Tell Me :
Talk
Two emails from Keith's site sent at same time:
#1, guitar picks back ordered
#2, order has been shipped
The vinyl is coming from Keith's site - I have no idea what the issue is with the CD. Should have got both from keith.
>
<
I would buy others copies of CH to reach # 1 again!!
All releases worldwide are now on Fridays. This started on July 10th.
Edited 1 time(s). Last edit at 2015-09-16 16:57 by Maindefender.
i suspect the backlog of pre-orders are the main thing that will determine how it charts its first week.
And Nothing On Me, at the moment, in my opinion is the best track.
I agree
Talk about your favorite band.
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Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
bye bye johnny
()
Date: September 16, 2015 03:57
Keith Richards and the Other Mick
Rolling Stone Keith Richards and drummer-songwriter Steve Jordan talk about ‘Crosseyed Heart’
Keith Richards earlier this year at Mark Seliger's studio in New York.
By Neil Shah
Sept. 15, 2015
Keith Richards wasn’t playing much guitar. After promoting his 2010 memoir, “Life,” the 71-year-old Rolling Stone was focused on his family, not fingerpicking. He even collaborated with his daughter, Theodora, on a children’s book about his grandfather.
Then he bumped into an old buddy and got pulled back in.
On Friday, Mr. Richards releases “Crosseyed Heart,” his first solo album in more than 20 years. There’s a new film documentary about him, “Keith Richards: Under the Influence,” on Netflix. His band when he isn’t playing with the Stones, the X-Pensive Winos—named for a bottle of Château Lafite they once drank in the studio—may tour again, too.
The man responsible for Mr. Richards’s getting his groove back is Steve Jordan, a drummer for “Late Night With David Letterman” in the early 1980s who has shepherded Mr. Richards’s previous solo records. They work together in a certain way, one that recalls the glory days of the Stones.
“Steve said to me, ‘How did you make, you know, “Jumpin’ Jack Flash,” “Street Fighting Man” and some of those others?’” Mr. Richards says. “I said, well, I got in the studio with Charlie Watts, and we cut the tracks, just guitar and drums. And so Steve looked at me and said, ‘Well? You know, I’m a drummer!’
“Crosseyed Heart,” an intimate collection of rootsy rockers and ballads, is rawer than a typical Rolling Stones record. Like Mr. Richards’s previous albums, 1988’s “Talk is Cheap” and 1992’s “Main Offender,” it is more about funky grooves and catchy melodies than technologically enhanced vocals and sweetened production.
“You can’t start overdubbing stuff to make it feel better,” says Mr. Jordan, 58. “Keith agrees with me. If we don’t have it between the two of us, we don’t have anything.”
For 30 years, Mr. Jordan has been Mr. Richards’s “other Mick,” his musical partner when the Stones weren’t working—or were fighting.
It started when Mr. Jordan befriended Stones drummer Charlie Watts when the band played “Saturday Night Live” in 1978 (Mr. Jordan was then SNL’s drummer). Mr. Jordan invited Mr. Watts to watch the baseball playoffs in a dressing room; the two traded knowledge about baseball and cricket.
Seven years later, while working in Paris, Mr. Jordan caught wind that the Stones were jamming nearby and sent a message to Mr. Watts through a roadie; Mr. Watts invited him to the Stones’ studio, where the band was assembling what became 1986’s “Dirty Work.”
It was a difficult time for the Stones, when the bickering between Mr. Richards and singer Mick Jagger was at its worst. Mr. Richards saw Mr. Jagger’s burgeoning solo ambitions as a betrayal, he wrote in his book.
Jumping in a cab on a freezing-cold night, Mr. Jordan struggled to find Pathé Marconi, the studio—but the Stones’ playing was loud enough that he was able to follow it, on foot, until he found the door.
Mr. Richards, Mr. Jagger and the band were set up as if they were playing live; just a few other folks were around, including Mr. Richards’s father, Bert, on a couch. “It was the perfect concert,” Mr. Jordan says.
Mr. Jordan began helping regularly with preproduction duties. With Mr. Jagger often absent, he supplied dummy lead vocals every other day or so to help the Stones rehearse, Mr. Jordan says. Mr. Watts, at the time battling drug addiction, asked Mr. Jordan to play some drums on the album, but Mr. Jordan declined to fill in, he says. Instead, he helped with percussion, like playing tambourine and bass drum on a cover song, “Loving You Is Sweeter Than Ever,” that was never released.
What touched Mr. Richards was when Mr. Jordan noticed something in his voice.
For the song “Sleep Tonight,” which ends “Dirty Work,” Mr. Richards sings in a low, deep tone—one Mr. Jordan found powerful and intense; he encouraged Mr. Richards to develop it.
“I said to myself, if I ever get a chance to work with this guy, I’m going to have him sing down in that octave,” Mr. Jordan says. Over the years, Mr. Richards has used that lower register frequently, particularly on ballads.
Steve Jordan and Keith Richards at Germano Studios in New York this year.
Paris led to jams and songwriting sessions with Mr. Richards in New York and Jamaica. The two then collaborated on concerts for the 1987 film “Chuck Berry Hail! Hail! Rock ’n’ roll.”
“Steve and I found, hey, we can write,” Mr. Richards says in his memoir. “He’s the only one. It’s either going to be Jagger/Richards or Jordan/Richards.”
When Mr. Richards decided to cut 1988’s raw “Talk is Cheap,” Mr. Jordan was “the man to start with,” according to Mr. Richards. After hammering out the basic tracks with Mr. Richards, Mr. Jordan helped him assemble the X-Pensive Winos, and brought in his favorite engineer, Don Smith, who later worked on the Stones’s 1994 album, “Voodoo Lounge.”
When Mr. Jordan coaxed Mr. Richards into New York’s One East Recording studio in 2011 to play for a few hours, Mr. Richards felt a little rusty.
