for famous men and a therapeutic way of immortalising the experience. It's the Carly Simon technique. Simon's 1972 song You're So Vain is supposedly about her relationship with Warren Beatty.

Crow has been putting her relationships on the couch, to a catchy beat and a wry refrain, since the late 1980s. The title song of her C'mon, C'mon is thought to refer to her ex, Owen Wilson. Her 1998 Grammy-winning album, The Globe Sessions, included a song supposedly about another lover, singer Eric Clapton.

Titled My Favourite Mistake, it includes these lines: "Your friends are sorry for me/They watch you pretend to adore me/But I'm no fool to this game/Now here comes your secret lover."

Detours has a song, titled Diamond Ring, which is probably her take on the Lance Armstrong situation. The lyrics include: "Some say love is blind/But I say love is in the mind/Diamonds may be sweet/But to me they just bring cold feet." If there is an upside to a series of very public bust ups and a catalogue of songs that could match, it's this: no one's sure which former boyfriend you have in mind.

Crow's an incurable romantic. She says as much. She's talking about the title song on the album, which has the lines: "I took all these detours to find love/But when I did it just faded away."

There is no escaping, she says, the poignantly personal there. "That song is about how to have your heart completely broken and still believe in love," Crow says.

If she's fated to always be the bridesmaid, never the bride, Crow seems to be cool with that, too. She's more than happy to forego the ceremony and settle for her single-mum status.

"I think what I love more than the idea of marriage is the idea of being with somebody who really creates space for you and gets you," she says. "I was in a relationship that was probably not, you know, the most functional relationship for me to be in. We were at different points in our lives. I think that if I wanted to be married I would be married by now.

"For whatever reason, I haven't done it. I've picked people who've helped me to not make that happen. The actual experience kind of helped me come back to who it is I want to be."

Sheryl Crow's album Detours will be released on February 5 through Universal Music.

Source: The Sun-Herald

Sunday January 27


By Sal CInquemani

Though her track record as an album artist isn't as unblemished as some, including the Recording Academy, would have us believe (though not bad, The Globe Sessions was a disappointment following its self-titled predecessor, and C'mon C'mon was MOR pap at its most painful), Sheryl Crow remains a consistently impressive singles artist. From her charmingly belligerent debut, "Leaving Las Vegas," to 2005's lush, quietly contemplative "Good Is Good," Crow hasn't released a lead single I haven't loved. That streak, it seems, would be broken by the singer-songwriter's hippy anthem "Love Is Free," which chugs along like a well-oiled parade float but is a little too cute-n'-bouncy for its source material (the failed federal response to Hurricane Katrina), if not for a technicality: The single was preceded by the airplay-only "Shine Over Babylon," a more sobering take on current events that is sonically closer to "If It Makes You Happy" than "Soak Up the Sun."

What both songs have in common, however, is a roots-rock foundation and musical palette that harks back to Crow's Tuesday Night Music Club, an obviously decided move given that Detours reunites Crow with producer Bill Bottrell for the first time since her debut. The reunion was well worth the 15-year wait, as many of the songs on Detours rank among Crow's best. Bottrell's playful guitar melody dances beneath and between Crow's lead vocal on the sweet "Drunk with the Thought of You," while the tight, multi-part harmonies of the title track hint at the country record Crow has threatened to make. There's a grittiness to the music and a scratchy, lived-in quality to Crow's vocals that's been missing from her last couple of albums, and the rough edges are becoming.

References to the current political climate inform the first half of Detours, with barbed jabs at the Bush administration both obvious ("The president spoke words of comfort with teardrops in his eyes/Then he led us as a nation into a war based on lies," Crow snaps on the opening song, "God Bless This Mess") and slightly more veiled ("Freedoms etched on sacred pillars…Can lead to madman oil drillers," she sings on "Babylon"). Crow imagines a not-so-distant future where dissent is commonplace and gasoline is free ("Gasoline") and she makes it known how she feels about our nation's privileged slackers ("Motivation"). But "Out of Our Heads" is the record's keynote address, a thumping rally cry with a fervent vocal, a singsong choir chorus, and a message of hope that's genuine and affecting; the anthemic song would be a good fit for the Obama campaign.

On their own, the political songs would render Detours Important, but Crow has managed the nearly impossible: recording an album that's as intensely personal as it is fiercely political. If love resulted in Wildflower, her most extraordinarily beautiful—and extraordinarily slept-on—album, then credit the dissolution of that love for what could be Crow's most heartbreakingly personal work to date. Her break-up with Lance Armstrong shades much of the album's second, even stronger half, most overtly on "Diamond Ring," which gives listeners a startlingly frank glimpse into the couple's unraveling: "I blew up our love nest/By making one little request." Then, at song's end, she admits plainly: "Diamond ring fucks up everything." "Make It Go Away (Radiation Song)" paints a portrait of a woman taking stock of her life while laying on a table and awaiting radiation treatment, with the specter of Madam Butterfly—a character who unknowingly, tragically entered into an impermanent union—overseeing the procedure. "Was love the illness, and disease the cure?" Crow asks. That her connection to Armstrong deepened and expanded upon learning she had breast cancer shortly after they split only deepened and expanded the scope, honesty, and profundity of her work.

Rating: 4 stars out 5



click to enlarge

Kappa Alpha Theta, 1981

click to enlarge

Kappa Alpha Theta, 1982

Credits: Brian W. Smith and the curators of the University of Missouri


The table below shows the list of the most frequent keyphrases or keywords used to find this website.

Noteworthy keyphrases (at the bottom of the table)

- Sheryl Crow atheist hip hop (!);
- Sheryl Crow walk naked nashville (!!);

- Sheryl bananas Aleks (Bananas? OK, you are officially scaring me! Lol)

Comments? Anyway, it was really funny to see peoples' search strings.

See ya


Saturday January 26


Daddy's in the hallway
Hanging pictures on the wall
Mama's in the kitchen
Making casseroles for all
My brother came home yesterday
From somewhere far away
He doesn't look like I remember
He just stares off into space
He must've seen some ugly things
He just can't seem to say

God bless this mess
God bless this mess

Got a job in town
Selling insurance on the phone
With Robert and Teresa
And two con men from back home
Everyone I call up doesn't have the time to chat
Everybody is so busy doing this and doing that
Something has gone missing

And it makes me kinda sad, oh

God bless this mess
God bless this mess
God bless this mess

Heard about the day
that two skyscrapers came down
Firemen, policemen
And people came from all around
The smoke covered the city
And the body count arise
The president spoke words of comfort
With tears in his eyes
Then he led us as a nation
Into a war all based on lies, oh

God bless this mess
God bless this mess
God bless this mess
God bless this mess


Beautiful Dream (japanese bonus track)
(Sheryl Suzanne Crow)
BMI #9322737

(Sheryl Suzanne Crow)
BMI #9322732

Diamond Ring
(Sheryl Suzanne Crow; Jeff Trott)

Drunk With The Thought Of You
(Sheryl Suzanne Crow)

(Lyrics: Sheryl Suzanne Crow - Melody/Harmony/Rhythm: Crow, Bill Bottrell, Jeff Trott)
BMI #9322841

God Bless This Mess
(Sheryl Suzanne Crow)
BMI #9322736

Love Is Free
(Sheryl Suzanne Crow; Bill Bottrell)
BMI #9322728

Love Is All There Is
(Crow; Trott; Helizondo)

Lullaby For Wyatt
(Sheryl Suzanne Crow)
BMI #9322739

Make It Go Away
(Sheryl Suzanne Crow)

(Sheryl Suzanne Crow; Bill Bottrell)
BMI #9322729

Now That You're Gone
(Sheryl Suzanne Crow)
BMI #9322731

Out Of Our Heads
(Sheryl Suzanne Crow; Bill Bottrell)
BMI #9322730

Peace Be Upon Us
(Sheryl Suzanne Crow; Jeff Trott; Bill Bottrell; Mike Elizondo)

Rise Up (japanese bonus track)
(Sheryl Suzanne Crow)

Shine Over Babylon
(Sheryl Suzanne Crow; Bill Bottrell; Brian MacLeod)
BMI #9284966

Sources: BMI; Warner Chapell; Old Crow Music


click to enlarge

Thanks a lot Kay!


Agit Pop
Interview by Deborah Solomon - Photo: Jeff Minton

Q: As one of the most politically outspoken figures in American pop music, did you intend to convey any kind of message by scheduling the release of your new album, “Detours,” on Feb. 5, Super Tuesday?

There was absolutely no correlation. Honestly, I don’t know what record sales mean anymore. Some people buy it, and some people download it illegally and don’t pay for it.

Does that bother you?

I’m sad that people feel like music should be free, that the work that we do is not valued.

Don’t you feel valued enough?

It’s more about consciousness. When music comes free by way of friends burning CDs, there’s not that understanding of the work that goes into the making of an album.

Your new album updates the tradition of protest music, bemoaning the havoc wrought by the Iraq war, Katrina and even economic policy. “Gasoline” is surely the first song about high gas prices.

It’s probably the first, and it could possibly be the last. It should be perceived as a futuristic song about people who would take to the streets and revolt and take back our freedom from the oppression of gas prices.

Last spring, you were held up as a parody of environmental correctness when you proposed restricting the use of toilet paper to one square per bathroom visit. What was that about?

I think it’s a fantastic and eye-opening example of how the media is operated by political figures, of how Karl Rove was humiliated in the media and how, within 24 hours, he was able to humiliate me and take any sort of credibility away from me.

What are you saying? You think Karl Rove leaked the toilet-paper story to the press after you and Laurie David sparred with him about global warming at the White House correspondents’ dinner?

