break
Click on the song titles above for lyrics and songwriting credits
Horses And High Heels was recorded in the New Orleans French Quarter over September/October 2010 and features a spectrum of astonishing musicianship from the city’s musical pool. “We wanted to have fun, find great musicians and of course New Orleans is cheaper than New York,” laughs the always refreshingly honest Marianne. It spans the spectrum of soul, blues, folk, country, jazz-pop perkiness and beguiling guitar-rock, all underpinned by her striking vocals and hauntingly influenced by the perhaps unlikely musical combination of jazz, classical music and Nick Cave’s malevolent Grinderman. The cover versions see Marianne and Hal once again reprise their uncanny gift for finding beautiful, unexpected and often scandalously overlooked songs, as dramatic as they’re coolly diverse. “We just do find great songs,” notes Marianne, “but there’s no theme…well, the only theme is me.”
There’s the brooding, spectral guitar-rock of Greg Dulli & Mark Lanegan’s ‘The Stations’, the swooning, country-rock tinge of R.B Morris’ ‘That’s How Every Empire Falls’ and the bar-room blues and 70s soul revue thrills of Jackie Lomax’s ‘No Reason’. “We chose some soul material this time which I was very unsure of at first,” muses Marianne. “‘No Reason’, ‘Back In Baby’s Arms’, ‘Gee Baby’, these songs are more vocally demanding and it was quite frightening. But I think we managed it.” Elsewhere are glimmering 70s soul classics, from the gorgeous, steel-guitar-layered ‘Love Song’ (originally written by 70s song-writer Lesley Duncan and made famous by Elton John), the bewitching piano reverie of Carol King’s ‘Goin’ Back’ (definitively recorded in ‘66 by Dusty Springfield) and her positively Shakespearian rendition of the Shangri-Las masterpiece, ‘Past Present and Future’.
No wonder, at the heart of Horses And High Heels, is the sound of a worldly, sophisticated joy – an album as colourful, dramatic and artistically liberated as her own extraordinary life.
“Conventional happiness isn’t my way, you know,” notes the irresistibly unconventional Marianne. “But this is a very happy record. I’m not depressed anymore. And I think it’s all been well worth it. I did have a bit of a bad time in the 70s but I think things have been wonderful. So I suppose this album is a bit of a breakthrough. I’m incredibly lucky, don’t think I don’t know it. I’m so grateful to be able to still write songs and express my emotion in music. And the best thing of all is working with such great people. It’s inspirational.”