Broken English

“Broken English” by Marianne Faithfull (1979) Banger alert. It’s hard to believe this album was released in 1979. If it had been produced today, the closing (banned in 1979) track “Why’d Ya Do It?” would be placed first, and perhaps have become the title track. This track alone is Exhibit A for the case that women belong in rock & roll (and hip hop, while we’re at it). The Go-Go’s should be shot. You’ve got to listen to this album as if you’d never heard Cyndi Lauper, who copied Faithfull in many ways. But Faithfull’s destroyed voice came honestly. Smoking, alcohol, and heroin will do that. Faithfull’s version of “Working Class Hero” is better than John Lennon’s. Seriously. Her voice is better suited than Lennon’s to express anger, angst, and ambivalence. And the instrumental production is a vast improvement over Lennon’s solo guitar. Jeez. The title and lead track here, “Broken English”, is best heard in the 1979 context of western perplexity over the young woman Ulrike Meinhof of Baader-Meinhof terrorist gang (“Red Army Faction”) taking up the cause of Marxism. Boomers with boom (demonstrating that women have a place in terrorism, too), they killed more than thirty people over course of their career. These kids made today’s Antifa look like a bunch of kittens. “Guilt” reflects on the formal distinction in theological anthropology between objective guilt and subjective guilt feelings. Take a moral dive into this song, and you’ll come to the surface with enhanced self awareness, maturity, and contentment. “The Ballad of Lucy Jordan” echoes “A Streetcar Named Desire” and anticipates “Thelma and Louise”. Nuff said. God, this music makes you think. 5/5

Highlights: "Broken English," "Guilt" This album is here because of who the artist is, their connection to pop music history, and how we're expected to read that into the mostly banal lyricism. The fact that it sucks on a visceral level is supposed to achieve symbolic meaning. It rests on merits of theater, or marketing, not music. It's a postmodern kind of critical acclaim, where the shortcomings and contradictions are profound until proven otherwise. We're told this album is an indictment of the icons and false promises of the '60s, but to have that weight it requires us to be preoccupied with rock tabloids in the first place, to glorify the artist for their connections in the first place. Pick a review at random and you'll find all the same name-dropping that occurred back then, the accolades of people that wronged her. She's trading in the coin she tells us is baseless. It's not just about celebrity eating its own head, we might suggest in her defense; it's about the rosy egalitarianism of the times. Then where does she stand now? The daughter of a baroness sings songs about a lower-class woman who will never have the rich man and the luxury car, covers John Lennon's "Working Class Hero" -- perhaps to self-flagellate, the generous listener thinks -- but what are Lucy Jordan and Lennon's hero to do? What's the heroism? Certainly not protest, unless it's to languish and snarl over deadbeat lovers, and political violence is right out. The only pointed political target besides Lennon's vague pancultural consumerist and authoritarian is the communist RAF, and her one point is that they don't represent her, literal royalty. There's nothing socially *constructive* she has to say, unless you count her dogmatic ode to witchcraft -- apparently *that's* the element of the counterculture she still finds credible! It's purportedly a personal triumph, an album of resilience... except defiance is only the most limited kind of resilience. She does after all fall back on the self-exploiting image of the Ruined Woman throughout the work. To credit her just for writing music after homelessness and losing custody of her child would be a grave insult to artists like Moon Dog or Joni Mitchell. Her attack on her milieu takes the form of a cautionary tale: see how horrible this is? Isn't this culture she's participating in right at this very moment so repugnant? Isn't this an awful, godforsaken wreck?

An agonising, slow, torturous death of a record. A shit in a kettle in a Premier Inn hotel room, but it's too late, you've already drank the tea. Musical AIDS.

It's fine, but it's definitely one of those albums that is here because of context rather than content.

Episode 8: Scott takes mushrooms, freaks out and forgets he's at a funeral. He throws up all over the elderly woman's decaying corpse. It's a metaphor for this album.