I cannot tie him directly to that leak, but within 24 hours of our exchange, as we were leaving D.C., it was on the CNN ticker tape: “Sheryl Crow has proposed that we legislate toilet paper to one square.”

Did you ever actually suggest that?

It was always a joke. It was part of a shtick. It was part of a comedy routine that Laurie and I were doing on the “Stop Global Warming College Tour.”

You recorded your latest album on your farm in Nashville, where you moved two years ago, after you and Lance Armstrong broke off your engagement. Why’d you choose to live in the South?

I have a lot family down here. I had a house in L.A. for 20 years, and when I got diagnosed with breast cancer, I decided it was important for me to be near my family. I was about to adopt, and I wanted to have my family around to help me raise Wyatt.

Was there a history of breast cancer in your family?

No, and that’s why I am a poster child for early detection. Be diligent about mammograms. I had a lumpectomy, and then six and a half weeks of radiation. I’m in good shape now.

Right, you’re a new single mother at age 45.

I am loving every second of it. Wyatt is 8 months old. He’s got a lot of personality.

Will you take him on the coming tour for your new album?

He’s already been out a little bit. He sleeps in his crib on the bus. He’s passed around. He’s very social. And we take the dogs — two yellow Labs — and it’s just like taking the whole household. It’s like a big traveling family circus.

As a nine-time Grammy-Award winner, how important are prizes to you?

When I won my last Grammy, I felt like, The bus is leaving in the morning, and it’s time to go back to work.



Friday January 25



Battling cancer and adopting a child led Sheryl Crow to reassess what is important in life. No longer concerned with what people think, she has made a new album that holds nothing back. By Sheryl Garratt,

Sheryl Crow is late for our interview, but she has a good excuse: the paediatrician has arrived far later than expected to carry out routine health checks on her seven-month-old son Wyatt, who is cheerfully cooing in the kitchen of their Los Angeles home while he is weighed and examined. It is not very rock'n'roll, but after six albums, more than 25 million sales, and years of touring, producing and proving herself over and over as a musician and writer, as female artists have to do, Crow doesn't feel that is such a bad thing.

'I was ready to have my life changed,' she tells me later. 'Being diagnosed with cancer made me ask, "What do I want out of life?" It gave me an incredible fearlessness about adopting Wyatt, and he's been such a blessing. He's the most happy, joyful little child. I've always felt like I was meant to be a mum, one way or another, and it didn't make sense to me to go to a sperm bank. It's a gift to be able to give a home to a child who needs one.'

Her house is tucked into a canyon high up in West Hollywood, a private, unobtrusive oasis of lush greenery blocked from view by an anonymous metal gate. Spacious and comfortable without being at all ostentatious, the living-room where we eventually settle to talk has a grand piano, a huge stone fireplace, big, squishy sofas and a coffee table loaded with books. Through an alcove in the next room I can just see some of her nine Grammy awards on shelves with yet more books.

Crow has never really fitted the stereotype of the rock chick - she dressed down to the degree where she was almost dowdy when she first came to fame because of her desire to be taken seriously as an artist - but in any case, the life that was once lived here has moved on. When she talks of home, she means the ranch just outside Nashville that she bought soon after being diagnosed with breast cancer in February 2006.

'Before I was involved in my last relationship, I was looking at farms in Nashville because I wanted to get closer to home,' explains Crow, who left the small town of Kennett, Missouri, for Los Angeles at the age of 24, determined to make it in the music industry. 'My family are all within a three-and-a-half-hour drive now, and my sister lives in Nashville. When I was diagnosed I had this knee-jerk reaction of, "My gosh, I need to be near my family." And even though I was treated here, I longed for that part of the world, for that serene environment. It would also be very difficult for me to raise my son without my family.'

February 2006 turned out to be a spectacularly bad month for Crow. She had been in an intense three-year relationship with the champion cyclist and high-profile cancer-survivor Lance Armstrong, supporting him through the last two of his record seven Tour de France victories. Crow had been spending most of her time in Texas with Armstrong so that he could be close to his three children when he was not away training or competing. As late as January, she had talked happily to Hello! magazine about plans for their upcoming wedding, but just as the magazine was published, the couple announced that they had separated, on amicable terms.

Then, on February 11, five days after her 44th birthday, a routine mammogram revealed calcifications in both breasts that her doctor said were not unusual, but worth checking more closely. Even after she had the biopsies, she didn't really worry: she has no family history of cancer, has never had implants or cosmetic work, and was so fit that she looked - and felt - far younger than her age. 'I've cancelled just two gigs in 15 years from being hoarse,' she says, 'so it was such a shocker to be diagnosed with a life-threatening illness.'

She is happy to talk about it now, because her story shows the advantages of early detection. She had a lumpectomy and radiation, rather than the more radical mastectomy, which was followed by chemotherapy. None the less, her ordeal was distressingly public. Even while being treated, she had to sneak in and out of the clinic through a back door to avoid prying lenses.

'Having cancer and having a relationship fall apart, those are things you really want to keep private, but instead the combination of the two made for a press frenzy,' she says. 'Having 100 paparazzi outside my gate at all times because of the terrible things that were happening, it really spoke to me about who we are. If this is what makes people want to buy magazines - someone at their absolute lowest - that is a very sad message. I found the whole experience was very difficult. I went from being linked with one of the most famous cancer survivors to then being diagnosed with cancer.'

Armstrong offered his support immediately and kept in touch throughout her treatment, but Crow decided it would not help her to move on if he was by her side. Instead, she turned to friends. Her best friend came from Missouri, another friend in New York moved her work temporarily to LA, and Hollywood luminaries such as Jennifer Aniston, Laura Dern, Rosanna Arquette and Courteney Cox Arquette rallied round.

'Having that feminine energy around me was very uplifting,' Crow says. 'I felt like the floor had been ripped right out from under me, and I watched my life shift in every possible way - ultimately for the better. It made me consider what I wanted the rest of my life to look like, how I would treat myself. As far as I know I'm cancer free, so I feel like I dodged a very big bullet.'

Crow's family, of course, were present throughout. 'When someone is diagnosed with cancer, the whole family gets that diagnosis. It is an immediate introduction to mortality, to the possibility of, "What will my life be like if she doesn't make it?" It made all of us feel that we don't want to take even the smallest things for granted. We all suffer from getting busy in our own lives, and staying at a pretty distracted level in order not to have to face ourselves. But this was a moment when time completely stood still, and we were a bonded family unit like we'd never experienced before. There was a lot of fear, sadness, grief, but ultimately a sense of powerful union.'

Crow is from a large, close-knit family, and still calls her parents every day. In her childhood her mother and father were keen musicians, playing in a swing band and filling the house with the sound of jazz and blues. Her father is also a lawyer who once successfully prosecuted a case against the Ku Klux Klan. The resulting threats made it necessary for Sheryl, her brother and two sisters to be escorted to school by police for a while, but this seems a small blip in what was otherwise the same kind of peaceful, rural upbringing she plans for her son.

Crow has talked in the past of her father being driven, passing on to his children the importance of being the best and of being constantly productive. She only began to step back from this ethic in her own life after turning 40 and deciding to take a break from music. Soon afterwards she met Armstrong and slipped so happily into the role of supportive partner that some criticised her for sacrificing her own art for a man. 'I know people looked at it and said, "She's given up who she is to be with him",' she shrugs. 'But that was definitely not the case. I chose to put my career on the back burner. I didn't put my life on the back burner - I was having great fun!'

There has been much speculation about the couple's separation. There is the fact that he was 10 years younger, or that she had often spoken about wanting children while he might have felt that the three he has with his first wife are enough. There has also been conjecture about his difficulties adjusting to retirement from elite sport, and a notion that while she was happy to support him in his career, he might have found it less easy taking on the role of Mr Sheryl Crow when she returned to music. Understandably, but also unusually in this era of public confession, neither of them is telling. 'We remain good friends,' is her only comment on the subject. 'But it had run its course.'

What seems clear is that prior to taking this break, Crow had not been enjoying music very much. Under pressure from her label to record hipper music and from herself to continue looking young, it seems she had an early mid-life crisis. 'When I was 38, 39, I felt like I had a bag of potatoes on my back all the time, just dragging it up the hill. Nothing looked right with the world. When I turned 40 I felt a real sense of relief. There's something great about being an older artist, because you know you're not going to compete with 22-year-old American Idol winners.'

Would she enter a television talent show if she were starting out now? She laughs uproariously at the idea. 'I wouldn't have even made it through the audition! It's so different now. I was really lucky that I got to develop over a period of time, but we don't invest in potential any more. Now you just get one shot and if the record sells enough, or you manage to get into the celebrity magazines, you might get another record. It's a whole different thing.'

But Crow is also embracing parts of this brave new world: some tracks from her new album, Detours, have been available for download for months now, and she loves the idea of making raw $10,000 videos to put on YouTube rather than spending $1 million on glossy MTV-style promos. She has made her money already, she shrugs. 'What's important now is to write about what I feel compelled to write about.'

Today, she says, she is feeling her age. She has back and arm problems from carrying Wyatt, and insists that she is scruffy although she actually looks great in the standard yummy mummy outfit of Ugg boots, faded jeans, pretty camisole top and cardigan. Slim and fit, she could pass for much younger, but no longer wants to. 'I can't look 21 again. Even if I shot my face up with Botox and did all that stuff, I don't want to look 21. Although I don't love the changes I see in my face, I know that it goes along with who I am and where I am, so in order to celebrate that, I have to embrace it.'