“He just hadn’t been playing,” Mr. Jordan says. “That was kind of weird for a lot of people that are close to him.” Mr. Richards even mentioned retirement. Mr. Jordan told him: “That is the most ridiculous thing I have ever heard.” Mr. Richards’s strength improved. “The rust started to come off,” Mr. Jordan says.
“We had a great time, and I think it was the fun of playing with Steve—and just the simplicity of what we were doing,” Mr. Richards says. “I was starting to get that edge, that feel, back.”
They began getting together twice a week, from about 2 p.m. to 7:30 p.m., keeping the tape rolling.
“It’s like a therapy session, really,” says Waddy Wachtel, a top session guitarist and member of the X-Pensive Winos. “Steve and Keith are very, very close. And you can feel it—and see it—when they play together ... Their eyes are locked on each other.”
Mr. Jordan’s loose, funky drumming style lets Mr. Richards indulge in the staccato guitar improvisations that are his signature style—without losing the groove that drives their songs.
Mr. Jordan “has an incredible, innate sense of rhythm. To me, a lot of it is like playing with Charlie, but with a different style, of course,” Mr. Richards says. “It’s very rare to find…a drummer that turns you on.”
Three years later they found themselves sitting on a trove of songs. “Crosseyed Heart” “wasn’t conceived as an album,” Mr. Richards says, “but it sort of conceived itself.”
The duo’s bare-bones, garage-rock approach is different from how Mick and Keith work. Mr. Richards rarely sees Mr. Jagger unless the Stones are performing. Since the 1970s they have written separately and combined ideas during recording sessions. The Stones’s last full album was released in 2005.
With Mr. Jordan, it’s two musicians in a room—guitar and drums, much the way a younger Mr. Richards jammed with Mr. Watts. They don’t talk much when playing. “With two people, it’s so uncomplicated,” Mr. Richards says.
For “Crosseyed Heart,” they sometimes sat in front of a television watching CNN and jotting down lyrics on legal pads. Some tunes, including “Robbed Blind,” Mr. Richards wrote alone.
Once they were pleased with their basic tracks, Mr. Jordan enlisted X-Pensive Winos members, including pianist Ivan Neville, and other guests. Singers Bernard Fowler, Sarah Dash and the late Babi Floyd—members of Mr. Richards’s extended circle—make appearances, as do late sax sideman Bobby Keys and bassist Pino Palladino.
The first song they finished, “One More Shot,” isn’t actually on the album. Mr. Richards asked if he could give it to the Stones to record, and Mr. Jordan agreed; it’s on the band’s 2012 greatest-hits compilation “GRRR!”.
“Our version is, to me, much better—but that’s just my opinion,” Mr. Jordan says with a laugh.
[www.wsj.com]
Rolling Stone Keith Richards and drummer-songwriter Steve Jordan talk about ‘Crosseyed Heart’
Keith Richards earlier this year at Mark Seliger's studio in New York.
By Neil Shah
Sept. 15, 2015
Keith Richards wasn’t playing much guitar. After promoting his 2010 memoir, “Life,” the 71-year-old Rolling Stone was focused on his family, not fingerpicking. He even collaborated with his daughter, Theodora, on a children’s book about his grandfather.
Then he bumped into an old buddy and got pulled back in.
On Friday, Mr. Richards releases “Crosseyed Heart,” his first solo album in more than 20 years. There’s a new film documentary about him, “Keith Richards: Under the Influence,” on Netflix. His band when he isn’t playing with the Stones, the X-Pensive Winos—named for a bottle of Château Lafite they once drank in the studio—may tour again, too.
The man responsible for Mr. Richards’s getting his groove back is Steve Jordan, a drummer for “Late Night With David Letterman” in the early 1980s who has shepherded Mr. Richards’s previous solo records. They work together in a certain way, one that recalls the glory days of the Stones.
“Steve said to me, ‘How did you make, you know, “Jumpin’ Jack Flash,” “Street Fighting Man” and some of those others?’” Mr. Richards says. “I said, well, I got in the studio with Charlie Watts, and we cut the tracks, just guitar and drums. And so Steve looked at me and said, ‘Well? You know, I’m a drummer!’
“Crosseyed Heart,” an intimate collection of rootsy rockers and ballads, is rawer than a typical Rolling Stones record. Like Mr. Richards’s previous albums, 1988’s “Talk is Cheap” and 1992’s “Main Offender,” it is more about funky grooves and catchy melodies than technologically enhanced vocals and sweetened production.
“You can’t start overdubbing stuff to make it feel better,” says Mr. Jordan, 58. “Keith agrees with me. If we don’t have it between the two of us, we don’t have anything.”
For 30 years, Mr. Jordan has been Mr. Richards’s “other Mick,” his musical partner when the Stones weren’t working—or were fighting.
It started when Mr. Jordan befriended Stones drummer Charlie Watts when the band played “Saturday Night Live” in 1978 (Mr. Jordan was then SNL’s drummer). Mr. Jordan invited Mr. Watts to watch the baseball playoffs in a dressing room; the two traded knowledge about baseball and cricket.
Seven years later, while working in Paris, Mr. Jordan caught wind that the Stones were jamming nearby and sent a message to Mr. Watts through a roadie; Mr. Watts invited him to the Stones’ studio, where the band was assembling what became 1986’s “Dirty Work.”
It was a difficult time for the Stones, when the bickering between Mr. Richards and singer Mick Jagger was at its worst. Mr. Richards saw Mr. Jagger’s burgeoning solo ambitions as a betrayal, he wrote in his book.
Jumping in a cab on a freezing-cold night, Mr. Jordan struggled to find Pathé Marconi, the studio—but the Stones’ playing was loud enough that he was able to follow it, on foot, until he found the door.
Mr. Richards, Mr. Jagger and the band were set up as if they were playing live; just a few other folks were around, including Mr. Richards’s father, Bert, on a couch. “It was the perfect concert,” Mr. Jordan says.