After a lengthy absence, Faithfull resurfaced on this 1979 album, which took the edgy and brittle sound of punk rock and gave it a shot of studio-smooth dance rock. Faithfull's whiskey-worn vocals perfectly match the bitter and biting "Why'd Ya Do It" and revitalize John Lennon's "Working Class Hero."

Wow, this is stunning. I don't know if it's my own blinkers or those of the music world, but I feel I would have heard this album, and a lot more praise for it, if it was by a male artist. Anyhow, love the bluesy rock sound, which sounds fresh and edgy as well as being "proper rock". I love her voice, which has power and grit, but also a kind of fragility to it. Pretty fucking perfect. 5/5 and added to my personal collage. :)

Stark, brutish and British. 4 stars.

achingly cool

This is a beautiful album. Marianne Faithful's frail voice is moving, you can sense she went to hell and back just by the emotional strength of her performance. The cold-yet-determined synth-driven title-track is the main highlight here, of course, along with two fabulous covers, Shel Siverstein's "The Ballad Of Lucy Jordan" and John Lennon's "Working Class Hero". "Guilt", sounding like a lethargic disco track under valium is also pretty hypnotic. Is the instrumentation in parts of this record dated? It sure is, but such "objective" flaws now add to the vintage feel of those songs. They help conveying what this LP is really about, tunes about old age and disillusion, played under the guise of white, "new-wave" blues. I sort of hesitated between a 4/5 and a 5/5 grade for a minute, but fuck it: *Broken English* is Faithfull's magnum opus, she says it herself. Let her reap the rewards that had been denied to her for too long before this moving album finally came out. 5/5, then. Number of albums left to review: 566 Number of albums from the list I find relevant enough to be mandatory listens: 210 (including this one) Albums from the list I *might* include in mine later on: 102 Albums from the list I will certainly *not* include in mine (many others are more essential to me): 126

One of a very few woman that I enjoyed listening to. And you can understant what she is singing, too.

Forward-looking for the '70s and comes off way better than one might have expected given the high synth quotient and the very-much-an-acquired-taste sort of voice (which still adds credibility somehow). Opener is engaging and "Guilt" and "Ballad of Lucy Jordan" are also of note. She's into it, too, clearly, with a an admirable self-belief that leads her to do justice to the Lennon cover. The super saucy, third-wave-feminism (one thinks) lyrics of the closer also seem considerably ahead of their time. Just imagine how much more damage she might have done had MTV been around when this came out. Rounding up, because she seems a proper sort of proto-riot-grrrrl sorta badass, and because why not?

Love the new wave/post punk production, it's in the vein of Dylan's "Infidels" or "Empire Burlesque." I wasn't super familiar with much by Faithfull before listening to this, at least outside of her version of "As Tears Go By," which is gorgeous. This is a whole different animal, her alto has lost the honey sweet smoothness of the British Invasion days but it's beautiful in a more complex, adult way. The more I think about this, the more I'm in love with it and I want more.

Marianne Faithfull nailed this late 70's album. It's a synth-pop masterpiece. Steve Winwood's handy work on the synths and keys pairs well with Faithfulls' vocals, there are lots of interesting sounds and textures going on in this album. Winwood's parts were added as an after thought by the producer to make the album sound more modern and electronic. My first suggested album to listen to from this generator, and a great album to begin with.

Her voice is unique and strange. The songs are intense. I appreciate it. The Working Class Hero cover was ambitious, but I think she pulled it off.

Me gusta mucho este disco, aunque no lo escucho tanto. Quizá debería hacerlo más, pero bueno, un sólido 9/10. "The Ballad of Lucy Jordan" y "Working Class Hero" me encantan.

I'm still surprised a few days later by how much I enjoyed this album, especially listening to it immediately after British Steel. The final song is dirty. I approve.

Was only aware of Marianne via Nick Cave, and don’t think I’d ever heard any of her own music before. This is a very interesting album - I feel like I’m using that word way too much in these reviews but I truly mean it here in terms of there’s a lot to be interested in. It’s quite unusual, from her voice (with its interesting rasp, lisp and cracks) to the structure of the songs and some of the sonic effects. I’m not sure how I feel overall, but Witches’ Song and Guilt were my favourite tracks.