Her illness, too, played its part in this process of redefining her relationship with her body and with her work. 'A lot of the last year and a half was an exercise in letting go, in putting myself first and learning to say no. A lot of women who I've spoken to about their experience of breast cancer - and I'm sure it holds true for anyone who's been diagnosed with something life-threatening - have said that there is a lesson in it. For me, it was to quit worrying about what people thought about me and whether I can fix everybody. There's a great freedom in being able to write what I think and feel and not worry about whether I'm pissing somebody off.'

She started work on Detours when her son was three weeks old, recording at home in Nashville and writing with a speed she had never experienced before. 'We did everything in 40 days,' she smiles. 'Having Wyatt there just created this crazy urgency in me to write about the reality of what's going on. It sounds very wu-wu to say, but when you have a kid, you realise that this little soul is depending on you for everything. I could not keep up with the lyrics that were coming out of my head - I've never had that experience before. I felt really open and fearless.'

This is also the first album since her 1994 debut, Tuesday Night Music Club, that she did not produce herself, returning to that album's producer, Bill Bottrell. He had headed the weekly jam sessions that gave her debut its title, a loose collection of musicians who wrote the majority of the songs with Crow. Before being signed as a solo artist, she had made a living as a backing singer, touring with the likes of Michael Jackson, Bruce Springsteen and Joe Cocker.

After the album's success, whispers began to circulate that Crow was a manufactured star, while the musicians who contributed griped that they were not being given the full credit they felt they deserved. In the end, Bottrell walked off the second album after just a couple of days, leaving Crow at the helm. 'Bill and I have always had sort of a love-hate relationship,' she told GQ magazine at the time, adding that his departure left her feeling 'like a kid in a candy store. I felt like I'd just been set free'.

'She's f***ing hopeless. She's obnoxious.' Bottrell meanwhile told Rolling Stone. 'He said that?' she laughs now, adding that they both had things going on in their personal lives that pulled them in different directions, and that producing herself was perhaps a necessary step. 'There were so many nay-sayers who said I wasn't a musician, I wasn't a writer, I wasn't even there for my first record - that was written by a bunch of men.'

But time heals, and Crow felt ready to let someone else take some of the load while recording this album. When she called to see if he would like to try working together again, he replied, 'I've been waiting for this call for years.' Clearly, the chemistry between them was rekindled. There is a lightness about Detours, a spontaneity that has perhaps been lacking from her music in recent years. When she says how much fun she had making it, you believe her: these are some of her best songs.

Lyrically, it is also perhaps her most open, both personally and politically. There is a lot of anger here - about her illness, about Bush leading his country to war, about the environment and the whole culture of entitlement that has grown up in the West. There are also pleas for peace, love and understanding - sentiments that only seem like cliches because they are pretty much the only truths that endure.

'The word "detour" is a strong theme,' she explains. 'The last six years, this nation has been taken on a detour the like of which I've never seen and will hopefully never see again. We are so far away from who we intended to be. It's going to be very painful to try to get back on course, to try to correct some of the things that have gone on, to build trust back as well as trying to create some sort of ethical mind-set again.'

When her label first heard the album, she admits, 'there was some quailing', but on the whole they have been supportive. Perhaps, like Crow, they have accepted that she is now entering a second phase of her career, one where multi-platinum sales won't necessarily be the norm, but where she will have much to say to the fans who have grown up alongside her. In fact, it is people of Crow's age - people who still, like her, use words such as 'records' - who are now the main buyers of albums on CD. 'Obviously they'd like me to sell records, but we're in an age now where people don't want to pay for music,' she says. 'What I want is for people to hear it and to actually think and be moved and hopefully feel like they have some capacity to change their life or situation.'

Last year, she and her friend Laurie David - the producer of Al Gore's film An Inconvenient Truth and wife of the comedian Larry David - took their eco message on the road, travelling round US colleges in a bio-fuelled bus. At the end of the tour they attended a dinner where they confronted the then White House deputy chief of staff Karl Rove about the Bush regime's attitude to the environment. A day later, a story appeared claiming that Crow wanted us to go green by using only one sheet of toilet paper per sitting. The story spread so widely that if you ask an American about Crow right now, her miserly attitude to loo roll is often the first thing they'll mention. It was, she says, her first experience of political spin.

'They took something that was part of a comic routine we were doing on the Global Warming college tour and set it up as if it was something that I believed in, to embarrass me. It was really interesting to watch. It was on every news channel as if it was news. It was in Jay Leno's monologue, it was everywhere. That's when I want to shake people and say, "You've got to wake up. You watch the news and you believe this stuff!" So much of it is devised to keep us down, to keep us so overwhelmed with misinformation that we don't even ask any more.'

She sees the current hunger for celebrity gossip as part of the same circus of distraction. 'It's so much easier to digest than the fact that we're in a war and that kids are coming home without limbs. It's easier to invest in Paris Hilton and Lindsay Lohan.' She laughs, aware that she herself has played a part in the sideshow. 'And toilet paper.'

These days, it is hard not to take part. When she brought Wyatt home, 24 hours after he was born, she once more found paparazzi outside her gate. After some consideration, she decided to sell the first picture of her new son to Hello!, donating the $500,000 fee to the UN's World Food Programme in his name, rather than letting a photographer get rich with a snatched picture. 'It was not something I wanted to do,' she winces, 'but we couldn't even leave the house. And it's nice to raise him with a sense of how great money can be, what good things it can do rather than that it's all about buying the latest cool contraption.'

Otherwise, Crow will shelter her son - and any future siblings - by raising him at the ranch. 'I live out in the middle of the country where there is nothing but rolling hills, and people drive their tractors down the street to eat at the only place that you can eat in 20 miles. It's all farmers,' she smiles. She plans to fit music around her family, perhaps touring at weekends so the kids can come along, too.

As for relationships, 'I don't have a conventional life, so that's always going to be problematic,' she says. In the past she has dated men such as Eric Clapton and the actor Owen Wilson, but she says probably her most satisfying relationships were with men who were not in the public eye. 'I wasn't ready to settle down and get married. I've definitely much more yearning for that now. A more conventional life that's founded on something real, something with a strong foundation. People in my line of work are selfish. Including myself.'

Crow exercises regularly, running and riding horses and working out in her gym at the ranch. Illness has made her focus more on her diet, and she has cut out the doughnuts and dairy in favour of a mainly organic diet of fish, seaweed, brown rice and brightly coloured vegetables that are high in anti-oxidants. She is still meditating and keeping up with the regime of acupuncture and herbal drinks that she established to support herself through radiation treatment. She is also determined to practise what she preaches when it comes to the environment.

'We are planning an organic garden at the farm that should be producing by springtime, and a chicken coop and our own fish. We are all bio-diesel there, and we are going to be wind and solar-powered by the summer of next year, so hopefully we are going to be completely self-sustaining and totally self-sufficient.'

After we have finished talking, I ask to see Wyatt and we creep upstairs into the nursery where he is settled for his nap. 'He's the most joyful, happy child,' she grins. 'I say it's like Christmas every day because he's there, looking like an angel, and he wakes up smiling and just excited about the day.' Sheryl Crow, it seems, has finally found what makes her happy.



Thursday January 24


The Tonight Show - Monday, March 10
Ellen De Generes Show - Wednesday, March 12
Jimmy Kimmel Live - Thursday, March 13
Last Call with Carson Daly - Friday, March 14


Stevie Wonder, Billy Joel, Tim McGraw and Sheryl Crow will be playing the New Orleans Jazz & Heritage Festival, which runs April 25-27 and May 1- 4 at the Fairgrounds, for the first time this year. Also on the bill are the Neville Brothers, Jimmy Buffett, Al Green, Randy Newman (wonder what he’ll play), Elvis Costello, Santana, Maze featuring Frankie Beverly, Robert Plant & Alison Krauss and tons of great gospel groups you’ve never heard of.

For tickets, call 1-800-488-5252 or go online at



The Acclaimed Artist Talks New Album, New Baby And New Life In Nashville
Ken Tucker, Nashville

A lot of has happened since Sheryl Crow's fifth studio album, "Wildflower," hit stores in September 2005. Her very public relationship and engagement with champion cyclist Lance Armstrong came to an end in early 2006, and soon thereafter Crow was diagnosed with breast cancer.

And just weeks before "Wildflower" was released -- to mixed reviews and sales well below those of her past efforts -- Hurricane Katrina wrought its lasting damage upon New Orleans and the surrounding area. Crow's thoughts on the aftermath of that tragedy as well as the ongoing war in Iraq, politics and the environment are all addressed on "Detours," her new A&M album due Feb. 5. First single "Love Is Free" is at radio now --it's No. 17 on Billboard's Triple A chart.

But the new set is not just about the past. Indeed, it also represents new beginnings and the return of an old friend. In the spring of 2007, Crow became a single mother when she adopted a 2-week-old baby boy, Wyatt Steven. Just months earlier, in October 2006, she had moved to a 150-acre farm 45 minutes outside of Nashville, in the rolling hills of Williamson County.

Occasionally cradling a cup of coffee as she sits with Billboard, Crow shared her candid thoughts about her music, her life and the world around us.

Why did you move to Nashville?

Sheryl Crow: I wanted to live here for a long time. I moved to L.A. in ‘87 and always felt like there was a purpose in my being in L.A. even though I was really there because I was always on the road. As I got older and wanted to slow down a little bit [I wanted to move here]. My family is all within three hours of here, my sister actually lives here. And I like this part of the world -- it’s very reminiscent of where I grew up. I like lots of farmland and I like the people here and the music that comes out of here. Actually my last three records I finished in Nashville. I’d come here and hang out with my sister and work at Ocean Way [Studios].

You’ve appeared on a Brooks & Dunn record, recorded with Vince Gill and Willie Nelson. Are you becoming part of the Nashville music community?