Mr. Jordan began helping regularly with preproduction duties. With Mr. Jagger often absent, he supplied dummy lead vocals every other day or so to help the Stones rehearse, Mr. Jordan says. Mr. Watts, at the time battling drug addiction, asked Mr. Jordan to play some drums on the album, but Mr. Jordan declined to fill in, he says. Instead, he helped with percussion, like playing tambourine and bass drum on a cover song, “Loving You Is Sweeter Than Ever,” that was never released.
What touched Mr. Richards was when Mr. Jordan noticed something in his voice.
For the song “Sleep Tonight,” which ends “Dirty Work,” Mr. Richards sings in a low, deep tone—one Mr. Jordan found powerful and intense; he encouraged Mr. Richards to develop it.
“I said to myself, if I ever get a chance to work with this guy, I’m going to have him sing down in that octave,” Mr. Jordan says. Over the years, Mr. Richards has used that lower register frequently, particularly on ballads.
Steve Jordan and Keith Richards at Germano Studios in New York this year.
Paris led to jams and songwriting sessions with Mr. Richards in New York and Jamaica. The two then collaborated on concerts for the 1987 film “Chuck Berry Hail! Hail! Rock ’n’ roll.”
“Steve and I found, hey, we can write,” Mr. Richards says in his memoir. “He’s the only one. It’s either going to be Jagger/Richards or Jordan/Richards.”
When Mr. Richards decided to cut 1988’s raw “Talk is Cheap,” Mr. Jordan was “the man to start with,” according to Mr. Richards. After hammering out the basic tracks with Mr. Richards, Mr. Jordan helped him assemble the X-Pensive Winos, and brought in his favorite engineer, Don Smith, who later worked on the Stones’s 1994 album, “Voodoo Lounge.”
When Mr. Jordan coaxed Mr. Richards into New York’s One East Recording studio in 2011 to play for a few hours, Mr. Richards felt a little rusty.
“He just hadn’t been playing,” Mr. Jordan says. “That was kind of weird for a lot of people that are close to him.” Mr. Richards even mentioned retirement. Mr. Jordan told him: “That is the most ridiculous thing I have ever heard.” Mr. Richards’s strength improved. “The rust started to come off,” Mr. Jordan says.
“We had a great time, and I think it was the fun of playing with Steve—and just the simplicity of what we were doing,” Mr. Richards says. “I was starting to get that edge, that feel, back.”
They began getting together twice a week, from about 2 p.m. to 7:30 p.m., keeping the tape rolling.
“It’s like a therapy session, really,” says Waddy Wachtel, a top session guitarist and member of the X-Pensive Winos. “Steve and Keith are very, very close. And you can feel it—and see it—when they play together ... Their eyes are locked on each other.”
Mr. Jordan’s loose, funky drumming style lets Mr. Richards indulge in the staccato guitar improvisations that are his signature style—without losing the groove that drives their songs.
Mr. Jordan “has an incredible, innate sense of rhythm. To me, a lot of it is like playing with Charlie, but with a different style, of course,” Mr. Richards says. “It’s very rare to find…a drummer that turns you on.”
Three years later they found themselves sitting on a trove of songs. “Crosseyed Heart” “wasn’t conceived as an album,” Mr. Richards says, “but it sort of conceived itself.”
The duo’s bare-bones, garage-rock approach is different from how Mick and Keith work. Mr. Richards rarely sees Mr. Jagger unless the Stones are performing. Since the 1970s they have written separately and combined ideas during recording sessions. The Stones’s last full album was released in 2005.
With Mr. Jordan, it’s two musicians in a room—guitar and drums, much the way a younger Mr. Richards jammed with Mr. Watts. They don’t talk much when playing. “With two people, it’s so uncomplicated,” Mr. Richards says.
For “Crosseyed Heart,” they sometimes sat in front of a television watching CNN and jotting down lyrics on legal pads. Some tunes, including “Robbed Blind,” Mr. Richards wrote alone.
Once they were pleased with their basic tracks, Mr. Jordan enlisted X-Pensive Winos members, including pianist Ivan Neville, and other guests. Singers Bernard Fowler, Sarah Dash and the late Babi Floyd—members of Mr. Richards’s extended circle—make appearances, as do late sax sideman Bobby Keys and bassist Pino Palladino.
The first song they finished, “One More Shot,” isn’t actually on the album. Mr. Richards asked if he could give it to the Stones to record, and Mr. Jordan agreed; it’s on the band’s 2012 greatest-hits compilation “GRRR!”.
“Our version is, to me, much better—but that’s just my opinion,” Mr. Jordan says with a laugh.
[www.wsj.com]
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
bye bye johnny
()
Date: September 16, 2015 03:57
‘Crosseyed Heart’ by Keith Richards Review
Keith Richards’s new album is old school in the best possible way.
Keith Richards’s new album, ‘Crosseyed Heart,’ is out on Friday Photo: Netflix
By Jim Fusilli
Sept. 15, 2015
Keith Richards, who can be convivial and thoughtful during interviews, has been particularly graceless while promoting his new solo album, “Crosseyed Heart” (Republic), out on Friday. He’s ripped the Beatles, Black Sabbath, the Grateful Dead, Metallica and, with venom, rap and its fans. Even if a veteran artist like the Rolling Stones’ Mr. Richards has to kick up a little dust to announce his first solo album in 23 years, this is a curious strategy, one that suggests “Crosseyed Heart” needs a boost, even an unsightly one, to make it seem spin-worthy.
It doesn’t. At its best, the album comes close to everything fans of the rootsier, post-Brian Jones Stones want. It’s a loose, rough-edged and delightfully nasty collection built on Mr. Richards’s legendary guitar attack and the work of excellent musicians, led by drummer and co-producer Steve Jordan.
