Rolling Stone (p.78) - 3.5 stars out of 5 -- "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..."
Q (Magazine) (p.100) - 3 stars out of 5 -- "'Love Is Free' ambles pleasantly, 'Gasoline' is 'All I Wanna Do' revisited and 'Detours' itself would grace and Best Of."
Mojo (Publisher) (p.102) - 4 stars out of 5 -- "Like Petty...she is a troubled soul with a compensating love of breezy, top-down sounds. That play of sonic summer and spiritual winter shades this, her sixth studio album..."
Audio Mixer: Bill Bottrell.
Recording information: 2 Seas Records, Bahrain; Glenwood Place Studios, Burbank,CA; Odditorium Records, CA; Sage And Sound Studios, Hollywood, CA; The Hit Farm, Nashville, TN; The Pass Studios, Los Angeles, CA.
Photographer: Norman Jean Roy.
More than 14 years after her lauded debut, Tuesday NIGHT MUSIC CLUB, Sheryl Crow reunited with that breakthrough album's producer, Bill Bottrell, for her 2008 outing, DETOURS. While both records are accomplished and willfully dynamic, DETOURS is the sound of someone who's been through a real emotional wringer, and, indeed, Crow had, having battled breast cancer, split from beau Lance Armstrong, and adopted a baby all shortly before these studio sessions.
The resulting tracks play to Crow's strengths as both a singer and a songwriter--while the spare, lo-fi opener, "God Bless This Mess," and the achingly tender closer, "Lullaby for Wyatt," highlight her emotive, slightly sandpaper-y vocals, the jangly "Love Is Free" and the sweeping "Love Is All There Is" are catchy, top-notch pop tunes. Making some stylistic DETOURS (witness the Middle-Eastern-tinged, Madonna-like "Peace Be Upon Us"), Crow also uses this collection to get topical, not only on some of the above-mentioned songs, but on the funky, petrol-addled narrative "Gasoline" and the beat-driven missive "Out of Our Heads." Both fiery and thoughtful, DETOURS nods back to the eclecticism of MUSIC CLUB, but it also points promisingly to Crow's continued relevance as a pop fixture.