Sheryl Crow: I guess. It’s a weird time now. Way back when I wanted to move here, pop wasn’t moving into the country scene. I see why it’s happening now. [It's] because there is no room for people who are just singer/songwriters or who are in between rap, dance and straight-up country. I have great friends who live down here like Emmylou [Harris] and Steve Earle’s always been so great, and Vince [Gill] and Willie [Nelson], even though he doesn’t live here. I feel like I am beginning to be a part of a musical community, but I wouldn’t say I’m a country artist because I wouldn’t want to invalidate anybody else or to even begin to be so preposterous as to think I can just skate into town and get some fans.

Would you ever record a country record?

Sheryl Crow: I feel like my music kind of stems from this part of the world. I feel like there’s a very strong tie to Americana and lyrically to troubadour/country kinds of music, but in the tradition of old country. I couldn’t begin to understand how to make a new country record. I don’t even know what that is now. But, yeah, I would love to make a straight up old country record, which would probably never get played [laughs].

What music are you listening to?

Sheryl Crow: There’s great stuff out there, it’s just a little harder to find. I love Feist. I love this band Margerie Fair that opened up for me two summers ago. I love the Feeling, they have some good stuff. There are so many obscure bands who are doing cool stuff. I have a nephew who’s on MySpace and he’s always sending me stuff that’s not signed. There’s good stuff out there, it’s just not the commercial stuff.

With piracy and lagging sales, are there other models that the record industry should be trying?

Sheryl Crow: Absolutely. We are where we are for a lot of karmic reasons. The CD came out and they slapped $18.99 on a piece of material that cost no more to manufacture than a cassette. They made all the money and there’s a karmic retribution that goes along with that kind of greed. The consumer’s not stupid.

We have to get to a business model where it’s fair to the artist; it’s 50/50. We share in the profits and then it escalates where once you’re paid off then you make even more of a percentage. The prices need to be lowered to something that’s consumer based. We’ve got to do away with CDs completely because until we do that people are just going to bootleg. I say let the system completely bottom out so we can get on with solving the problem.

Would you ever consider doing something like Radiohead did?

Sheryl Crow: I really appreciate the fact that they tried to do that and I understand what they were going for. I was disappointed with what the answer to their experiment was. Ten or 15 percent paid $6 or something like that. On the other end of the spectrum, though, they can do that because they have a big fan base. They go out and tour and make a lot of money. Young artists can't do that and it sets a weird, wacky precedent. You shouldn't have to do that. The message isn't clear. For you to tell me what my art is worth to me is missing the mark. To artists who are starting out who don't have a fanbase, who are touring and don't draw people because people don't know their music, I don't think that's the way to go. I don't think giving away the music is the answer to people thinking that they shouldn't have to pay for art when art is really what is going to get us through the worst of our times. Music, art, writing - it gives us a sense of who we are, a sense of our history, a sense of our future and it should provide some kind of comfort. It's not just entertainment for entertainment's sake, it's an investment. So while I appreciate what they did I don't think the message was clear cut.

Tell me about the song, “Love Is Free.”

Sheryl Crow: I think [it] actually came about after I was reading in the New York Times about Brad Pitt and what he’s doing [in New Orleans] and reflecting on my time down there. I spent three or four months working on the self-titled record there. It was such a great time because it was one of those moments in my career when I felt everyone was against me. My first record had done really well. Then [there was] all this backlash about how I didn’t write it, a bunch of men wrote it and they’re all mad and I can’t even play or sing. To be down in New Orleans, where there’s already that spirit of grit and voodoo and black magic, and just being able to kind of slink around the city and [be] like a kid, like a bratty teenager trying to prove myself, was such an exciting time. The inspiration for that song was thinking about that and seeing what it looks like now. It just breaks my heart.

“Gasoline” has a futuristic revolutionary theme to it. What is the story behind it?

Sheryl Crow: It’s like a science fiction song about looking back and proposing what it would have been like if people were really, really awake and took it to the streets. [It’s saying] we will not be oppressed by these oil prices dictating how we’re going to live our lives. It’s fantastical but at the same time hopefully it’s thought-provoking.

“Does Anybody Want You” has an ELO/George Harrison vibe to it. How did that happen? I know Bill Bottrell worked with ELO at one point.

Sheryl Crow: I kind of err on the side of George Harrison, I always have. He’s my favorite artist of all time and I just can’t help myself. I’m a sucker for it.

It’s interesting that on “Now That You’re Gone” you talk about being able to finally breath, and then “Drunk On the Thought of You” you say you can’t stand the freedom. Is that a paradox of love?

Sheryl Crow: What can I say, I’m a mixed up chick. [laughs] Everyone can attest to the fact that when you are newly out of a relationship, you just feel so immobilized by the pain of it. When you finally start waking up and you don’t feel sickened by all that pain, you feel like “I’m finally breathing deep again.” That’s what it's about; it’s not so much even about the person. It’s about finally being through the worst of the sorrow and the grief and that deep, deep pain.

“Drunk On the Thought of You” is that propensity that we all have to jump right in with believing in love, which is the motivating factor in life. You believe in the purity of love and the possibility. That song is just all about possibility, to really love somebody again.

How did “Peace Be Upon Us” come about and how did Mike Elizondo come to play on it?

Sheryl Crow: I play bass and so does Bill, but I don’t play like Mike. On the song “Now That You’re Gone,” both Bill and I were like “we need a real bass player on this.” We called [Mike] and he brought down two pieces of, like little germs, of music and one of them was this little figure for “Peace Be Upon Us.” I started working on melody for it and lyrics and kept getting hung up.

In the morning when [my son] Wyatt’s up really early, that’s when I found I could kind of be clear. I started singing a bunch of syllables that just sounded great and I told Bill I wish I could just sing these syllables and he said “well, why don’t you? I said I don’t want to waste it and then it occurred to me that maybe it should be a different language. It became “what if the song’s about peace,” because it already had a Middle Eastern feel.

Will you tour this year?

Sheryl Crow: We’ll do a package in the summer, but we don’t know what that is yet. Hopefully we’ll be able to go to some [places] we haven’t been to in a long time, like Australia, Asia and South America. We’re getting ready to go to Europe to do some promotion in February. It’s a new frontier out there, it’s the wild west. We’ll continue to investigate new ways to get our music in front of people like all this
YouTube stuff—that’s new to me. We’ll just keep trying to stay current and stay little bit ahead of the game and get it all out there.

Fifteen years is a long time in this business. To what do you credit your longevity?

Sheryl Crow: Stubbornness [Laughs], that pathos that I will not be driven away. I laugh about that, but that is part of it. Part of it is I love what I do and I feel compelled to go out and play because there’s a lot of freedom in that for me and in that communication. I find a lot of joy just going out and playing for people.

But also I would say I’m really lucky. I would not be doing what I’m doing if I had to come up through the ranks the way you do now. I wouldn’t be able to do it. In fact, I wouldn’t even make the audition for “American Idol.” So I was lucky I got in at a time [I did]. I was at the tail end of the idea of being a troubadour, of being able to go out and hone your craft. I got to grow as an artist. There’s no denying that looking back to the first record to now, I’ve grown as a songwriter and as a musician and as a producer and as a performer. It’s wonderful I’ve gotten to do that. Today’s artists go out and you’re perfect and you’re choreographed and you can lip-synch with the best of them. I had the luxury of falling down a few times and picking myself up as a stronger version of myself.


Wednesday January 23


NEW YORK, Jan. 23 /PRNewswire-FirstCall/ -- Multi-platinum and Grammy® winning artist Sheryl Crow will take over SIRIUS Satellite Radio's (Nasdaq: SIRI - News) The Spectrum channel. The exclusive five-day special will feature Sheryl playing her favorite music including a track-by-track preview and in- depth discussion of her new album Detours (A&M/Interscope) in stores February 5th.

Among the many tracks on the album, Sheryl discusses how "Lullaby for Wyatt," a song about her son, " ... really informed this album. There's an urgent feeling about what's going on in the world. This song is really about, as a parent, you just want to protect your children from the pain that they're going to ultimately experience in their lives."

During the take-over Sheryl also performs songs from Detours and some of her classic hits at SIRIUS' studios. Sheryl Crow's Spectrum will kick-off on February 4th at 7 am ET and run through February 8th on The Spectrum channel 18.

Sheryl Crow catapulted onto the global stage in 1993 with her debut solo album Tuesday Night Music Club. The album sold over six million copies and won Sheryl three Grammy awards including "Best New Artist." Since then Sheryl Crow has sold over 30 million albums worldwide, received nine Grammy awards and collaborated with renowned artists including Kid Rock, The Rolling Stones and Willie Nelson. Detours is Sheryl Crow's sixth studio album and was recorded on her farm in Nashville.

To learn more about Sheryl Crow's Spectrum please visit


Click to enlarge

Does anyone have this issue of Billboard Magazine? Need scans!

Thanks! :-)

Edit: umm... it seems the same interview published by Reuters via Yahoo! News on Friday, January 18:

PS: the cover pic is bloody gorgeous

Tuesday January 22



Credits: Chris Hudson


Hello to my Dear Fans,
Finally, we are just about ready to launch my new website (and my new album)!  A few more days and we will go LIVE. I'm so excited about it!

We've been digging into the archives to find some cool photos. We'll definitely be tweaking and adding things as we go along, so always check back to see what's new.

I'll want your feedback on the new site and you will be able to share it with me with the new community features so I look forward to hearing what you think.

Can't wait for you all to hear the record!  2 more weeks! Hope you love it as much as I do.



Monday January 21


Will be freeee, yeah, yeah, yeah!