As it was with Mr. Richards’s “Talk Is Cheap,” issued in 1988, and “Main Offender,” released four year later, “Crosseyed Heart” features supporting performances by guitarist Waddy Wachtel, keyboardist Ivan Neville, and Sarah Dash on backing vocals. Though they recorded their parts after Messrs. Richards and Jordan laid down the foundations, the group picks up where it left off on those earlier albums, be it on folk blues, country ballads or all-out rockers. Each of those forms has been enriched during the past five decades by the attention of Mr. Richards, who is 71 years old, and it would be folly to expect much innovation. Needless to say, he isn’t offering his version of rap or hip-hop to show the whippersnappers how it ought to be done. But, as he is wont to do on his solo albums, he does toss in a reggae track. This time it’s his take on Gregory Isaacs’s “Love Is Overdue.”
“Crosseyed Heart” opens with promise and disappointment. The title track, a Delta-style blues featuring Mr. Richards singing accompanied only by his acoustic guitar, moves along nicely until he suddenly stops it by announcing: “That’s all I got.” But before the notion that the album is half-baked sets in, “Heartstopper” launches with Mr. Jordan’s pounding toms. As the walls rattle, guitars begin to weave around each other, and the track finds solid ground, even if it sounds like an offspring of “Can’t Be Seen,” a track Mr. Richards sang on the Stones’ 1989 album, “Steel Wheels.”
In the latter stages of their career, the Stones have featured Mr. Richards as lead vocalist on some of their most affecting ballads: “The Worst” and “Thru and Thru” on “Voodoo Lounge”; and “This Place Is Empty” on “A Bigger Bang,” among them. Here he handles similar material with boozy aplomb that hints at a depth of emotion that’s in conflict with his well-practiced devil-may-care public persona. On the country ballad “Robbed Blind,” Mr. Richards sings above an acoustic guitar, piano and Larry Campbell’s pedal steel guitar; if the arrangement is overly busy, the composition works. The bluesy, down-tempo “Suspicious” features Mr. Richards’s electric guitar turned up high but plucked gently. In the bittersweet “Just a Gift,” he offers the album’s best vocal over ringing acoustic guitars; late in the tune, a chorus of male voices and a country fiddle rise to join him.
Messrs. Richards and Jordan make effective use of their guests. Aaron Neville is a subtle presence on “Nothing on Me,” a mid-tempo number, and Norah Jones serves as Mr. Richards’s duet partner in “Illusion,” a moving heartbreak ballad. On “Lover’s Plea,” Spooner Oldham plays keyboards in the arrangement that’s an homage to mid-’60s Southern soul. (Mr. Oldham played on countless R&B hits cut in Memphis and Muscle Shoals, Ala.) Prior to his death in December 2014, Bobby Keys, Mr. Richards’s longtime associate, contributed saxophone on several tracks, including the rubbery “Amnesia.”
Again and again, “Crosseyed Heart” gets back Mr. Richards’s unmistakable approach to snarling rock. In “Trouble” and “Nothing on Me,” the guitars’ chopping chords and crunchy little filigrees are as much the feature as is Mr. Richards’s croaky vocal. “Something for Nothing” is teed up by members of Harlem Gospel Choir running through their parts until Messrs. Richards and Jordan give the track a tough heart. Prodded by Keys, Mr. Richards rips into a muddy “Blues in the Morning” that nods not only to Chuck Berry but to the Stones’ “Exile on Main St.”
Along with Friday’s launch on Netflix of the Morgan Neville documentary “Keith Richards: Under the Influence,” “Crosseyed Heart” nudges rock’s most beloved rhythm guitarist into plain sight. As he’s done before, he proves a worthy guide to gritty rock inspired by his extraordinary predecessors. Old school in the best possible way, “Crosseyed Heart” is a rebuke to the kind of music Mr. Richards doesn’t savor. The snarky commentary in interviews was unnecessary. The music speaks for itself.
[www.wsj.com]
Keith Richards’s new album is old school in the best possible way.
Keith Richards’s new album, ‘Crosseyed Heart,’ is out on Friday Photo: Netflix
By Jim Fusilli
Sept. 15, 2015
Keith Richards, who can be convivial and thoughtful during interviews, has been particularly graceless while promoting his new solo album, “Crosseyed Heart” (Republic), out on Friday. He’s ripped the Beatles, Black Sabbath, the Grateful Dead, Metallica and, with venom, rap and its fans. Even if a veteran artist like the Rolling Stones’ Mr. Richards has to kick up a little dust to announce his first solo album in 23 years, this is a curious strategy, one that suggests “Crosseyed Heart” needs a boost, even an unsightly one, to make it seem spin-worthy.
It doesn’t. At its best, the album comes close to everything fans of the rootsier, post-Brian Jones Stones want. It’s a loose, rough-edged and delightfully nasty collection built on Mr. Richards’s legendary guitar attack and the work of excellent musicians, led by drummer and co-producer Steve Jordan.
As it was with Mr. Richards’s “Talk Is Cheap,” issued in 1988, and “Main Offender,” released four year later, “Crosseyed Heart” features supporting performances by guitarist Waddy Wachtel, keyboardist Ivan Neville, and Sarah Dash on backing vocals. Though they recorded their parts after Messrs. Richards and Jordan laid down the foundations, the group picks up where it left off on those earlier albums, be it on folk blues, country ballads or all-out rockers. Each of those forms has been enriched during the past five decades by the attention of Mr. Richards, who is 71 years old, and it would be folly to expect much innovation. Needless to say, he isn’t offering his version of rap or hip-hop to show the whippersnappers how it ought to be done. But, as he is wont to do on his solo albums, he does toss in a reggae track. This time it’s his take on Gregory Isaacs’s “Love Is Overdue.”
“Crosseyed Heart” opens with promise and disappointment. The title track, a Delta-style blues featuring Mr. Richards singing accompanied only by his acoustic guitar, moves along nicely until he suddenly stops it by announcing: “That’s all I got.” But before the notion that the album is half-baked sets in, “Heartstopper” launches with Mr. Jordan’s pounding toms. As the walls rattle, guitars begin to weave around each other, and the track finds solid ground, even if it sounds like an offspring of “Can’t Be Seen,” a track Mr. Richards sang on the Stones’ 1989 album, “Steel Wheels.”
