Crosseyed Heart
by Keith Richards
Metascore
75

Generally favorable reviews - based on 22 Critic Reviews

Critic score distribution:
  1. Positive: 19 out of 22
  2. Mixed: 3 out of 22
  3. Negative: 0 out of 22
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  1. Paste Magazine
    Sep 15, 2015
    90
    Honor among thieves, love amongst scoundrels... Keith Richards has carved an encompassing survey of his own spirit and set it to a vast set of influences for all to see.
  2. Los Angeles Times
    Sep 21, 2015
    80
    Crosseyed Heart could have been issued at any time in the past four decades. It’s full of influences he’s spent his creative life exploring, and there’s nothing viral or meme-worthy about them. That Richards keeps discovering nuance within those original texts is a testament to his seemingly infinite muse.
  3. musicOMH.com
    Sep 21, 2015
    80
    It has a satisfyingly gritty texture, more stripped back than a Stones album, and reveals a surprising amount of vulnerable feeling underneath the gunslinger swagger.
  5. AllMusic
    Sep 18, 2015
    80
    It's a winningly low-key record, where the atmosphere matters more than the songs, yet Richards doesn't neglect writing tunes this time around.
  6. The Guardian
    Sep 17, 2015
    80
    A terrific album, worthy of one of rock’s founding fathers.
  7. New York Daily News (Jim Faber)
    Sep 16, 2015
    80
    In the end, most of the songs feel like demos--but that stripped result honors the joy of raw feeling.
  8. New Musical Express (NME)
    Sep 15, 2015
    80
    Country, spiritual, rock both voodoo and drivetime; it’s a masterfully messy mash-up, yet the contemporary grime and gravel caking Crosseyed Heart is quintessentially Keef.
  9. Classic Rock Magazine
    Sep 3, 2015
    80
    Crosseyed Heart actually delivers.
  10. Mojo
    Aug 31, 2015
    80
    The guitarist has made the best and most honest of his outside raids, freshening his classicism with a hard stare at payback and mortality. [Oct 2015, p.91]
  11. Magnet
    Nov 17, 2015
    70
    Stones-y rockers a la "Heartstopper" and "Trouble" have more chug and balls than Richards' band has displayed in a while. [No. 126, p.59]
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  12. PopMatters
    Oct 12, 2015
    70
    Crosseyed Heart would have benefited from some trimming; it could’ve done without a few of the riff-rockers and the ballad “Suspicious”, a rehash of “This Room is Empty” from the Stones’ A Bigger Bang album and “Wicked as it Seems” from Main Offender. But the album’s virtues outweigh its longeurs.
  13. American Songwriter
    Sep 22, 2015
    70
    At fifteen tracks, the formula could easily have run stale were it not for a couple of sneaky surprises.
  14. Drowned In Sound
    Sep 21, 2015
    70
    Crosseyed Heart will serve as proof that it ain’t Keef who’s over the hill.
  15. Slant Magazine
    Sep 16, 2015
    70
    The relatively low ratio of octane riffage means many of these songs hinge on Richards's worn, oaky voice. His low, craggly growl suits the rock songs well, and he manages perhaps the tenderest vocal performance of his career on the reggae-infused “Love Overdue.”
  16. Rolling Stone
    Sep 14, 2015
    70
    His most eccentric and best-ever solo set.
  17. Q Magazine
    Aug 31, 2015
    70
    Crosseyed Heart sounds fantastic and beautifully put together. [Oct 2015, p.110]
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  18. Uncut
    Aug 31, 2015
    70
    Lyrically, Richards sometimes relies too heavily on the Random Stones Lyric Generator. But Richards has always worn his humour and his soul well, and these qualities are sympathetically served here. [Oct 2015, p.70]
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  19. Consequence
    Sep 17, 2015
    67
    Some ideas get recycled throughout the record, and there’s a tighter 10-track LP in there if listeners care to edit for themselves.
  20. Chicago Tribune
    Sep 21, 2015
    63
    The guy who wrote "Angie," "Wild Horses," and "Ruby Tuesday" sprinkles the album with ballads, though the only one that has a pulse is Gregory Isaacs' reggae lament "Love Overdue." The other slow ones wobble.