New photos! Some of them was taken by Chris Hudson. Check out his photo website:



1. God Bless This Mess
2. Shine Over Babylon
3. Love Is Free
4. Peace Be Upon Us
5. Gasoline
6. Out Of Our Heads
7. Detours
8. Now That You're Gone
9. Drunk With The Thought Of You
10. Diamond Ring
11. Motivation
12. Make It Go Away
13. Love Is All There Is
14. Lullaby For Wyatt


I like'em all, with the exception of "Diamond Ring" and "Out Of Our Heads". Oh, and I still prefer the live version of "Gasoline". It's just rawer... and her voice drives me crazy. My, oh my (hormones) Lol :-)

[NEWS] NEW SHERYL CROW UNPLUGGED PERFORMANCE ON AMAZON.COM and Interscope Geffen A&M Exclusively Premiere New Sheryl Crow Unplugged Performance on

Monday January 21, 6:00 am ET
Fans get their first glimpse of the title track off the artist's new album, "Detours," as part of a four-song unplugged session only on

SEATTLE & SANTA MONICA, Calif.--(BUSINESS WIRE) (NASDAQ:AMZN - News) and Interscope Geffen A&M today announced the exclusive debut of a four-song unplugged session by Sheryl Crow on, featuring the premiere of the title track off her new album, “Detours.” Additionally, the exclusive performance includes two new tracks (“Shine Over Babylon” and “Love is Free”) and fan favorite “If It Makes You Happy.” Fans will get their first and only look at the performance online at through March 17.

“Sheryl Crow continues to push the boundaries of her work by incorporating personal moments from her life’s experiences into her music and bringing forth genuine emotion,” said Peter Faricy, vice president of music and movies at “We’re excited to bring her fans this exclusive, up close and personal look at her new music on This unique opportunity to work with Sheryl to record an intimate performance of songs from her new album is truly an honor. We will continue to deliver innovative content that will excite and enrich our customers’ experiences.”

“This is Sheryl Crow at her best,” said Steve Berman, president of marketing and sales at Interscope Geffen A&M. “Well-crafted songs with real meaning to them are a rarity in this day and age. ‘Detours’ could be the high-water mark of a truly stellar career. We’re excited, as always, to release music of this caliber.”

Over the course of her career, Crow has collaborated with music legends from the Rolling Stones to Willie Nelson. She has won nine Grammy awards and sold over 30 million albums worldwide. “Detours” marks the return of producer Bill Bottrell, who previously worked with Crow on her breakthrough debut album, “Tuesday Night Music Club,” which earned the singer three Grammy Awards and sold more than 10 million copies worldwide. music editors have written that Crow’s “glistening vocals, flawless production and catchy songs” have kept her music at the top of its game.

“Detours” will be released on Tuesday, Feb. 5, 2008, and is now available for pre-order on for $9.99, a savings of 29 percent.



368x276 - Stereo - Avi - H264 - 16 min

- Shine Over Babylon
- Love is Free
- If It Makes You Happy
- Detours


Issue Date Position
December 28 22 (debut)*

* Note: Triple A most increased plays (WXRV +14 Sirius Spectrum +11 WTTS +9 WZEW +8 KRVB +8 CIDR +7 KPTL +6 KWMT +5 WRLT +4 WNCS +1 )

Saturday January 19


Singer Sheryl Crow will headline event for the Ulman Cancer for Young Adults, a member of the Livestrong Young Adult Alliance.


(PRLog.Org) – Jan 18, 2008 – Contact: Jahantab Siddiqui Havit Advertising. 410-227-0590.

COLUMBIA, MD - The Ulman Cancer Fund for Young Adults (UCF) announced today that Grammy winning singer/songwriter Sheryl Crow will headline a fundraiser for the Maryland-based nonprofit.

“One Night. One Fight.” will be an evening of live music at Pazo Restaurant in Baltimore city. Crow will perform an acoustic set, including selections from her newest album Detours. The night will also include a performance from the Cancer Dancers.

One Night. One Fight.
An evening with Sheryl Crow at Pazo Restaurant
March 16, 2008, 6 PM

A breast cancer survivor, Sheryl’s music, strength, and perseverance have been an inspiration for cancer survivors everywhere. A close friend of UCF founder Doug Ulman, Crow praised the Ulman Cancer Fund and its work on behalf of young adult cancer survivors and their families. After being diagnosed with cancer, Crow credited Ulman for his support and guidance, “he was always my point person when other people I knew were getting diagnosed. He set up more friends of mine with people at MD Anderson and Dana Farber, and all these different -- UCLA. And I contacted him as soon as I got diagnosed and said, you know, all the people that I have had you mentor through this, it is me this time. Can you help me? So, he was really the person,” she told CNN.

“Sheryl has been an inspiration to cancer survivors and we are excited to have her join us as we kick-off our Get in the Fight campaign,” said Brock Yetso, executive director of the Ulman Cancer Fund. “We are also grateful for Cindy Wolf and Tony Foreman’s generosity in hosting this event at Pazo restaurant.”

“Cindy and I are very excited to be a small part of a very special event for a marketable cause, that is absolutely important to us on a personal level,” said Foreman, owner and wine director, Pazo restaurant.

Tickets for the event are limited and sponsorships are available. For information on tickets and sponsorships, please visit

About the Ulman Cancer Fund for Young Adults

The Ulman Cancer Fund for Young Adults enhances lives by supporting, educating and connecting young adults, and their loved ones affected by cancer. Through its Visionary Grants Program the UCF strives to cultivate the next generation of community-based outreach and support programs for this often overlooked population.

For more information, visit

Source: Jahantab Siddiqui Havit Advertising


By Jac Chebatoris | NEWSWEEK
Jan 28, 2008 Issue

Sheryl Crow has left Santa Monica Boulevard with her new CD, "Detours." The singer—and new mom—spoke to Jac Chebatoris:

Congratulations on the new baby, new record — and surviving cancer. How are you doing?

I am fantastic. In fact, can you hang on a second? I'm going to move because my son's in here and he wants to play. [Baby noise] Sorry about that.

How old is he?

Nine months, and he's trying so hard to walk. He's crawling at, like, 90 miles an hour, pulling up on everything. The madness begins!

How is writing with him around?

It's interesting that you can go out and talk about the environment with college kids, but until you have a kid and you're really emotionally invested in what kind of planet you're leaving for your kid, you don't realize the sense of urgency that you'll feel.

Do you feel a responsibility as an artist to get these issues out there in your songs?

I don't feel a responsibility to write about it—I feel an urgency. It's a really compelling time, and it would feel really wasteful to not talk about the things that are right in front of me. The fact that we're not all out in the streets and trying to incite change is indicative of just how numbed out we are.

As a mom, can you even imagine what Britney is going through?

The only way for paparazzi to stop chasing people around is to not buy the magazines. I would strongly encourage anyone who's interested in that kind of stuff to not watch because every moment you spend rejoicing or distracting yourself with that is a moment that you can't get back in your life. It's fast food and it's not good for us.

You ' ve been a tabloid target yourself.

I was never top-shelf celebrity. I was never chased by paparazzi until my lowest point—when my public relationship [with Lance Armstrong] fell apart and I was diagnosed with breast cancer. What's that say?

Is the song "Diamond Ring" alluding to Lance?

That song is specifically about my relationship with diamond rings. Not to embarrass myself, but I've been engaged more than once.

© 2008 Newsweek, Inc.


Mother can you hold me together
it's so dark and I'm losing my way
took all of these detours to find love
and when I did it just faded away

What do I do with this sweet love of mine
do I give it away, and hope someday I'll find
someone half as awake as the moon and the stars
mother teach me to love with a paper thin heart

Mother your words are so soothin'
you speak of love and life and of peace
but I made it my course to avoid you
just to hide from these feelings of grief

Now what do I do with this sweet love of mine
do I give it away, and hope someday I'll find
someone half as awake as the moon and the stars
mother teach me to love with a paper thin heart

What I do with this sweet love of mine
do I give it away, and hope someday I'll find
someone half as awake as the moon and the stars
mother teach me to love with a paper thin heart

Mother I know you are with me
you were there when I took my first breath
you can stop looking back for the answers
I just keep coming up with regret
cuz there are some things i just can't forget


- God Bless This Mess
- Detours
- Love Is Free
- Shine Over Babylon
- Drunk With The Thought of You

128 kbits - 44.1 kHz - Stereo - 15 mb

Mirror #2



By Ken Tucker

NASHVILLE (Billboard) - Despite the comfort of her surroundings -- a warm and tastefully decorated den dominated by a fireplace on one wall and windows that look out over her front 40 on another -- Sheryl Crow is clearly not comfortable.

It's not the soon-to-be-solar-and-wind-powered house or the guest that makes her edgy -- although she does allow that she'd love to be holding her young son, who instead was being put down for a nap by a nanny.

It's that after a trying three years, Crow is eager to share just what's been going on in her life and what she sees going on in the world.

A lot has happened since her fifth studio album, "Wildflower," hit stores in September 2005. Her very public relationship with and engagement to champion cyclist Lance Armstrong came to an end in early 2006, and soon thereafter Crow was diagnosed with breast cancer.

And just weeks before "Wildflower" was released -- to mixed reviews and sales well below those of her past efforts -- Hurricane Katrina wrought its lasting damage upon New Orleans and the surrounding area. Crow's addresses that tragedy as well as the ongoing war in Iraq, politics and the environment on "Detours," her new A&M album due February 5.