In the latter stages of their career, the Stones have featured Mr. Richards as lead vocalist on some of their most affecting ballads: “The Worst” and “Thru and Thru” on “Voodoo Lounge”; and “This Place Is Empty” on “A Bigger Bang,” among them. Here he handles similar material with boozy aplomb that hints at a depth of emotion that’s in conflict with his well-practiced devil-may-care public persona. On the country ballad “Robbed Blind,” Mr. Richards sings above an acoustic guitar, piano and Larry Campbell’s pedal steel guitar; if the arrangement is overly busy, the composition works. The bluesy, down-tempo “Suspicious” features Mr. Richards’s electric guitar turned up high but plucked gently. In the bittersweet “Just a Gift,” he offers the album’s best vocal over ringing acoustic guitars; late in the tune, a chorus of male voices and a country fiddle rise to join him.
Messrs. Richards and Jordan make effective use of their guests. Aaron Neville is a subtle presence on “Nothing on Me,” a mid-tempo number, and Norah Jones serves as Mr. Richards’s duet partner in “Illusion,” a moving heartbreak ballad. On “Lover’s Plea,” Spooner Oldham plays keyboards in the arrangement that’s an homage to mid-’60s Southern soul. (Mr. Oldham played on countless R&B hits cut in Memphis and Muscle Shoals, Ala.) Prior to his death in December 2014, Bobby Keys, Mr. Richards’s longtime associate, contributed saxophone on several tracks, including the rubbery “Amnesia.”
Again and again, “Crosseyed Heart” gets back Mr. Richards’s unmistakable approach to snarling rock. In “Trouble” and “Nothing on Me,” the guitars’ chopping chords and crunchy little filigrees are as much the feature as is Mr. Richards’s croaky vocal. “Something for Nothing” is teed up by members of Harlem Gospel Choir running through their parts until Messrs. Richards and Jordan give the track a tough heart. Prodded by Keys, Mr. Richards rips into a muddy “Blues in the Morning” that nods not only to Chuck Berry but to the Stones’ “Exile on Main St.”
Along with Friday’s launch on Netflix of the Morgan Neville documentary “Keith Richards: Under the Influence,” “Crosseyed Heart” nudges rock’s most beloved rhythm guitarist into plain sight. As he’s done before, he proves a worthy guide to gritty rock inspired by his extraordinary predecessors. Old school in the best possible way, “Crosseyed Heart” is a rebuke to the kind of music Mr. Richards doesn’t savor. The snarky commentary in interviews was unnecessary. The music speaks for itself.
[www.wsj.com]
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
KRiffhard
()
Date: September 16, 2015 07:50
"The first song they finished, “One More Shot,” isn’t actually on the album. Mr. Richards asked if he could give it to the Stones to record, and Mr. Jordan agreed; it’s on the band’s 2012 greatest-hits compilation “GRRR!”.
“Our version is, to me, much better—but that’s just my opinion,” Mr. Jordan says with a laugh"
We want OMS as bonus track.
“Our version is, to me, much better—but that’s just my opinion,” Mr. Jordan says with a laugh"
We want OMS as bonus track.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Niek
()
Date: September 16, 2015 09:17
[www.volkskrant.nl]
Nice intervieuw in Volkskrant, Netherlands. Big newspaper here.
Rolling Stones concert negotiate on Cuba The Rolling Stones negotiate a concert in Cuba. That says band founder Keith Richards in an exclusive interview with the Volkskrant in Paris.
The Rolling Stones onderhandelen over een concert in Cuba. Dat zegt bandoprichter Keith Richards in een exclusief interview met de Volkskrant in Parijs. Het concert moet worden ingepast in de tournee van de legendarische Britse rockband door Zuid-Amerika, begin 2016.
Door: Robert van Gijssel 16 september 2015, 06:03
Interview
Lees hier het exclusieve interview met Keith Richards. 'Dat bandje van ons begint een beetje in vorm te raken'.
Richards gaf nog geen details over een mogelijk optreden in het communistische land. 'Ik kan er niet meer over zeggen dan dat de onderhandelingen in volle gang zijn en het natuurlijk geweldig zou zijn als we daar konden spelen.'
Cuba haalde onlangs de banden aan met de Verenigde Staten. In Amerika geldt het eiland als 'new frontier' van de rock-'n-roll: bands staan in de rij om er een eerste show te kunnen geven. Sinds de spanningen tussen Cuba en de Verenigde Staten zijn afgenomen, en er sinds vorige maand zelfs weer een Amerikaanse vlag wappert op de ambassade in Havana, is het voor Amerikaanse bands weer mogelijk er op te treden. Het Castro-regime staat tegenwoordig welwillender tegenover buitenlandse invloeden.
TRY-OUT
Eind februari van dit jaar speelde in de Cubaanse hoofdstad Havana al de Amerikaanse rockband The Dead Daisies, met de twee actieve Stones-leden Bernard Fowler (achtergrondzanger) en Darryl Jones (bassist) in de opstelling. Als de plannen van Richards en bandgenoten doorgaan, kan het concert van The Dead Daisies met terugwerkende kracht worden beschouwd als try-out voor een eerste Stones-concert op het eiland.
In het Volkskrant-interview vertelt Richards ook dat hij volgend jaar niets liever wil dan met zijn oude bandgenoten Mick Jagger, Ron Woods en Charlie Watts de studio in duiken voor een nieuw album. 'Het is inmiddels elf jaar geleden dat we een plaat hebben gemaakt. Dat is echt een beetje belachelijk. Als we terugkeren van die tour door Zuid-Amerika en de jongens zijn nog hot, lekker gesmeerd en geolied, dan trek ik ze rechtstreeks uit het vliegtuig de studio in.'