User Reviews

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User Score
7.7

Generally favorable reviews- based on 10 Ratings

User score distribution:
  1. Positive: 8 out of 10
  2. Mixed: 0 out of 10
  3. Negative: 2 out of 10
  1. denisthemenace
    Sep 19, 2015
    10
    review by denisthemenace
    Arrived home at 2.30 and a card on the mat said 'parcel in usual place' and it was Crosseyed Heart and I hurried it    review by denisthemenace
    Arrived home at 2.30 and a card on the mat said 'parcel in usual place' and it was Crosseyed Heart and I hurried it onto the record player - whilst holding the lovely cover of the double-vinyl release and its now after four and I'm placing side 1 on again. It is like the afternoon I sat in captured attention to Dylan's Time Out of Mind - songs like Love Sick and Tryin' to Get to Heaven. Listening again I read through the song's words - how very pure and lovely: in 'Amnesia' I'm robbed blind, robbed blind ... thtat's what they had in mind ... ' but it is the phrasing that is JJ Cale in his prime (which I think lasted his entire life). Keith please don't go - can this be the first album of a new period - stay in the Stones to keep your rhythm asnd blues in tune but then do the real thing - working on your next album with Steve Jordan, with Waddy Wachtel and all the rest. 'Trouble' is starting up - I listen to the singing searing perfection of a rock vocal, goodness how did Keith get here? Next a cover of Gregory Isaak's 'Love Overdue' - funnily in first pass my mind wandered off this one, the only track not to stun me. I love 'Nothing on me' - absolutely know this will be a big part of autumn 2015 and well beyond. I haven't even mentioned the music itself have I? Perfect. Strands of percussion, guitar and hammond organ and Keith's reverbing perfect vocal is captivating. Listen to this ' 'Suspicious as it seems you're cropping up in dreams' - or - 'I knew it from the start, you better barricade your heart'. Back to 'Nothing on me' - how is this? ' 'You know they watch me like a hawk ... Yeah, they even took me for a walk'. Nils Lofgren would bow his head in admiration of the Master on this one I think. Then side 'C' and Blues in the Morning - Keith's vocal again nicely placed in a cavern somewhere but rich as strawberries and cream and the guitar throughout is totally as good as it could be - tone and phrasing and bite ('Keith Richards electric guitar, bass, piano, lead vocals'). This blues ends on 'I don't care cause I'm a billionaire' - the sort of laughing humour that is a silver thread through the fabric of this sensational recording. Anyway, the second playing isn't done yet ... 'Something for Nothing' spools in on a choir and the vocal coming in is pure Lou Reed ' We can figure the odds We can pray to the gods Something for nothing'. Like Reed held his vocal - his voice - up full and very personal, this is here and lovely (I'll reserve the right to use that word again a little later). And always filled with a band - a choir backing - that is heart winning. Next up? Illusion. The georgeous piano introduction is Keith and again (to me) this is Velvet Underground in harmony mood. What else? Oh, I suppose a lifetime where rock entered the blood. Norah Jones countering with 'But it's not the one you are thinking of' - lovely again. And it is RELAXED. Glancing over at the record cover again, teeth too perfect perhaps but the smile is pure genuine one hundred percent malt whiskey and this music is that too. We're nearing the last tracks ... Just a Gift, Goodnight Irene, Substantial Damage, Lover's Plea. My very first LP record was a present I could choose - a record on my 12th birthday -and I selected Leadbelly on Verve Records 'Keep your hands off her' with tracks such as 'There's a man going round taking names' and 'Lining Track' and 'National Defense Blues'. Goodnight Irene was not on that record but it is such a wise choice for this record. But just a minute - 'in 'Just a Gift' - 'Well you know where I live And I'll open up that door'. Did Keith perhaps kick off his teenage listening to Leadbelly too? I suppose he must have done. Anyway this is a true singing rendition and caring and I wouldn't change a thing. 'Irene goodnight, Irene goodnight, goodnight Irene, goodnight Irene, I'll see you in my dreams'. Who could bring Leadbelly alive today but Keith Richards? So, thankyou poor reader for staying with me this far, and we reach two final wonderful songs. In 'Substantial Damage' we have another Richards and Jordan composition - these two must stay partners for the follow-up. The groove of the introduction and haunting echoes and the guitar is ... (I require some expletives here I suppose). The production - echoes and big reverberation - is just perfect. 'What are we doing together? You got the broom, I got the feather' .. 'I know ya don't mean it honey, it's just the way you're built'. Onto the final 'Lover's Plea' then ... it starts with the cry-inducing Dylanesque vocal 'Suspicious as it seems you're cropping up in dreams'. This is so beasutiful and I think seals it - we have here one of the best records of the modern era, a record to stand alongside 'Time Out of Mind' - but much more fun. How is this? ... ''It seems too tough, yeah confusion can get a little rough' - but there is such perfect timing in these vocals and the band is swinging on Keith's shirt tails like an angel.    … Full Review »
  2. davidschugar
    Sep 21, 2015
    10
    His best solo album yet and arguably essential for those engrossed in -all-things-stones - as admittedly I am. Some songs could have been leftHis best solo album yet and arguably essential for those engrossed in -all-things-stones - as admittedly I am. Some songs could have been left off, but most stand up. His guitar work has some surpassing elements and I have an added respect for his music theory over his actual technique. Some songs have a subtlety with the licks that are utterly charming. Typically his chords and chord changes are simply lovely. On two occasions he resorts to melody transitions we've heard before, but with all due respect, I take Keef 's reruns as improvements. For Keef lovers this is a must have. He's Dylanesque in a wonderful way.… Full Review »
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