Surprisingly enjoyable. Voice not what I expected. Musically and stylistically diverse in parts but quite conservative blue rock soundings across quite a few tracks. Top tracks: Why’d ya do it, Broken English

A grim coincidence. I was listening to this on the day she died. It was getting five stars anyway. If you like this and don't know her later stuff I recommend Give My Love To London. The one star boors griping about this album only being here because of context make me laugh. As if context isn't relevant to all creative endeavours. The Rolling Stones were fairly talented young men who had the context of a social revolution to raise them up and The Beatles to light a fire under them. Since they ran out of interesting context and ideas some point in the 70s they've been serving up drivel album after album, give or take a Start Me Up or an Undercover of the Night. Marianne on the other hand made consistently interesting records with a range of collaborators since this one. And yeah she may have been related to European aristocracy a few generations back but she grew up in a terraced house in Reading. Some folk can't stand a woman that survives heroin or Mick Jagger. Or maybe it's the in your face naked rage of Why D'Ya Do It they struggle with.

This is the 10th album I’m rating. This is an Opus Dei situation. I don’t know what this is or who made it but the album cover is looking pretty cool. I hope this is good. Broken English - Adding to my Playlist. These vocals are getting pretty annoying and it could be cut like two minutes shorter still good though. Witches’ Song - Adding to my Playlist. This sounds much better than Broken English. The vocals aren’t as annoying. Brain Drain - Adding to my Playlist. I really like this song but it is a bit repetitive. I wonder how popular she is because I’ve never heard of her but these songs are pretty good. Guilt - Adding to my Playlist. The singing confuses me. I kinda like it but I also kind hate it. The Ballad of Lucy Jordan - Adding to my Playlist. This sounds pretty good. What’s the Hurry - Adding to my Playlist. The singing is a bit weird but I like it. Working Class Hero - Adding to my Playlist. This is the worst song on the album. I still like it though. Why’d Ya Do It - Adding to my Playlist. There is something about here singing that just feels wrong but weirdly I like it. All in all I liked 8/8 of the songs. This was the first great album I’ve listened to from this list and one of the worst great albums if that makes sense. I’m glad this was an album I’ve never heard of before. If Fetch the Bolt Cutters was my first I’d be a bit disappointed.

I really enjoyed this - a great piece of punk/post-punk influenced songs.

Oh man, this is fantastic. I had no idea Witches' Song was a cover and this was the original. Wow! This album is definitely for me. I had no idea this 70s alternative electronic rock artist existed. Her voice and musical stylings remind me of bit of Patti Smith. I'm so glad this is on the challenge. I learned to like something new today.

Generally seen as Marianne Faithfull's best album (but I am not so familiar with her work except for the string of 60s singles, some albums from the early 00s and this 1001 album). In any case, Broken English is of course an excellent album, which just falls short of being a true classic (say 9/10 so still 5*).

Raunchy, raw, powerful. Faithfull's version of The Ballad of Lucy Jordan is iconic and moving and inspired me to get to Paris, even if it wasn't in a sports car.

Great album

Uno de los mejores discos de la historia.

Underrated. Under discussed. Probably because the artist is a woman. It’s a great album. As good as anything her male UK peers were making at the time.

I'm listening to Broken English by Marianne Faithfull. I've never listened to this album before, and only have tangentially heard of Marianne as part of the 60s London swinging rock scene. And she dated Mick Jagger famously. First impressions are positive. This is why I'm doing this funny generated album web site for a chance to find something new. I would have liked this album if I had explored and given her a chance. It connects with Television Marquee Moon, it feels of that time and place when punk was exploding. It's been a revelation to hear this on this morning when Trump leaves the White House. Marianne had quite a tough and colorful life leading up to this album, and I feel it all wash over me. I would like to spend some more time with this album. The title track and the one about Lucy Jordan are my favorites so far.

