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Product details
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Track Listings
| 1. The Stations |
| 2. Why Did We Have To Part |
| 3. That's How Every Empire Falls |
| 4. No Reason |
| 5. Prussian Blue |
| 6. Love Song |
| 7. Gee Baby |
| 8. Goin' Back |
| 9. Past Present Future |
| 10. Horses And High Heels |
| 11. Back In My Baby's Arms |
| 12. Eternity |
| 13. The Old House |
Product Description
Review
Many so-called UK blues or folk singers would die for the authentic, lived-in singing voice of Marianne Faithfull. Or, to put it more succinctly, many so-called UK blues or folk singers would literally die if they tried to follow in the footsteps of this iconic survivor. For many of her contemporaries, the end of the 60s meant little more than a hangover and a change of haircut, but for the author of Sister Morphine it meant the entire, catastrophic collapse of her life. By the end of 1970 she was a homeless heroin and cocaine addict living rough on the streets of Soho after losing custody of her child and having suffered the awful accusation of being the primary cause of her own mother’s suicide attempt.
When she finally starting piecing her life back together, some snide reviews claimed that she had "permanently vulgarized" her voice. But really she had the equipment she needed to make her grand statement, 1979’s jaw dropping Broken English – a truly astonishing album, despite the terrible cost she paid in order to be able to make it.
Horses and High Heels is her first record since covers collection Easy Come, Easy Go in 2009, and its mix of originals and standards shows that the 64-year-old singer has at least partially dealt with her writer’s block of recent years. There are few men or women of any age who could convincingly cover The Twilight Singers’ drug-ravaged hymn The Stations, but Ms Faithfull does without even stretching herself. Again her voice is ideal to cope with the rueful Carole King classic, Goin’ Back. To be honest though, this reviewer could have done with more of her own songs, such as the killer title-track and Why Did We Have to Part, instead of the pointless, cabaret-style schmaltz of Past, Present and Future.
As always, she has a stellar cast of friends helping out including Lou Reed, Brother Wayne Kramer from the MC5 and Dr John to name but a few. If there is a fault with this record however, it isn’t Faithfull’s but her band’s, as the playing is perhaps just too polite and polished. For a woman of such talent, who has lived so much and seen so much, one can’t help but hope she gets the same chance Johnny Cash did with Rick Rubin before the end of her career because as good as this record is, she deserves slightly more.
--John Doran
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Customer Reviews
Most Helpful Customer Reviews
11 of 11 people found the following review helpful
Maybe not everyone's taste, but certainly as soulful and strong as anything she has ever written. Give it a chance!
8 April 2011
Format:Audio CD
Recorded in the French Quarter of New Orleans ("We wanted to have fun," says Marianne. "And, of course, it's cheaper than New York"), the setlist comprises nine covers, and four new songs - co-written by Marianne - which feature the virtuoso guitar playing of John Porter, a musician/producer friend most noted for his work with Roxy Music, Eric Clapton and The Smiths.
She is joined by a session band spearheaded by guitarist Doug Pettibone who is best-known for his work with Lucinda Williams.
The cover versions include a rendering of Lesley Duncan's delightful "Love Song", a rumbling rootsy take on Mark Lanegan's "The Stations" and the bar-room soul of "Gee Baby".
Of the new songs, "Why Did We Have To Part" is the obligatory break-up song, the title track has a Celtic feel, while "Prussian Love" (actually about her life in Paris) is all guitar jangle and Hammond organ.
Lou Reed plays guitar on a couple of tunes, with Dr John and Wayne Kramer of the MC5 weighing in with one apiece.
While peers such as Rod Stewart are happy to churn out lazy easy listening collections, Marianne Faithfull, wearing the trademark leathery vocal, chooses her material with care, mindful of making a connection with the song. But she has never been one to be pinned down, so this latest mix dabbles in various styles without committing.
The Stonesy blues rock of Jackie Lomax's "No Reason" and southern soul feel of her own "Prussian Blue" are professionally dispatched by her band of New Orleans musicians but Faithfull herself sounds more comfortable with the space afforded by the delicate, pastoral arrangement of "Love Song", while her deep, throaty voice brings just the right balance of sage experience and plaintive regret to the Carole King/Gerry Goffin gem "Goin' Back".
"Marianne Faithfull follows her 2009 album of cover versions with another collection in the same vein, assisted by the likes of Lou Reed and Dr John. She attacks old soul numbers with gusto, turning them into cheery Stones-ish romps, but is at her best on pared-back material heavy with world-weary pathos". Thomas H Green
"With over eight cover versions wearing the trademark leathery vocal, and four Faithfull originals, Marianne still weaves a magical musical spell nigh on 50 years after she cut a controversial swathe through the 1960s.
She is still a great interpreter - the opening "The Stations" will send a shiver down the spines of Greg Dulli and Mark Lanegan. But the show-stopper is her reading of Lesley Duncan's "Love Song". Scotsman
Download this: "Love Song", "The Stations" and "Prussian Blue".
Before the Poison
She is joined by a session band spearheaded by guitarist Doug Pettibone who is best-known for his work with Lucinda Williams.
The cover versions include a rendering of Lesley Duncan's delightful "Love Song", a rumbling rootsy take on Mark Lanegan's "The Stations" and the bar-room soul of "Gee Baby".
Of the new songs, "Why Did We Have To Part" is the obligatory break-up song, the title track has a Celtic feel, while "Prussian Love" (actually about her life in Paris) is all guitar jangle and Hammond organ.