(Always took candy from strangers)
Edited 2 time(s). Last edit at 2015-09-16 09:23 by Niek.
Nice intervieuw in Volkskrant, Netherlands. Big newspaper here.
Rolling Stones concert negotiate on Cuba The Rolling Stones negotiate a concert in Cuba. That says band founder Keith Richards in an exclusive interview with the Volkskrant in Paris.
The Rolling Stones onderhandelen over een concert in Cuba. Dat zegt bandoprichter Keith Richards in een exclusief interview met de Volkskrant in Parijs. Het concert moet worden ingepast in de tournee van de legendarische Britse rockband door Zuid-Amerika, begin 2016.
Door: Robert van Gijssel 16 september 2015, 06:03
Interview
Lees hier het exclusieve interview met Keith Richards. 'Dat bandje van ons begint een beetje in vorm te raken'.
Richards gaf nog geen details over een mogelijk optreden in het communistische land. 'Ik kan er niet meer over zeggen dan dat de onderhandelingen in volle gang zijn en het natuurlijk geweldig zou zijn als we daar konden spelen.'
Cuba haalde onlangs de banden aan met de Verenigde Staten. In Amerika geldt het eiland als 'new frontier' van de rock-'n-roll: bands staan in de rij om er een eerste show te kunnen geven. Sinds de spanningen tussen Cuba en de Verenigde Staten zijn afgenomen, en er sinds vorige maand zelfs weer een Amerikaanse vlag wappert op de ambassade in Havana, is het voor Amerikaanse bands weer mogelijk er op te treden. Het Castro-regime staat tegenwoordig welwillender tegenover buitenlandse invloeden.
TRY-OUT
Eind februari van dit jaar speelde in de Cubaanse hoofdstad Havana al de Amerikaanse rockband The Dead Daisies, met de twee actieve Stones-leden Bernard Fowler (achtergrondzanger) en Darryl Jones (bassist) in de opstelling. Als de plannen van Richards en bandgenoten doorgaan, kan het concert van The Dead Daisies met terugwerkende kracht worden beschouwd als try-out voor een eerste Stones-concert op het eiland.
In het Volkskrant-interview vertelt Richards ook dat hij volgend jaar niets liever wil dan met zijn oude bandgenoten Mick Jagger, Ron Woods en Charlie Watts de studio in duiken voor een nieuw album. 'Het is inmiddels elf jaar geleden dat we een plaat hebben gemaakt. Dat is echt een beetje belachelijk. Als we terugkeren van die tour door Zuid-Amerika en de jongens zijn nog hot, lekker gesmeerd en geolied, dan trek ik ze rechtstreeks uit het vliegtuig de studio in.'
(Always took candy from strangers)
Edited 2 time(s). Last edit at 2015-09-16 09:23 by Niek.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Maindefender
()
Date: September 16, 2015 10:05
Quote
Maindefender
My Best Buy purchase is on the way.
Still waiting on Keef (signed?)bundle email.
Two emails from Keith's site sent at same time:
#1, guitar picks back ordered
#2, order has been shipped
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Green Lady
()
Date: September 16, 2015 14:13
The vinyl has just shipped - but Amazon UK aren't sending the CD until October!
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
DandelionPowderman
()
Date: September 16, 2015 14:17
.
Edited 1 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Edited 1 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Green Lady
()
Date: September 16, 2015 14:19
Quote
DandelionPowderman
The vinyl was shipped yesterday.
Why would there be a delay with the cd?
The vinyl is coming from Keith's site - I have no idea what the issue is with the CD. Should have got both from keith.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
DandelionPowderman
()
Date: September 16, 2015 14:30
.
Edited 2 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Edited 2 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Turner68
()
Date: September 16, 2015 16:14
the beatles knocked Keith down a slot on the amazon rankings LOL.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
KRiffhard
()
Date: September 16, 2015 16:18
Quote
Turner68
the beatles knocked Keith down a slot on the amazon rankings LOL.
>
<I would buy others copies of CH to reach # 1 again!!
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
James Kirk
()
Date: September 16, 2015 16:51
Why is Keith's record being released on a Friday? Correct me if I'm wrong but aren't most cd's in America released on Tuesday?
This could hurt his chances of having a high charting album if his first week sales occur over two different chart weeks.
Edited 1 time(s). Last edit at 2015-09-16 16:52 by James Kirk.
This could hurt his chances of having a high charting album if his first week sales occur over two different chart weeks.
Edited 1 time(s). Last edit at 2015-09-16 16:52 by James Kirk.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Maindefender
()
Date: September 16, 2015 16:56
Quote
James Kirk
Why is Keith's record being released on a Friday? Correct me if I'm wrong but aren't most cd's in America released on Tuesday?
This could hurt his chances of having a high charting album if his first week sales occur over two different chart weeks.
All releases worldwide are now on Fridays. This started on July 10th.
Edited 1 time(s). Last edit at 2015-09-16 16:57 by Maindefender.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Cristiano Radtke
()
Date: September 16, 2015 17:05
Black And Blue: Keith Richards Interviewed
Julian Marszalek , September 16th, 2015
Julian Marszalek meets the Rolling Stones guitarist and living legend to talk race, drugs and persistence. Portraits by Mark Seliger. Studio shot by Kevin Mazur
“Hey, man. How are you doing?”
Within seconds of walking into the room, Keith Richards has put your correspondent at ease with the simplest of salutations. Shorter than you’d expect him to be, his presence takes up all the available space and it’s impossible not to warm to a demeamour that suggests a man who is completely at ease with himself while loving the fact that he’s Keith Richards. His handshake is firm and his smile is wide. His stick thin legs are encased in black jeans while the black shirt that covers his torso is undone to a degree that it reveals his bare chest and a variety of necklaces and jewelry. The bandana on his head barely conceals the shock of white hair that shoots in all directions, resembling as it does the result of a Looney Tunes cartoon explosion, while the deep lines on his tanned face are as likely the result of smiling with the phlegmy laughter that he emits with an endearing regularity as the increase in years.