But the new set is not just about the past. It also represents new beginnings and the return of an old friend. In the spring of 2007, Crow became a single mother when she adopted a 2-week-old baby boy, Wyatt Steven. Just months earlier, in October 2006, she had moved to a 150-acre farm 45 minutes outside of Nashville, in the rolling hills of Williamson County. After living for years in Los Angeles and then in Texas with Armstrong, Crow made the move, she said, to be closer to family. (Older sister Kathy lives in Nashville, and Crow's hometown of Kennett, Mo., is approximately 200 miles to the west.)

The new record also marks the first time she has collaborated with songwriter/producer Bill Bottrell since the two became estranged after the release of her 1993 multiplatinum debut, "Tuesday Night Music Club." Bottrell said that when the two reunited, "it was like no time had passed. Musically, we still had the connection we always had."

It was on her farm, in a studio she built on the ground floor, that Crow, Bottrell and a small group of musicians created "Detours." Crow and Bottrell both brought ideas to the table, but much of the album was written as it was recorded, "which is the way we always worked," Bottrell said. "We write and start demoing and the demo eventually becomes the master."

The 14-cut album is a wakeup call for Crow and for anyone listening. "I wanted to knock on some doors and wake some people up and just say, 'What the heck are we doing?"' she said. "Where did we go? What did we become? We're like zombies in 'Invasion of the Body Snatchers."'

Whether the new album will enjoy the radio success that Crow had with such hits as "If It Makes You Happy," "Soak Up the Sun" and "A Change Would Do You Good" remains to be seen. "I'd love to have a hit record (at radio). I really would, but I don't think it's realistic to believe that I will," Crow said. "Sirius, NPR, XM, that's where I'm getting played."

Q: This album was inspired by the last three years of your life, the breast cancer, your son and your breakup with Lance Armstrong, correct?

Sheryl Crow: "And also what's going on with the war and just taking it all in, trying to levitate above it to get some kind of clear view of what all of it means. I kept coming up with the idea of detours; when you're young and innocent you have this clear picture of who you are and who you want to be and you're very idealistic. Then throughout your life you go on these journeys away from yourself, which dictate that you come back and readdress where you got off and how to get back. I've done a lot of that, for better or for worse.

"For the last seven years we've been on a course away from ourselves in this country. (It's been going on) for a while, but I've never seen it be quite as full-blown as it is now. We are where we are and these things can serve to wake us up, to help us to remember who we are and that there are reasons we are where we are."

Q: Are you considered to be in remission?

Crow: "I'm considered to be cancer-free. The first diagnosis was two years ago in February, so I've got about another year to sweat through it, and then it looks better and better and better."

Q: How did you come to work with Bill Bottrell again after all these years?

Crow: "Just a phone call. I knew I was getting ready to start making a record and I knew I had been through a lot personally and I didn't know exactly what the record was going to be, but I wanted it to have the in-your-faceness of the first record. I'd always wondered what our creative life would be like because we had such a strong creative relationship when we made the first record. So I just called him and I said, 'I'm going to propose something crazy, but how do you feel about getting together and seeing what we might do in the studio?' He said, 'I've been waiting for this call for years."'

Q: You have friends and collaborators in Nashville like Emmylou Harris and Vince Gill, but you really didn't tap into any of them for this record, did you?

Crow: "No. This record was an interesting project. I almost felt like I was in a laboratory because one of the most beautiful and freeing things about it is I wasn't producing it myself. I had the luxury of having Bill here, so I got to be left to my own devices of just being creative and not having to make decisions.

"When it came down to recording, it was just really organic and it was very personal. It was basically just Bill and I, and then we had Jeff (Trott) doing overdubs, and Jeremy (Stacey), my drummer, and Mike Elizondo came in, but it was a very controlled environment and a very intimate environment. It felt too personal to even have anybody come in and lend their personality to it, with the exception of Ben Harper, who actually happened to be here for Bonnaroo. Late at night he heard 'Gasoline' and wanted to be on it, which was a thrill for me. He's that modern-day Richie Havens with his fist in the air."

Q: What do you hope people take away from "Detours?"

Crow: "The older we get, we develop this incredible knack of going to sleep rather than experiencing some of the pain. That's the way we function, we create these defenses. I know I've done it. I've managed to be very productive even in the worst of times. Being diagnosed with breast cancer, especially right on the tail end of a public breakup, I didn't have a choice but to really experience it and grieve it and mourn it and push through it.

"Watching where we are now, I can relate to it. All these negative things coming out at us -- we've perfected being able to just turn it all off. It renders us zombies, or renders us completely paralyzed to do anything, which is a fantastic place to have your country be if you're trying to pull one over (on the citizens). I'm hoping that we're at the precipice now of really waking up."

Q: Do you feel any pressure for your new album to succeed?

Crow: "I don't even know how you could succeed in this market. I don't know what records are selling now, with the exception of the Eagles, which was phenomenal because of how they did it. But I just want it to have some legs as far as it being heard. And I'll never know how many people are hearing it, because I don't begin to believe that everyone's going to go out and buy it."

Q: Do you enjoy being part of the marketing of a record, the part that has you appearing on "The View," for example?

Crow: "This record is going to be a different experience. It's one thing to go out there and talk about songs that are personal or that are crafted, but I feel deeply about the subjects on this record, every one of them. I want to go out and talk about this record because I want to create a dialogue. I want it to be a thought-provoking record that people can relate to and will go out and incite some sort of motivating feeling of being a part of something. Let me get on there and talk about it with Joy Behar."


Friday January 18


Issue Date Position
December 28 22 (debut)
January 4, 2008 20
January 11, 2008 17
January 18, 2008 17*

* Triple A most added - 2 new stations: KINK (Portland, Oregon), KPRI (San Diego, California)


Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28


January 4, 2008


January 11, 2008


January 18, 2008



TW: 12
LW: 10


The 100 most popular song downloads at Apple's iTunes.

31. Love Is Free - Sheryl Crow
Detours - A&M Records


Thursday January 17


A quanto pare in Italia il nuovo disco uscira' il 1 Febbraio. Questa e' la tracklist:

1. God Bless This Mess
2. Shine Over Babylon
3. Love Is Free
4. Peace Be Upon Us
5. Gasoline 6. Out Of Our Heads
7. Detours
8. Now That You're Gone
9. Drunk With The Thought Of You
10. Diamond Ring
11. Motivation
12. Make It Go Away
13. Love Is All There Is
14. Lullaby For Wyatt

Stores italiani

Internet Bookshop
CD Box

Se trovate altri negozi che annoverano Detours vi prego di farmelo sapere. Grazie.


E' del 22 Dicembre scorso, ma l'ho scovato soltanto ora.

La rabbia di Sheryl Crow
di Giulio Brusati

Bastasse una sola canzone a cambiare il mondo, si potrebbe scegliere come inno il nuovo brano di Sheryl Crow. Con «Shine over Babylon» la cantautrice americana originaria del Missouri è arrivata a comporre un brano politico dove si mescolano le sue lamentele per un mondo che sta affondando, per le «città che affogano in fontane bollenti» e per la presenza di «pazzi estrattori di petrolio» (non è difficile individuare in questa figura il suo "caro" presidente George W. Bush) che non rispettano l'ambiente e credono che il cambiamento del clima sia solo un mito ecologista.

La canzone è solo un antipasto dell'album «Detours», in uscita all'inizio di febbraio 2008. «Detours» è il seguito di «Wildflower» (2005), e secondo Sheryl è «il disco più onesto che abbia mai registrato», un album che «parla di un risveglio forzato, della necessità di aprire gli occhi sulla realtà delle cose».

Ad aiutarla nelle registrazioni, avvenute a Nashville, la capitale del country (ma nel caso di Sheryl c'è da calcolare anche il soul sudista), è intervenuto Bill Bottrell, già produttore dell'album di debutto della cantautrice americana, quel «Tuesday Night Music Club» che la trasformò in una rockstar negli anni '90.

«Quando ci siamo incontrati io e Bill- ha confessato la chitarrista e cantante- è stato come vivere un momento catartico e confortevole». Per capire il peso di Sheryl nel panorama rock americano basta citare la passione che i Rolling Stones nutrono per lei (l'hanno chiamata ad aprire i loro concerti…) e il credito che le concede Bob Dylan (le ha regalato pure la canzone «Mississippi»). Al disco hanno collaborato anche Jeff Trott e Jeremy Stacey, e le session sono finite come un diario sul sito della cantante. E proposito della svolta ecologista di «Shine over Babylon», la Crow cita proprio il grande Dylan: «Credo che questa mia nuova canzone sia un brano consapevole, in senso ecologico, come quelle che scriveva Dylan negli anni '60. Io incoraggio i giovani artisti a comporre canzoni su quello che succede intorno a noi perché noto che spesso i testi delle canzoni pop hanno argomenti risibili.

Credo che sia tornato il tempo in cui bisogna scrivere su quello che accade nel mondo in cui viviamo. "Detours" parla della difficoltà di risvegliarsi e di lottare per la vita».