Lou Reed plays guitar on a couple of tunes, with Dr John and Wayne Kramer of the MC5 weighing in with one apiece.
While peers such as Rod Stewart are happy to churn out lazy easy listening collections, Marianne Faithfull, wearing the trademark leathery vocal, chooses her material with care, mindful of making a connection with the song. But she has never been one to be pinned down, so this latest mix dabbles in various styles without committing.
The Stonesy blues rock of Jackie Lomax's "No Reason" and southern soul feel of her own "Prussian Blue" are professionally dispatched by her band of New Orleans musicians but Faithfull herself sounds more comfortable with the space afforded by the delicate, pastoral arrangement of "Love Song", while her deep, throaty voice brings just the right balance of sage experience and plaintive regret to the Carole King/Gerry Goffin gem "Goin' Back".
"Marianne Faithfull follows her 2009 album of cover versions with another collection in the same vein, assisted by the likes of Lou Reed and Dr John. She attacks old soul numbers with gusto, turning them into cheery Stones-ish romps, but is at her best on pared-back material heavy with world-weary pathos". Thomas H Green
"With over eight cover versions wearing the trademark leathery vocal, and four Faithfull originals, Marianne still weaves a magical musical spell nigh on 50 years after she cut a controversial swathe through the 1960s.
She is still a great interpreter - the opening "The Stations" will send a shiver down the spines of Greg Dulli and Mark Lanegan. But the show-stopper is her reading of Lesley Duncan's "Love Song". Scotsman
Download this: "Love Song", "The Stations" and "Prussian Blue".
Before the Poison
3 of 3 people found the following review helpful
Format:Audio CD
Marianne never ceases to amaze nor does she ever disappoint. This is only her 19th album in a career that's now spanned 47 years and is I think her very best. It took a few listens to settle in but when it did it's like I always knew the songs. Her voice is totally unique and she has a knack of making old songs sound like they were made for her.
Of the thirteen tracks seven are new songs and six covers of classics from the '60's. Two of the covers are the Shangri-Las 'Past, Present & Future' and 'Goin' Back' which was a hit for Dusty Springfield. Both are now sung from the perspective of a much older woman who sadly acknowledges the passing of time. Marianne puts her boots on for a stomping version of Jackie Lomax's 'No Reasons' and her take on the late Lesley Duncan's 'Love Song' is breathtaking.
Marianne co-wrote four of the new songs. 'Horses And High Heels' which mentions places where she has lived. 'Prussian Blue' with it's great but simple key changes, the haunting 'Why Did We Have To Part' and 'Eternity'. The final track 'The Old House', which was especially written for Marianne by Irish playwright Frank McGuiness, conjures up images of ghosts and forgotten memories.
At sixty-four years of age Marianne is still a force to be reckoned with. She doesn't run with the pack, she's well ahead of it.
Of the thirteen tracks seven are new songs and six covers of classics from the '60's. Two of the covers are the Shangri-Las 'Past, Present & Future' and 'Goin' Back' which was a hit for Dusty Springfield. Both are now sung from the perspective of a much older woman who sadly acknowledges the passing of time. Marianne puts her boots on for a stomping version of Jackie Lomax's 'No Reasons' and her take on the late Lesley Duncan's 'Love Song' is breathtaking.
Marianne co-wrote four of the new songs. 'Horses And High Heels' which mentions places where she has lived. 'Prussian Blue' with it's great but simple key changes, the haunting 'Why Did We Have To Part' and 'Eternity'. The final track 'The Old House', which was especially written for Marianne by Irish playwright Frank McGuiness, conjures up images of ghosts and forgotten memories.
At sixty-four years of age Marianne is still a force to be reckoned with. She doesn't run with the pack, she's well ahead of it.
15 of 19 people found the following review helpful
Format:Audio CD
High, but deserved praise for the Lady who has given us "North Country Maid", "Broken English", "A Secret Life" and "20th Century Blues" This is a marvelous recording, Hal Willner's inspired production, the varied, yet cohesive song selection added to the fine musicianship of all involved create a treat from start to finish.
I especially enjoy the songs that Marianne co wrote and she is in fine voice throughout. How many musicians from Marianne's generation continue as regularly as she has to make such strong recordings? Richard Thompson, Robert Wyatt and Neil Young come to mind. Cherish Marianne, she is a treasure.
I especially enjoy the songs that Marianne co wrote and she is in fine voice throughout. How many musicians from Marianne's generation continue as regularly as she has to make such strong recordings? Richard Thompson, Robert Wyatt and Neil Young come to mind. Cherish Marianne, she is a treasure.
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Most Recent Customer Reviews
Impressive
I have only just started listening to Marianne's music again after quite a few years and am impressed with the album. Read more
Published 1 month ago by Jay
Stirring and soulful
Hal Wilner has done a spectacular production job on these quality songs, enabling Marianne to make the most of her familiar styles and successfully navigate some new ones. Read more
Published 6 months ago by Pieter
Late night listening music
The choice of songs and the quality of the musicians, allow Marianne's vocals to almost haunt the mood. Read more
Published 8 months ago by purse
Excellent, another understated record that will get people talking
I have followed Marianne for a good many years now, from going through old boxes of records at Wednesbury market and trying to get a picture with her outside the Wolverhampton... Read more
Published 13 months ago by Graham B71
Not good
Oh dear. This is not good.
Without the Stone (Stones?) connection this wouldn't have seen the light of day.
Without the Stone (Stones?) connection this wouldn't have seen the light of day.
Published 13 months ago by Adam
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