Once upon a time, it was what Richards might have been smoking that would’ve raised eyebrows but now, in these health conscious times, the ashtray placed on the table in front of us will suffice for an act of mild rebellion as cigarettes are lit and enjoyed indoors. “Keith’s old school,” his PR says with a palpable sense of pride.
He’s certainly not like any 71-year-old that people of my generation grew up with. Those were people who’d lived through world wars and unimaginable hardship. But then again, in addition to be being part of the boomer generation, Keith Richards is a true original who, in a major way, helped change, shape and define popular culture in a way that so few can actually claim to have done. And while celebrity culture has increased as it comes to take on ever more ridiculous forms of banality, it rarely arrives with the kind of talent that makes an impact the way that Richards and his cohorts in The Rolling Stones have done.
We’re talking in a suite in the Savoy that overlooks the Thames and beyond it, south London. We’re a stone’s throw and lifetime away from Edith Grove in Chelsea where the young Richards, Mick Jagger and Brian Jones lived in mythical squalor and poverty in 1962 as they dedicated themselves to a relatively obscure form of music that would be given a new lease of life in their fretting and strumming hands. With Richards long departed from these shores, does his return to the capital feel like a return home or is it more like passing through a town in which he lived?
“A bit of both, actually,” says Richards, exhaling smoke. “I’ve watched the town change all around me what with all the new architecture and new looks. But this is a great view from here. But hey, London; I love the town but it’s always been changing since the Romans stuck it on! I mean, nothing stays the same; I just like to watch the changes. But they could get rid of the National Theatre though because it’s one of the ugliest dens in the world. But what goes on inside is probably more important than the look of the building, hurgh, hurgh!”
Richards is here as he prepares to release his third solo album, Crosseyed Heart, and it’s his first in 23 years. Its inception goes back five years and the album finds Richards revisiting the many styles of music that he’s lent his hand to over the decades: country blues, rock & roll, soul and reggae. With an impressive cast of characters joining him for the ride, Crosseyed Heart sees contributions from drummer and producer Steve Jordan, Ivan and Aaron Neville, Spooner Oldham and Norah Jones among others, as well as fellow hell-raiser and Stones saxophonist, the late Bobby Keys. Yet given how long the Stones have been together and the volume of extra-curricular activities by his band mates, it does seem strange that this is just Richards’ third solo outing. Why so few and why now?
Pondering the question, Richards says, “Hmm… inside of me, it’s the Stones. I only work outside of them when they’ve gone into one of their periods of deep hibernation and suddenly there’s nothing for me to do.”
Taking another drag of his cigarette, he continues, “I recorded this thing over a couple of years after I’d finished my book. So instead of recovering from living my life twice I turned round and said, ‘What’s happening? I’m supposed to be making records and I’m supposed to be playing.’ At that moment, my great friend and collaborator Steve Jordan cropped up and said, ‘Let’s go in the studio and cut a few tracks and we’ll see what happens.’ I was feeling at a loose end after the book and there seemed to be no stirring of the Stones and I love working in the studio.
This is a very large article and it can be read on its entirety here: [thequietus.com]
Julian Marszalek , September 16th, 2015
Julian Marszalek meets the Rolling Stones guitarist and living legend to talk race, drugs and persistence. Portraits by Mark Seliger. Studio shot by Kevin Mazur
“Hey, man. How are you doing?”
Within seconds of walking into the room, Keith Richards has put your correspondent at ease with the simplest of salutations. Shorter than you’d expect him to be, his presence takes up all the available space and it’s impossible not to warm to a demeamour that suggests a man who is completely at ease with himself while loving the fact that he’s Keith Richards. His handshake is firm and his smile is wide. His stick thin legs are encased in black jeans while the black shirt that covers his torso is undone to a degree that it reveals his bare chest and a variety of necklaces and jewelry. The bandana on his head barely conceals the shock of white hair that shoots in all directions, resembling as it does the result of a Looney Tunes cartoon explosion, while the deep lines on his tanned face are as likely the result of smiling with the phlegmy laughter that he emits with an endearing regularity as the increase in years.
Once upon a time, it was what Richards might have been smoking that would’ve raised eyebrows but now, in these health conscious times, the ashtray placed on the table in front of us will suffice for an act of mild rebellion as cigarettes are lit and enjoyed indoors. “Keith’s old school,” his PR says with a palpable sense of pride.
He’s certainly not like any 71-year-old that people of my generation grew up with. Those were people who’d lived through world wars and unimaginable hardship. But then again, in addition to be being part of the boomer generation, Keith Richards is a true original who, in a major way, helped change, shape and define popular culture in a way that so few can actually claim to have done. And while celebrity culture has increased as it comes to take on ever more ridiculous forms of banality, it rarely arrives with the kind of talent that makes an impact the way that Richards and his cohorts in The Rolling Stones have done.
We’re talking in a suite in the Savoy that overlooks the Thames and beyond it, south London. We’re a stone’s throw and lifetime away from Edith Grove in Chelsea where the young Richards, Mick Jagger and Brian Jones lived in mythical squalor and poverty in 1962 as they dedicated themselves to a relatively obscure form of music that would be given a new lease of life in their fretting and strumming hands. With Richards long departed from these shores, does his return to the capital feel like a return home or is it more like passing through a town in which he lived?
“A bit of both, actually,” says Richards, exhaling smoke. “I’ve watched the town change all around me what with all the new architecture and new looks. But this is a great view from here. But hey, London; I love the town but it’s always been changing since the Romans stuck it on! I mean, nothing stays the same; I just like to watch the changes. But they could get rid of the National Theatre though because it’s one of the ugliest dens in the world. But what goes on inside is probably more important than the look of the building, hurgh, hurgh!”
