MUSIC REVEIW continued from pag 13
He pays respectful reverence
to Leadbelly’s classic Goodnight Irene, the only other cover on the album, singing it honestly and straightforward in the traditional folk style of the original. Blues in the Morning is rootsy as well, a raucous, infectious romp with riffing saxophone from Keyes and stabbing guitar throughout. It sounds like a cover in the best way possible - folk blues from way back in time and locale, hill country like East Texas or north Alabama or Mississippi maybe - re-energized by Richards. He and Jordan wrote it though and it kicks ass.
Something for Nothing leads
off with the Harlem Gospel choir then settles into a groove that is typical Richards, the choir belting out the chorus with vigor. The album closes a bit weakly with Substantial Damage – noisy if slinky with nearly spoken, muddied vocals, even acknowledging Waddy Watchel’s stellar slide guitar work – and another reflective turn, Lovers Plea. It’s moody and orchestral almost, enlivened somewhat with jaunty horns and background vocals. Doesn’t really work and the album would be just fine without it, in my humble opinion. All in all though, Crosseyed
Heart is a very good album. It showcases all of Richard’s diverse musical tastes/influences and his many talents. The songs are uniformly strong with a few exceptions, the personnel familiar and rock solid. While he’s still committed to
the Rolling Stones, Crosseyed Heart reaffirms Richard’s chops and skills, cementing his status as that band’s musical soul and heart. Let’s hope their next album is on a par with this first-rate solo effort. Hope, too, that Keef doesn’t plan another 20 years between solo stints – I suspect not.
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BOUNDER MAGAZINE 53
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