This blew me away in a weirdly subtle and understated way. Wasn't really paying much attention to it until I noticed the steady increase in intensity that seems permeate the entire record but which sharply climbs from The Ballad of Lucy Jordan onward. Wide ranging social commentary on a number of issues and themes contribute to a very provocative and captivating listening experience. I love how strained her voice is especially when it breaks. Brain drain is a highlight and the synth/sax outro to Guilt is amazing. Also her dad was an M15 spy - how cool. Have already listened to her other stuff which is totally different but equally as good. Feeling some big Neil Young energy from her catalogue.

I was aware of the name before I ever heard a note. Her notoriety precedes her - even to this day. That however takes nothing away from the greatness of this album. None of her previous - mostly 60s- output prepares for how good this album is. It sounds unique for it's time and the best tracks have a timelessness that many albums on this list possess. Of the time but also outside of it because is the production choices as well and her voice - a voice that has become more interesting with the years as it better conveys the triumphs and pitfalls of a life lived.

Simply being alive after what she went through in the 1970s would be cause enough for celebration. We are all incredulous about Keith Richards' survival skills but Marianne endured the same toxicity without the supporting family and gazillionaire's bank account that Keith had. Those dark days and her shattered vocal chords didn't stop her from putting out a fine album. The highlights: Broken English, The Ballad of Lucy Jordan, Why'd ya do it and her excellent cover of Working Class Hero. One thing that always impressed me about John's original was how intense it was given it's just him and his acoustic. Marianne adds instruments and keeps the intensity.

Her voice sounds like she’s had more than a few rough years. I remember when I first heard this thinking, ”how old is this gal who’s making a splash on the new wave scene?” Not much over forty, it turns out. The back up musicians really deliver, the song-writing is good, and although she didn’t do much of it, her raspy interpretations stay with you, especially on the more haunting songs like “Working Class Heroes” and “Guilt”. While I’m not a fan of profanity, “Why’d You Do It” is an exception. I think I have a better appreciation of the song and the album in general, when listened to within the context of the ten years of her life that preceded it, which I didn’t have in 1980.

First of all, 10/10 album cover. Faithfull's voice is incredibly haunting and she manages to be equal parts fragile and gritty (as on the closing track 'Why D'Ya Do It'). 'Broken English', 'Witches' Song', and 'Guilt' are all great, and 'The Ballad of Lucy Jordan' paints an all too clear imagery while borrowing a bit of melody from 'Desolation Row'. Also, her version of 'Working Class Hero' has been stuck with me since the first time i heard it. To me, it's the superior version. It really is a great record which, besides being carried by Faithfull's vocals, is driven by incredible guitar work. It's perfectly groovy, always in the background, but continuously pulsating and creating momentum.

A completely new album for me a really depressing album featuring Marianne's various struggles this really is a work of art and a revolutionary album for its time

Rock peculiar. Versión de Working class hero.

First time listener of Marianne Faithful and I loved it. Will definately give it another listen. And she is the original angry girl!!!! 4 stars

Damn fine music.

Tooka second listen to appreciate this. Her voice is really cool and lyrics are really interesting too. Wasn't particularly taken by the music at first, but it grew on me and does goes through a few different waves throughout the album. Highlight is definitely Guilty. Working Class Hero is so suspenseful and intense too.

Pleasantly surprised by this delightfully odd album!

Opens and closes with some super strong tracks, the last track especially sounds like she has venom spewing from her mouth as she sings. The rest is a mixed bag but with great production and vocal performances from her. A mix of new-wave and bluesy folk that doesn't overstay its welcome.

Maybe the most 1979 sounding album I’ve heard in some time. Not necessarily a bad thing, the synths are very good, it’s kind of danceable in a laid back way and has a bit of a punk (read: new wave) edge. It wasn’t the most engrossing record I’ve ever heard, there were a few songs that were just sort of there and it felt a little too polished, but overall it was good.