Richards is here as he prepares to release his third solo album, Crosseyed Heart, and it’s his first in 23 years. Its inception goes back five years and the album finds Richards revisiting the many styles of music that he’s lent his hand to over the decades: country blues, rock & roll, soul and reggae. With an impressive cast of characters joining him for the ride, Crosseyed Heart sees contributions from drummer and producer Steve Jordan, Ivan and Aaron Neville, Spooner Oldham and Norah Jones among others, as well as fellow hell-raiser and Stones saxophonist, the late Bobby Keys. Yet given how long the Stones have been together and the volume of extra-curricular activities by his band mates, it does seem strange that this is just Richards’ third solo outing. Why so few and why now?
Pondering the question, Richards says, “Hmm… inside of me, it’s the Stones. I only work outside of them when they’ve gone into one of their periods of deep hibernation and suddenly there’s nothing for me to do.”
Taking another drag of his cigarette, he continues, “I recorded this thing over a couple of years after I’d finished my book. So instead of recovering from living my life twice I turned round and said, ‘What’s happening? I’m supposed to be making records and I’m supposed to be playing.’ At that moment, my great friend and collaborator Steve Jordan cropped up and said, ‘Let’s go in the studio and cut a few tracks and we’ll see what happens.’ I was feeling at a loose end after the book and there seemed to be no stirring of the Stones and I love working in the studio.
This is a very large article and it can be read on its entirety here: [thequietus.com]
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Turner68
()
Date: September 16, 2015 17:10
Quote
James Kirk
Why is Keith's record being released on a Friday? Correct me if I'm wrong but aren't most cd's in America released on Tuesday?
This could hurt his chances of having a high charting album if his first week sales occur over two different chart weeks.
i suspect the backlog of pre-orders are the main thing that will determine how it charts its first week.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
runrudolph
()
Date: September 16, 2015 17:10
Thanks again, Cristiano.
jeroen
jeroen
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Wild Slivovitz
()
Date: September 16, 2015 17:31
Now that's a great interview!! Thanks!
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Turner68
()
Date: September 16, 2015 17:33
keith's Facebook site is publishing video snippets of him talking about specific tracks off the album, but i can't for the life of me figure out how to post a link directly to the video.
one just dropped this morning about substantial damage, he said that the album was basically done but he realized they hadn't done anything with a funk beat so they went back into the studio, steve jordan started playing a beat and they made the song.
there appears to be other video content on keith's Facebook site that may or may not be available outside of Facebook. annoying.
one just dropped this morning about substantial damage, he said that the album was basically done but he realized they hadn't done anything with a funk beat so they went back into the studio, steve jordan started playing a beat and they made the song.
there appears to be other video content on keith's Facebook site that may or may not be available outside of Facebook. annoying.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Cristiano Radtke
()
Date: September 16, 2015 17:34
Keith talking with Anthony DeCurtis about recording Substantial Damage and Goodnight Irene:
[www.youtube.com]
[www.youtube.com]
[www.youtube.com]
[www.youtube.com]
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
wolundamo
()
Date: September 16, 2015 17:34
“I was at a meeting with the lads three or four days ago where everybody said, ‘Yes! We must go in the studio!’” he says with a barely concealed glee. “Where or when I can’t yet say but in the near future. At last I’ve got the boys wanting to get into the studio. They all have to want to do it at the same time. That’s the thing with guys - you can’t drag ‘em in at gunpoint - but I’ve got the message that they want to. I’m hopeful, y’know?”
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Turner68
()
Date: September 16, 2015 17:38
thanks cristiano you are a better man than i!
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Maindefender
()
Date: September 16, 2015 17:51
Quote
Cristiano Radtke
Keith talking with Anthony DeCurtis about recording Substantial Damage and Goodnight Irene:
Thank you Cristiano. So Substantial Damage was cut in 10 minutes, cool!! >
Edited 1 time(s). Last edit at 2015-09-16 17:53 by Maindefender.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
Thommie
()
Date: September 16, 2015 18:27
Haven't read this thread for a while and maybe you've seen it (and heard) that five songs from Crosseyed Heart is up on Spotify and Deezer:
Trouble
Robbed Blind
Amnesia
Substantial Damage
Love Overdue
Trouble
Robbed Blind
Amnesia
Substantial Damage
Love Overdue
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
DandelionPowderman
()
Date: September 16, 2015 19:39
.
Edited 1 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Edited 1 time(s). Last edit at 2015-11-11 18:31 by DandelionPowderman.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
kid killowatt
()
Date: September 16, 2015 20:52
Full program..."NOTHING ON ME" begins at 49:07
Keith with Huey
Keith with Huey
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
pepganzo
()
Date: September 16, 2015 20:55
Quote
DandelionPowderman
And Nothing On Me is available in Keith's Marr interview.
And Nothing On Me, at the moment, in my opinion is the best track.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
DandelionPowderman
()
Date: September 16, 2015 21:01
.
Edited 1 time(s). Last edit at 2015-11-11 18:32 by DandelionPowderman.
Edited 1 time(s). Last edit at 2015-11-11 18:32 by DandelionPowderman.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
KRiffhard
()
Date: September 16, 2015 21:25
Quote
pepganzoQuote
DandelionPowderman
And Nothing On Me is available in Keith's Marr interview.
And Nothing On Me, at the moment, in my opinion is the best track.
I agree
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
DandelionPowderman
()
Date: September 16, 2015 21:33
.
Edited 1 time(s). Last edit at 2015-11-11 18:32 by DandelionPowderman.
Edited 1 time(s). Last edit at 2015-11-11 18:32 by DandelionPowderman.
Re: Keith Richards solo album 'Crosseyed Heart' - out September 18
Posted by:
glimmer0
()
Date: September 16, 2015 21:43
I've only heard the 5 released tracks and Nothing On Me. Of those 6, I would agree that Nothing on Me may be the best. I have probably listened to Amnesia the most often though.
This Thread has been closed
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