È per questo che le sue nuove canzoni affrontano temi per lei delicati come i figli, la sua battaglia contro il cancro al seno e la fine del suo amore con il campione di ciclismo Lance Armstrong, anch'egli colpito dal cancro e alla fine vincitore anche della malattia. Un disco personale e allo stesso tempo universale, questo «Detours», che avrà un'eco non solo negli Stati Uniti (dove Sheryl è una star) ma anche in Italia, dove è un'artista di culto. La situazione potrebbe cambiare se davvero Pippo Baudo chiamerà Sheryl al prossimo festival di Sanremo come ospite speciale.


click to enlarge



Thematically, Detours may not seem like much of a detour to Sheryl Crow fans. Her politics pour out of these songs the way you might expect them to if you caught wind of her epic cross-country bus trip, with the activist Laurie David, to promote environmental awareness months prior to this release. From the quiet, faraway-sounding opener "God Bless This Mess"--a novel in a song--to the catchy but thought-provoking "Gasoline," it's clear that Crow has more on her mind these days than soaking up the sun or having a little fun, à la the Tuesday Night Music Club era. Yet there's not a groan-worthy song on this standout rock/pop/folk/blues album. If the themes are heavy (in addition to the political songs, there's an almost painfully tender lullaby for her son Wyatt and one, "Make It Go Away [Radiation Song]," that touches on her breast-cancer experience), the mood is cathartic, determined, hopeful at times and sad at others. "Now That You're Gone" grabs at clarity through the clouds of a devastating love affair and gets it, and "Peace Be Upon Us" picks apart pettiness and arrives at a wide-minded beauty. George Harrison seems present in some of these songs, especially the more personal ones ("Drunk with the Thought of You," "Love Is All There Is"). And that may be the highest compliment that Sheryl Crow, who seems to admire his gentle soul and shares his big heart, could ask for.

-- Tammy La Gorce for


Sheryl with the directors The Malloys (Love is Free) - credits:

Sheryl with Jonathan Sudbury and his brother (God Bless This Mess) - credits: Jonathan Sudbury


Some sweet pictures that I found on the RSS page of (Thanks for posting them Mr. Hudson! :-)

With June Carter Cash. My favorite of the bunch (i'm a huge fan of Johnny and June ;-) -- taken in 2003

Sheryl at the keyboards with Gregg Allman of The Allman Brothers Band (from Macon, GA) -- taken in '94/95

Playing pool -- taken on march 13, 1998

Sheryl and Trina Shoemaker recording Globe Session -- taken in '98

Wearing the cool yet infamous "Manson Sucks" shirt ;-) Woodstock 94 -- (Fabio metti le mani sulla tastiera!!!!!!!!)

With Paul McCartney and Dan Akyroyd. The Concert for New York City. October 20, 2001

Sheryl shopping at the flea market in Paris (1994/95)

Accordion rocks! (Shepherd's Bush Empire -- November 1996)


Wednesday January 16



It's been a few years since Sheryl Crow played New York City, but she's coming back for a pair of concerts (Feb. 6th and 7th), and at a smaller venue than before.

Crow was scheduled to headline a show at the New Jersey Performing Art Center a couple of years back, but had to cancel that part of her tour when she discovered she had breast cancer. Now she's doing two shows at Irving Plaza (of "Fillmore New York at Irving Plaza," as the venue is now called).

As a longtime Sheryl Crow fan, I'm glad to see her in a smaller venue like Irving Plaza, where I can move up close if I want (even though it's a standing-only venue), as opposed to the larger, more formal concert halls where you're stuck in an assigned seat, probably far from the action unless you can pony up for tickets in the first few rows.

Sheryl Crow's new album "Detours" is aptly named, reflecting on the twists and turns in life, including the ones that she has experienced in the last few years: her breakup from fiance Lance Armstrong, her diagnosis and treatment for breast cancer, and her new role as a mother (she adopted a child last year). "Detours" also marks a return to working with producer Bill Bottrell, the man who worked with her on her breakthrough first album, "Tuesday Night Music Club."

With all these changes and reflections, maybe it's fitting that Crow is returning to playing in smaller, standing-only clubs. She may well be playing in a big seated concert hall on her next trip to New York, so I'm going to catch her at Irving Plaza this time.

February 6 & 7
Fillmore New York at Irving Plaza
17 Irving Place, at 15th St.




Sheryl is featured on Nissan Live Sets on Yahoo! Music. Click HERE and watch Sheryl's performance now!

Tuesday January 15


Photo credits : Jonathan Sudbury (director)



Synopsis: In the series A Musician's Life listeners learn about musicians' lives first-hand. We'll hear from performers at various stages of their career; those on the rise, those who have "made it" and those who may be struggling for some recognition. They'll describe both the creative and mundane sides of what they do, including , including how they work with the music industry, how they feel about critics and fans, the realities of touring, the stories behind specific songs and much more. -


MP3 - 128 kbits 44.1, stereo - 5 mb


  • February 1st - The Today Show (NBC)
  • February 4th - Late Show with David Letterman (CBS)
  • February 5th - The View (ABC)
  • February 5th - Late Night with Conan O'Brien (NBC)

Monday January 14


Issue Date Position
December 28 22 (debut)
January 4, 2008 20
January 11, 2008 17*

* Triple A most added - 4 new stations: KPTL (Des Moines, Iowa), KWMT (Fort Dodge, Iowa), KXLY (Spoken, Washington), WBOS (Boston, Massachusetts)


Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28


January 4, 2008


January 11, 2008


Sunday January 13


Missouri Alumnus
Volume 76, Number 4, Summer 1988

Friday January 11


In the Studio: Sheryl Crow Dials Up Old Friends, Protests War on Upcoming Album

Sheryl Crow’s 1993 debut, Tuesday Night Music Club, was a bittersweet experience. While hits like “All I Wanna Do” pushed the album to seven-times-platinum status, Crow’s friendships with the musicians she worked with — known as the Tuesday Night Music Club — fell apart amid allegations that Crow took too much credit. Epitomizing the animosity, TNMC producer Bill Bottrell called Crow “hopeless” and “obnoxious” in a 1996 Rolling Stone cover story.

So it was surprising that in August Crow dialed up Bottrell. “He said, ‘I’ve been waiting years for this call,’” Crow says. “It was a sweet homecoming for the both of us.” In a burst of creativity, they recorded twenty-four songs in forty days in the basement studio of Crow’s Nashville-area home. The disc’s fourteen tracks are among Crow’s most personal, a fact she attributes to the adoption of her son, Wyatt, in 2007. “I couldn’t write fast enough — having this tiny, innocent spirit made me fearless,” she says. “I felt a sense of urgency to write about what’s really happening.” The album opens with the raw “God Bless This Mess,” which ­ad­dresses 9/11, when “the president spoke words of comfort with tears in his eyes/Then he led us as a nation into a war all based on lies.” And a handful of cuts, such as “Diamond Ring” (”Diamond ring,” Crow sings, “shouldn’t change a thing/Fucks up everything”), seem to allude to her called-off engagement to Lance Armstrong. “All I can say is that I’ve been ­engaged three times,” she says with a laugh. “So I have a thing about diamonds.” Crow adds that the sultry R&B groove and lyrics of liberation on “Now That You’re Gone” definitely don’t address her ex. “That’s not about Lance,” she says. “I dedicate that one to Karl Rove.”

Austin Scaggs
Rock and Roll Diary - Jan 11, 2008

Thursday January 10


Facile scommettere sul primo ospite speciale "garantito" del prossimo Festival di Sanremo. Con Anna Tatangelo in gara tra i big con «Il mio amico (autore Gigi D'Alessio), chi credete duetterà con lei e si ritaglierà uno spazio particolare all'interno della manifestazione? Tra gli altri ospiti italiani fuori concorso (i veri big della canzone non si metteranno mai in gara), si danno per sicuri Jovanotti, in tempo per la promozione del suo nuovo album «Safari». Anche Giorgia, da sempre un "pallino" di Pippo, è tra i nomi più probabili, insieme a quelli di Gianni Morandi, Ramazzotti (il Festival c'ha solo da guadagnare, anche solo a nominare Eros…) e Anna Oxa. Si parla anche di Zucchero e Pippo potrebbe davvero fare il miracolo e portare a Sanremo «Sugar» dopo che sua figlia Irene, negli anni scorsi, è stata bocciata per ben due volte dalla commissione artistica, uno stopo che le ha impedito di essere inclusa nella sezione Giovani. Per quanto riguarda gli ospiti stranieri, è sicura la presenza di Sheryl Crow che potrà presentare le istanze ecologiste presenti nel suo singolo «Shine over Babylon», anticipazione di «Detours», album di imminente uscita. Si tratta anche per la partecipazione di Lenny Kravitz, lche verrebbe nel nostro paese per promuovere «It's time for a love revolution», il nuovo disco di inediti. Anche Miguel Bosè potrebbe riaffacciarsi all'Ariston dopo il successo del suo album «Papito» e la grande eco del suo concerto milanese. G.BR.

Fonte: L'Arena - il Giornale di Verona (


Il MINCHIARDI-time si fa sempre piu' vicino, che Dio ce la mandi buona...

NB: il festival si terra' dal 25 Febbraio al 1 Marzo.

Wednesday January 9


From Mixtape Maestro weblog:

Sheryl Crow kicks off her sixth studio effort, Detours (which excitingly re-connects her with Tuesday Night Music Club principal Bill Bottrell), with the sunny "Love Is Free", a loose, rootsier "Soak Up The Sun" that finds her inspired by the people of a post-Katrina New Orleans. From the count-off intro to the bulbous horn accents towards the end, the sing-along tune sparkles from the speakers with it's charming acoustic aesthetic and Crow's innate grasp of undeniable melodies. Appreciating the Big Easy community's resilience in the face of a spirit-snatching natural disaster, Crow latches onto the wondrously stoic qualities they now hold. Yeah, some might have lost their faith and thieves are scandalous enough to take what little you have in the dark of the night, but life must go on despite it all ("With the voodoo/ What do you do/ When the radio just plays on anyway?"). With a hippie-happy chorus that shrugs off the seemingly unwavering clouds of depression hanging over them ("Oh everybody/ Devil take your money/ Money got no hold on me/ Oh oh everybody's making love/ Cause love is free"), "Love Is Free" celebrates a "shit happens" attitude that'll have you embarrassed for being pissed off at your local barista for putting 2% milk in your skinny, double-tall, half-decaf latte.  