60's female liberation calcified into snide, embittered, off-hand broadsides. She confidently rides disco-punk-and-even-ska rhythms that are itchy and agitated because it's not easy being a woman. Esepecially one who's putting everyone in the dock--herself, her cheating bastard boyfriend, and the cunt he had in their bed.

I enjoyed this and admire her place as a cultural icon. Not a stand out album for me.

Tough rating. I’ve never heard Marianne F, but I knew that voice had to be iconic then and now. Several songs really got me feeling things—especially the proto girl rock/Liz Phair stuff, but then (especially on the first listen) some of it felt just a little too country. I’d listen to some songs but not the whole album again.

This is one that comes down to the vocals for me. I simply don't like her voice. I know that's supposed to be part of the story with what she went through and everything but it just doesn't work for me. I do like the arrangements and atmosphere though. My favorite track is probably her cover of "Working Class Hero" - she makes it so sinister. And I must say "Why'd You Do It" is an hell of a way to close an album. Wow. Gotta respect that honesty. God damn.

some interesting parts but i hated her voice

Nope. Not this. This ain't it. Has little redeemable qualities and too many irredeemable ones. Starting with her voice; I can't stand it. She is not a good singer, which sometimes works for an artist as they have a unique style. She has nothing. The instrumentation is lackluster and arrangements are completely unoriginal. I want to forget about this ill-fated road stop along my journey as fast as possible. 1/5

Broken hearted that Marianne Faithfull died just recently. This album has been a favorite since its release. She had the voice of a hard-living angel.

Absolutely stunning album from what continues to be my favorite year in this whole journey. Broken English, the opening track, is funky and dark, sounding something like a track from Super Metroid. But it's far from the only enjoyable thing here; Guilt, The Ballad of Lucy Jordan, and Working Class Hero (a cover) are all great. And the album ends with the incredibly raw Why'd Ya Do It?. I was surprised throughout, and probably only half as surprised as the original Faithfull fans would have been in the late 70s. This is such a departure from her early career, it's remarkable.

I had never heard of Marianne Faithfull before, so this was a pleasant surprise. Her powerful voice carries the album with mastery and lightness.

Wow, what a record. Pretty cool music. Her version of working class hero is awesome! I need to have it in my collection!

This album didn’t fully grab my attention until the last couple of songs. The backing music on the cover of Working Class Hero really adds something to the John Lennon original that an acoustic guitar just can’t achieve. The intro riff on Why’d Ya Do It slaps you round the ear holes and says “listen up, dickhead” and I’m glad that it does because the track that follows is a new favourite of mine. After these two, I had to go back and listen to the rest of the album and, while these two remain my favourites, the whole album feels like a complete piece that is ahead of its time in a way so-called avant garde try-hards can only dream of

Never heard of her or this album before but I just loved it at my first listen to it. Good atmosphere and interesting voice with broken english here and then.

p437. 1979. 5 stars. How to grow old disgraceful. Fabulous and filthy lyrics, great tunes and production, and that voice sounds as lived in as a favourite cracked leather jacket.

A raw darkness and honesty struck me the most about this album. Somehow scathing and lush at once, she draws out a delicious Nick Cave-style tension in the songs. Not too demanding but there's depth there if you want it

Marianne you brilliant woman, you had me two songs in! 🫡

Brilliant, very atmospheric, lived in vocals perfect for the material

Another inclusion that's a little odd but I thought was absolutely fantastic. She has so much charisma which definitely makes up for parts of the album that are a bit weaker sonically for me. This feels very cohesive and, above all, the spite really shines through to the listener. It's more commonplace in the modern era but women who'd been broken weren't allowed, or struggled to know how (in the public eye that is) to display their brokenness and an unwillingness to accept it in a way that truly struck home. This is a gorgeous example of someone airing their grievances with life and the world around them and winning for it, which is a beautiful thing that really gets to the core of why music is so important.

one of her best album

Reaaally enjoyed this one. Would prob rate it 4.5 but apparently I lean towards being generous with stars on here. :)

Achei beeem vibes. Gostei da pegada, da super pra colocar pra tocar enquanto trabalha de ficar curtindo o som.

