So frequently ...

... That's not before - that as late thirties (okay, mid-forties) you want to write a few sentences to a plate and has to admit that one at the time, where the artist or the / in the first steps made, not yet times had the famous duck on the apron, but simply lack conviction shone with the absence. This in turn leads to the question of what is more embarrassing - half old men who invent stories about teenagers and their music or sooner dawned Ü40er who try their hand at interpreting legends. Shortly: `Shut up 'or` I do not care'?

After the first few bars but there is no choice - you have to, you have to! As on previous albums gets a Lady always the same at the beginning and always with a haunting, albeit leisurely song: "The Mystery Of Love", "Down From Dover" to date, now the scratchy gloomy "Stations" as intergenerational prayer. Originally sung by the Gutter Twins aka Greg Dulli and Mark Lanegan, fabulous here because completely purifies, gecovert. It will not be the only interpretation, Madame Faithfull himself wrote for this album only all three songs, what does it matter that it had been lacking for her more, as she herself says, simply to ideas and energy. "Why Did We Have To Part" is a home-grown, how much of what follows, lushly arranged, a fine piece of sedate Blue Rocks. Still hearty is what Jackie Lomax '"No Reason" to thing beside the lilting Jinglejangle "Gee baby" certainly one of the weaker parts of the plate - not exactly what one associates with the wicked mysterious aura of this woman, these songs seem rather out of place.

More than succeeded in turn the pleasantly reduced "Love Song" - simple words, moving voice - from the tranquil playful original of Lesley Duncan makes Marianne Faithfull strong because worldly-wise variation. For an artist who wants to give to their own information to their on events certainly not poor past any more information because it keeps worked for completely this, Marianne Faithfull presented at "Horses & High Heels" but then some songs that at least an indirect reference suggest to their own history. This happens inevitably in the reflective cover of Carole King's "Goin 'Back", and the chamber music relined "Past Present Future" with the sad-beautiful Chopin bond goes this direction.

The title track even solid, in dramatically arranged "The Old House" Lou Reed may engage a senior partner at usual quängelige kind in the strings. How many cover albums so a mix of proven, Verfehltem and surprising - after the famous "Easy Come Easy Go" and "Before The Poison" also this is again a typical Faithfull plate: As little pristine, no how discouraged and still a quite stimulating enrichment.