The University Club, New York, December 3, 2007 - Sheryl presented a John A. Reisenbach Foundation distinguished citizen award to John Hayes, CMO of American Express.

(Thanks Mike)


Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28


January 4, 2008




Issue Date Position
December 28 22 (debut)
January 4, 2008 20




(Thank you Julie!)

Monday January 7


"(Director) James (Strouse) and I discussed the song and the scene over the phone," recounts Crow. "He expressed that he wanted the song to paint the picture of how painful it might be to experience such grief. He hoped the song might be beautiful but somber."

Inspiration: "I wrote 'Lullaby for Wyatt' after having watched 'Grace Is Gone.' My son Wyatt was 3 weeks old. The theme of the movie -- the idea that as parents, we want to protect our children from hurt and loss -- really moved me to write the lullaby. It plays over the scene where John's character is driving while his daughters sleep in the backseat, (so a lullaby seemed appropriate)."

The Hook: "The hook asks the question, 'How do we protect our young from all the painful moments that life will hand them?'"



Credit: Ellen Von Unwerth

Saturday January 5


Jpg - 2,70 mb

[PICS] ...


click to enlarge


The Sheryl Crow Detours album hasn’t been released yet as the official date is February 5, or Super Duper Tuesday as those following the political caucuses will acknowledge. And, this is a good release date for Sheryl Crow’s Detours as she doesn’t detour, but dives right into political issues such as the high price of fuel and energy independence with her song “Gasoline”.

The “Gasoline” lyrics talk about a futuristic world where oil has already peaked and is in scare supply. Conflicts are breaking out in different countries to get the last drops of oil, while the government helps the fuel tycoons squeeze the last dollars of profits from the public’s hands.

Another song that may be perceived as a political statement is “Love Is Free” which takes place on Lake Pontchartrain on the northern edge of New Orleans. The video on Sheryl Crow’s blog shows a sign floating by that says “Make Levees Not War” and the Love Is Free lyrics state “It ain’t no big thing if you lose your faith / They kinda like to keep you in your place.”

In Sheryl Crow’s first single off the Detours album, “Shine Over Babylon” she once again touches upon the theme of being free from possessions and the control of others. In particular, the Shine Over Babylon lyrics state, “Hollow stones of mindless filler / Can lead to madman oil drillers” once again envisioning a world where oil is scarce and those who control it control the world.

Though the Sheryl Crow Detours album may detour a bit from her first smash success Tuesday Night Music Club album, one thing is for sure. As a songwriter putting out her sixth album, Sheryl doesn’t pull any punches, speaks her mind and this is something to crow about.


Thursday January 3




Courtesy samuraicatJB

According to sandwolf the music video of "Love is Free" was filmed in the Honey Island Swamp in Slidell, Louisiana (close to New Orleans) where he lives.

He has also met Sheryl in the middle of the set :

"My daughter and I stopped and watched her film the portion in front of the old church with all the performers and after she was done she walked by where we were standing and I thanked her for filming here and bringing light on a still royally F'ed up situation down here. She was really nice and down to earth and that's enough to make me a new fan of hers."

So I asked to him, "did you take some pictures?" He said to me:

"Unfornately, no I didn't get any pictures. I got the memory though and that's pretty cool. And my 5 year old got to have a good experience because Sheryl was nice and not snobby or self-absorbed."

Well, thanks again, sandwolf! Thanks for sharing your experience

Some info about Honey Island Swamp (courtesy of wikipedia)

Honey Island swamp is one of the least-altered river swamps in the United States. Considered by many to be one of the most pristine swampland habitats in the United States, the Honey Island Swamp covers an area that is over 20 miles (30 km) long and nearly 7 miles (10 km) across, with 34,896 of its 70,000 acres (280 km²) government sanctioned as permanently protected wildlife area.


Honey Island Swamp Tour
New Orleans and surrounding area
Flickr Gallery

External links

Honey Island Swamp official website
City of Slidell, Louisiana
New Orleans, Louisiana

Wednesday January 2


Download ZIP - 14 pictures - 2,5 mb - Credits: Chris Hudson

Tuesday January 1st


Here's the final track listing:

1. God Bless This Mess
2. Shine Over Babylon
3. Love is Free
4. Peace Be Upon Us
5. Gasoline
6. Out Of Our Heads
7. Detours
8. Now That You're Gone
9. Drunk With The Thought of You
10. Diamond Ring
11. Motivation
12. Make It Go Away
13. Love Is Are There Is
14. Lullaby For Wyatt
15. Rise Up *
16. Beautiful Dream *

* Japanese edition bonus tracks

Date of Release: January 30

Source: Universal Music Japan


A Midwestern Muslim
Hesham A. Hassaballa

How Sheryl Crow brought me closer to Allah.

No, Sheryl Crow has not converted to Islam. In fact, I have never met Ms. Crow in my life. Yet, she nevertheless has taught me a very important lesson about Allah. I recently downloaded (legally, thank you very much) her song "Light In Your Eyes" and burned it on a CD. I absolutely love it. I can listen to it four or five times in a row without even beginning to get bored. In fact, I am listening to it right now as I write this. It is such a wonderful, uplifting, and soothing song.

In it, she says: "You gotta talk to the One who made you/Talk to the One who understands/Talk to the One who gave you...All the light in your eyes." I almost always cry when she says, "Talk to the One who understands." It makes me think of Him and how He has always understood me and has been there for me, even though I have forgotten Him on too many occasions. He truly understands the hypocrisy of the human condition, and yet He doesn't slam His door in my face, even though I deserve it. His door is always open to me, and I love Him for it.

The main message of the song, "You gotta talk to the One who made you," is a concept of such vital importance in our lives today. It is one about which I frequently preach in my Friday prayer sermons. And it is one which eluded me for a very long time in my life. When I was growing up, my mother (bless her heart) raised me to always be fearful of God's punishment. She would always tell me that if I sinned, God would punish me here and now (and then let her find out about it). Frequently, amazingly enough, this exact scenario would come true.

And it largely worked for me: I more or less kept out of trouble as a young Muslim growing up in America. Yet, I can see how such a tactic can backfire for a lot of young kids. It can conjure up an image of a vindictive, spiteful God who continually waits in the wings for us to sin so He can slap us down with His mighty stick of justice. That is not the God that I know. The God that I know is a loving, soothing, merciful Lord who always is there when we need Him. He understands that we are not perfect, and He continually waits for us to come back to Him so He can shower us with His soothing mercy.

And He loves it when we talk to Him. Growing up, I used to pray to God for a lot of things: good grades, a good college, a good wife, a career in medicine, etc. Yet, the relationship I had with God was one of a towering, powerful Lord--which He is--and a humbled, frightened servant. As I got older, however, this gradually changed, and I began to see God differently. Now, I feel I do the things He wants me to do because I love Him. Don't get me wrong: I am always afraid of being punished by God, but it is different now. I see the Lord as my friend, something which was developed during my hajj in 2003.

Listening to Sheryl Crow's song continues to remind me of how wonderful and important it is to talk to God. We really do have to talk to the One who made us, because He truly understands. Whenever we slip up--something we are bound to do--we have to talk to Him, tell Him we are sorry, and vow not to do it again. We have to ask Him never to close His door on us, even though we may have stayed far away from Him for an entire lifetime. Talking to God on a regular basis fills our heart with a feeling that is almost indescribable, and listening to her song gives me a little bit of that feeling each and every time. That's why I love it so.

Moreover, I find the message of her song in the Qur'an: "When My servants ask you [O Muhammad] concerning Me, I am indeed close (to them): I listen to the prayer of every suppliant when he calls on Me: Let them also, with a will, listen to My call, and believe in Me: That they may walk in the right way" (2:186). God also says: "And your Lord says: 'Call on Me; I will answer your (prayer)..." (40:60). God is just waiting for us to talk to Him; so, why don't we?

The Prophet Muhammad (peace be upon him) would also always talk to God. Many of the Prophet's biographers called his conversations with God "prayers," such as this one:

"O God, to Thee I complain of my weakness, my lack of resources and my lowliness before men. O most Merciful! Thou art the Lord of the weak and Thou art my Lord. To whom wilt Thou relinquish my fate? To one who will misuse me? Or to an enemy to whom Thou hast given power over me? If Thou art not angry with me, then I care not what happens to me. Thy favor is all that counts for me. I take refuge in the light of Thy countenance, by which all darkness is illuminated. And the things of this world and next are rightly ordered. I wish to please Thee until Thou art pleased. There is no power and no might save in Thee".

The Prophet had said these words after being violently expelled from the city of Taif, a city to the south of Mecca. When I examine this "prayer" much more closely, I realize that it is more a conversation than a prayer. The Prophet is telling God about his feelings; he is bearing all to the Lord. And the Lord was listening. In fact, the Lord is always listening, and He is just waiting for us to talk to Him; so, why don't we?

Some Muslims may find it objectionable that I find God in a rock song, especially one sung by a woman with musical instruments. Yet, the Prophet (peace be upon him) once said that wisdom is the "lost animal" of the believer: wherever it may be, he should seek it. One of the places I have found such wisdom is Sheryl Crow's song. Every time I hear the song, it reminds me of God and how wonderful He is. I'm not saying that her song replaces the Qur'an, or the Prophet's sayings, or the writings of Islamic scholars. Absolutely not. But, sometimes I just like to kick back and groove to some music. And when I hear "Light In Your Eyes," it makes me think of my Best Friend. What's so wrong with that?



Issue Date Position
November 2 19 (debut)
November 9 11
November 16 7
November 23 7
November 30 5
December 7 4

December 14


December 21


December 28