Horses and High Heels - Marianne Faithfull
Metascore
65

Generally favorable reviews - based on 20 Critics

Critic score distribution:
  1. Positive: 9 out of 20
  2. Negative: 0 out of 20
  1. May 20, 2011
    80
    It's a rewarding and accomplished piece of work from an artist who continues to intrigue and surprise.
  2. Jun 27, 2011
    78
    Faithfull knows she has much more past than future, which gives her cover an intense melancholy that seeps naturally into the rest of Horses and High Heels. She is, in other words, a true pop connoisseur, blessed not only with a distinctive voice but with an understanding that songs can change dramatically with age and experience.
  3. 75
    The result is far from geezer rock. [1 Jul 201, p.74]
  4. Jun 28, 2011
    75
    Rock's rawest chanteuse delivers a roughhewn confessional.
  5. Jun 28, 2011
    75
    Faithfull delves into what she seems to know best: decay of all varietals, including the decay of passion, of relationships, even of civilizations in Tennessee songwriter-playwright-actor R. B. Morris' benedictory "That's How Every Empire Falls."
  6. Aug 5, 2011
    70
    Horses finds Faithfull loose, confident, and finally sounding happy. [Jul 2011, p.85]
  7. Aug 3, 2011
    70
    It's about evenly balanced between original material and covers that show Willner's and Faithfull's deep-catalog knowledge of pop music.
  8. Mar 23, 2011
    70
    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.
  9. Mar 23, 2011
    70
    Horses And High Heels is another impressive entry in her catalogue, as genuine as anything she's done since the 1979 classic Broken English.
  10. Jul 18, 2011
    60
    With help from Dr. John and guitarist John Porter, Faithfull, like New Orleans itself, proves hard times make for very good music.
  11. Jul 13, 2011
    60
    There are the four originals here on Horses and High Heels. And for my dope money at least, they count among the highest songs she's had since getting off the stuff some 20 years ago.
  12. Jun 21, 2011
    60
    As with most of her material, Horses and High Heels often sounds overblown and showy, but it identifies Faithfull's persistent ability to merge individual personality and musical connoisseurship.
  13. Apr 6, 2011
    60
    Lou Reed guests and she's brave enough to wrestle with both Greg Dulli and Mark Lanegan's unsettling The Stations, while her four lugubrious originals show the drugs didn't turn her brain to much. [Apr 2011, p.101]
  14. Apr 6, 2011
    60
    Drawing elements from both [previous albums], Horses And High Heels is a similarly accomplished if more playful affair. [Apr 2011, p.94]
  15. Mar 29, 2011
    60
    Producer Hal Wilner again helms this follow-up but the chemistry proves more fitful. [Apr 2011, p.80]
  16. Mar 23, 2011
    60
    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.
  17. Jul 7, 2011
    50
    There's sweet regret but no apology in Horses and High Heels, and though the lyrics of Faithfull's title track tell a different tale, the image is universally and resolutely one of female youth.
  18. Her voice hangs inertly among racks of lustrous guitars like a worn shirt.
  19. Jun 24, 2011
    40
    In the end, Horses is another addition to a catalogue short on standouts.
  20. 40
    Producer Hal Willner has surrounded Marianne Faithfull with some great New Orleans musicians, and got her covering a few Crescent City soul numbers. But it's not territory she occupies comfortably: she doesn't have the abandon to animate Joe & Ann's "Gee Baby", and her delivery of Allen Toussaint's "Back in Baby's Arms" is painfully stilted.

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