Crow should be proud of diverse album

SHERYL CROW; "Detours" (A&M)***

For her sixth studio album, "Detours," Sheryl Crow reunited with Bill Bottrell, the writer/producer with whom she collaborated on her 1993 breakout album, "Tuesday Night Music Club." After a 15-year estrangement, their reconciliation has resulted in Crow's most interesting and diverse collection of songs to date.

In "Detours" we witness two distinct sides of the artist. In the album's first half, Crow belts out political and environmental issues with wry bliss: Her catchy rock/pop/blues melodies never sounded better — something fans will appreciate.

She kicks it off with "God Bless This Mess," an acoustic, lo-fi sounding protest piece; it's a safe bet President Bush won't be listening to it anytime soon. The final lines read:

"The president spoke words of comfort with teardrops in his eyes,

Then, he led us as a nation into a war all based on lies."

"Shine Over Babylon" has more subtlety, but its comparisons between America and fallen ancient empires are still obvious. However, as the first song sounds almost like a demo, "Shine Over Babylon" has all the production quality of Crow's best.

"And still be so lost and still be so lost."

With "Out of Our Heads" the singer/songwriter pleads with mankind to stop the murdering madness in the Middle East.

From here Crow detours on "Detours," becoming more introspective. In "Make it Go Away" she laments her terrifying bout with breast cancer, looking for the "why" in order to make sense of it.

Her celebrated breakup with cycling champ Lance Armstrong is covered in four songs, each delving into aspects such as the fear of desertion, bitterness, heartbreak and less-than-stoic acceptance.

In "Now That You're Gone," Crow laments:

"We made a bed of roses, but I got pricked by the thorns."

In "Diamond Ring" she wails like a banshee, obviously wishing the words had never left her lips — yet, it is what she wanted.

In "Drunk With the Thought of You" she admits to not wanting to give up on a lover. It's tender but tragic.

The final cut on the album is the most touching: "Lullaby for Wyatt." Adopting a child in her mid-40s was a wide but happy detour for Crow. The piece is achingly beautiful, with piano, guitar and cello. But it's Crow's lilting and airy voice, pregnant with wisdom from life's experiences, that makes the song so poignant.

"How do I keep you from losing your way?

Hope you'll go out and you'll come back someday

But love is letting go

And this I know

Is you were mine

For a time."

"Detours" is a joy to hear and something Crow should be proud of.

---

E-mail: gag@desnews.com