Yes! This is awesome!

Fantastic. Just the thing I needed today. Thumbs way up!

Yeah Marianne Faithfull deserves a spot on the list!

Wow this is a really cool album. Synth rock and psychedelic rock with really sharp, interesting lyrics. “Guilt” really grabbed me lyrically. “The Ballad of Lucy Jordan” is a sad one. But the music contrasts the story with interesting synth-driven music. Marianne Faithfull’s version of John Lennon’s “Working Clads Hero” is fantastic! I found myself focusing on the lyrics as if the song was totally new to me. It’s such a great song and she totally makes it her own. Whoa, the closing track “Why’d Ya Do It” is incredible. Brutal and bitter but a total jam and a singalong too! I love that this could have been a singer-songwriter album. There’s that focus on songcraft and lyrics. But Marianne Faithfull makes sure that the music is as interesting and distinct as her lyrics. It’s tough to give an album a 5 on a first listen but I feel like I have to here. Rarely has an album on this list stopped me in my tracks like this. A lot of times the albums float past me and I wonder, “Would this have been better if I wasn’t partially distracted and listening on headphones while food shopping?” Today I had to stop more than once while cutting chicken and just listen to the songs. I’m gonna want to return to this album again and I’m so curious to here more by Marianne Faithfull.

I bought this after reading "Faithfull: An Autobiography" c. 1995, and remember liking it, but it could well be 20 years or more since I last listened to it - somehow it slipped between the cracks in my collection/memory. Clearly this was a mistake, as it's as cracking an album as Madame Faithfull's voice (ba dum tish). The production dates it, but this is an album I'll be listening to much more, in anticipation each time of the crescendo of "Why D'Ya Do It" - as good a profanity laced closing track as you could wish for.

So good. A real banger.

I wasn't familiar with any of Marianne Faithfull's music, but I'm so glad to hear this. The sound/production values are of that time, but very clean and crisp, without too much in the way of layered effects, but the synth sounds courtesy of Steve Winwood really add so much to this, paving the way for the great sounds coming up in the 80s. There is a definite punk influence but getting acquainted with where she was in her life by that point, the voice just befits the sound so well. It's a great listen. All the songs are really good, but my favorite tracks are Broken English, The Ballad of Lucy Jordan, and Why'd Ya Do It?

it was neat

I unexpectedly loved this and have now listened to it about 5 times. Yet another woman who has been overlooked because of the men she was with

This album is the embodiment of “zero fucks to give” and I absolutely loved it. Acerbic, clever lyrics and just excellent songs in general.

Stevie Nicks x Miley Cyrus (voice/vibes)

"Oh myyy!" -George Takei

Really liked Marianne Faithfull's voice. Sounds like she lived through a rough time in the 70s, which made me connect with her more and cheer her on for making it out of a heroin addiction. Great music, had never heard of her before. Might be a 4.5.

I thought this was a fantastic album, great production and songwriting.

I thought it was great. Highlights were The Ballad of Lucy Jordan and Guilt. Really good cover of Working Class Hero as well. Her voice is very cool, and I enjoyed the electro stuff.

Classic album by a classic survivor!

Never heard of her... she certainly has an interesting story, and this album is full of feeling. Was a solid 4*, but the final track bumped it up to a 5. Music with feeling and style, and I guess it must have been pretty ahead of its time too.

Surprisingly enjoyed it though the composition is simpler than many other albums

A perfect mix of folk, dance, and punk. This album is the epitome of what the early '80s became and is a soundtrack for 79-80.

Kind of a slow burn at the beginning, but after a while it becomes really good. A mix of blues-rock, synth, at times with a bit of Pink Floyd vibe, both musically and lyrically. And the unique vocals really help this album stand out.

I cannot tell you how happy it made me to see this was the choice today. Again, it’s been kicking around the house since its release 40-odd years ago. Her voice is amazing and every song is painfully raw and emotional. The Ballad of Lucy Jordan - I used it as a learning tool when I was young - that I would never be in a position to feel stifled and helpless and ‘unable to ride through Paris’. Then I grew up. But it still has an amazing visceral power with the ability to reduce me to tears, every time. (Side note - Michelle Shocked’s Anchorage has the same theme and same effect on me. Playing these two songs back to back is a killer.) Back to MF - this is one of those albums that makes you feel exposed. Every song is incredible, for me there are no weak points. And the cover of Working Class Hero, I would wager, is better than the original. She adds another layer of pathos. I feel like I’ve had the stuffing knocked out of me and need time to recover. But I guess that’s indicative of music that can bypass reason and inhabit your soul. Outstanding!

She was God in ‘Absolutely Fabulous’ and it was a well-deserved role. She is fantastic. I just checked on Wikipedia to make sure she’s still alive and she is.

Very late 70's in sound which seems to suit her voice this album seems to be more about Marianne than the music. She has an odd voice and has a magnetic personality. Try checking out her 60's songs on Spotify and it's shocking the contrast. The music is average but the lyrics and Marianne's voice and persona make this worth listening to. It's all about excess and self-destruction. BTW don't listen to 'Why'd ya do it ' with your mother in the room......

Well this was a pleasant surprise. Never heard of this artist before and it was fantastic. Reading about her I'm surprised the name doesn't ring a well since she was involved in the 60s British invasion. Definitely a great find.

This basically just needs to be listened to. It encapsulates an entire decade of thought and attitude by white people in the UK in one album. 5/5

What an amazingly intense album on survival. The songs are incredibly strong, her voice broken and you can feel power, pain and disillusionment throughout the album. And an absolutely haunting version of Working Class Hero to boot. 4,5*

RIP

Banger with unexpected C bomb

Strong early New Wave. A wide departure from her previous work. Quite the tumultuous life. Every track is strong here and really brings it to a head with the dark and brooding cover of "Working Class Hero" and the BLISTERING "Why D'YA Do It?".

Folksy singer-songwriter writes post-punk songs and performs them as new wave songs. Broken English is so up my alley. It just sounds so goddamn cool. Like, this sounds like the ✨idea of smoking a cigarette✨ while also sounding like Faithfull was actively chain smoking in the recording booth. Not every song works, most notably “Brain Drain,” and some of this is a little too Blues Bar™️ for me, but I’m legitimately into so much of this album. “Broken English,” “Witches’ Song,” The “Ballad of Lucy Jordan,” and the epic closer of “Why’d Ya Do It” will all stick with me for years to come. Strange as hell that I’d never heard of Marianne Faithfull until now, and then, the day she comes up on the generator is the day she dies. A weird coincidence, but clearly I need to explore more of her back catalog. A hidden gem, for sure!

Why D'Ya Not Listen to this Album until today?

Wow. That was...something. Why d'Ya Do It really surprised me.

I can’t believe I never heard of this artist before I thought the production was absolutely tight from start to finish. I’ve been a sucker for since lately, and read that it was actually Steve Winwood, who was added late in the process to play keys. I think that really helped balance Marianne’s unique voice.

Enjoyed it

IDK why but I thought this was going to be some terrible folk music. Guess I didn't know who Marianne Faithfull was. Her voice almost reminds me of a more raw, less poppy Cyndi Lauper. I loved it.

This was a good album, ends super strongly with a great Lennon cover and after that the best song on the whole album. Wish I had liked this more to give it a 5, but it didn't all fully click for me

Never heard of her, but this is a memorable and interesting work. Although I don't *think* I like Faithfull's "wrecked" voice, it's really suited to the tone of the album. Her "Working Class Hero" cover works really well. "Broken English," "Guilt," "The Ballad of Lucy Jordan" - all good tracks. Then there's "Why D'Ya Do It" which is in a kind of must-hear category of its own. Glad Broken English is on this list as I'd never have encountered it otherwise.

This album is a perfect example of the 70s turning into 80s. It retains that old-school thoughtful singer-songwriter approach, but is increasingly smothered in synths and bravado that'd go on to define the decade to come.