Broken English

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.

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*

This is so great. I've not listened to Marianne before so this was a joy to dig into. Working Class Hero was the standout on the first listen and on the second listen every track was a hightlight.

First time listening to her music. Her voice and lyrics are haunting. This album feels very cathartic to make. I’m curious to listen to the rest of her music and to understand her story better

This was a lot better than I thought would be, amazing voice, Great melodies. The lyrics of the last song though, chef’s kiss.

This lady is a weird singer and yet I am so fucking compelled by this album. I'd bet this would be great road trip music if I didn't have a seven-year-old currently. That closer track is some filth in the best way plausible. It's just a really interesting record.

But she’s such a beauty, and kind of new wave

I really liked this one. The songs have a cool, steady pulse to them, and the mix of dark mood and catchy grooves makes it an easy album to settle into. Even without knowing all the history behind it, the beats, the attitude, and the overall vibe just work.

I'm surprised it took Marianne Faithfull so long to make this album. Actually, it was music itself that had to catch up with Faithfull, as back in the 60's this style was obviously nowhere to be found. This style of artsy New Wave fit her voice to a tea. The songs sound dark and menacing, but retain a sort of sensual quality that is hard to explain. Key tracks: Broken English Witches' Song Why D'Ya Do It

Broken English is the first album by Marianne Faithfull I’ve come across in this challenge, which surprised me. I’ve always loved her voice, so I was really looking forward to listening to this one. I really enjoyed this album. Marianne’s voice is the star of the show — raw, distinctive and full of character. There’s a lived-in quality to her singing that gives every song real weight and emotion. She sounds completely believable, no matter what she’s singing. The songs themselves are excellent too, with a darker, edgier feel running throughout the album that suits her perfectly. There’s an intensity and honesty here that makes the whole record feel compelling from start to finish. This is definitely an album I can see myself coming back to. Favourite tracks: I enjoyed a lot of this album, but the opening track “Broken English” and her cover of Working Class Hero were particular highlights Least favourite tracks: Everything on the album was worth listening to Album artwork: Cool album cover, Marianne was a very cool lady!

This site has too many post-punk derived albums. I don’t want this. I didn’t want yesterday’s album. I want something that is genuinely important in music. This… well I don’t know if it is. It has a real tight cover, and I like some of the songs. It’s certainly interesting, which I always appreciate. Looking more into this album’s background and Failthfull as a person, her having started out as a baroque pop singer and then falling into a life of excess and homelessness, and then putting this out, it’s admirable. A song such as “Guilt” is evocative and interesting in the context of her circumstance, and her cover of Lennon’s “Working Class Hero” is chilling and freakish in a way I really fucking love. This album overall is really well done and I liked it more than I expected to. 8.2/10

The minute this album starts, you know it's 1979, from the disco inspired backing track, to the clean and precise production. It truly dates itself but not in a bad way. Marianne gives this a real chilling viscerally haunting, which sets the tone for the album. It really creates an energy on unique energy on the album such as the opening title track, "Guilty" and the epic "Why'd Ya Do It?". Also her reading of Shell Silverstine "Ballad of Lucy Jordan" honestly gives more perspective and depth (especially from a woman's point of view) that Dr. Hook couldn't tap into. But there are other track that the arrangement/production gets in the way, as in "Working Class Hero". It's feel more like a battle cry, when Lennon simply let the words talk under the sneer in his voice to cut the listener to the quick. It not necessarily bad, but it's a take. (8.5) ★★★★

This was a nice surprise. It sounds so fresh for an album from 1979, very well produced. I liked her voice as well

Cool. Good voice, good tracks.

Härlig röst och stämning.

Mest känd för mig som tanten som sjunger i "The Memory Remains"; Inte tagit mig för att faktiskt lyssna på henne förut. Jättebra! Och vad kul att hon kunde bli verkligen känd tack vare Metallica på gamla dar.

Oh goddammit. I have not heard the title track in 35 years and it is crashing back from the start. Still rad as fuck.

okay, faithfull is one of those i'm embarrassed to know little to nothing about. i've really only heard her as a back-up singer and as a member of the rock n soul revue. really enjoyed this album. i know she doesn't sound like this her entire career, but ima check out more stuff by her.

I loved this a lot a solid 4

Marianne you ain't a traitor to good music fr fr. Didn't know all of these songs beforehand, enjoyed the witch one and the final one a lot, not sure about the Working Class Hero.

Groovy beats with some weird lyrics

Really good album, between a 4 and 5. Whole thing is great, this was such a nice surprise.

A remarkable album considering the events during recording which you need to read up on . Some classic McCartney here

I think you've got to be in the mood for it, but this is a cool album. Pretty amazing for the time period and surprisingly funky at times.

What a cool album! The songs are interesting and did a good job capturing my attention.

Tiene algo esta señora. Muy bien. Amerita explorar. Nota: 3.8

This album didn't age as well for me. I loved this when it first came out, but now it sounds a bit passé. Her voice is rough, but fits for her style. The music itself is dated and the lyrics don't carry as much weight as I remembered. I'm almost at a 3 yadda-yadda stars, but admittedly compared to some of the music in the late 70s, it's compelling me to a bit more. 4 "barely passable" stars.

Really enjoyed this one, really exceptional opening and closing tracks. 4/5.

Great album 4/5

Really good stuff! Never heard this before.

This album was a pleasant surprise. After reading her Wikipedia page and how it described her voice as becoming rougher, I halfway expected to hear something akin to Bob Dylan gargling broken glass. However, I was surprised to hear that I like her voice during this period more then I ever did when she first came out in the 60s. From the opening track Broken English to the closer Why'd Ya Do It, this album rocks.

This is a really cool little record somewhere in the interstice of the 70s and 80s. Thats what I found the most value in. It has those synth heavy passages and it also has some real home grown instrumentation as well. Its one foot in both generations. And to top it all off the vocals are killer as well. I really enjoyed this one. Like alot. I saved more than half of the track list and was still happy with the others as well. I dont have alot more to say but I know i felt great with this. And I cant deny that

Okay I have to admit that I listened to this while working lights for a musical so my focus was not totally there. That said, a weak start to such a banger. It really clicked around Guilt where I was like holy shit this thing is just good. Truly a high two to a high four with that song alone. I’m going to have to give this a more thorough listen but I’m at the highest four and it really is tickling a 5. The production is so good, she does such cool things with her voice, the bass is killer the whole time, great album.

Buenos Temas. Arranca flojo y dsp sube

Rich, textured layers of electronic sounds made even more impressive considering that this was released in 1979. The balancing of these sounds with the more acoustic instruments is handled very well, the songwriting is great from start to finish, and I always enjoy the inclusion of a former Beatle - here with John Lennon’s Working Class Hero. My only criticism is that the vocals are ever so slightly underwhelming.

I definitely want to revisit

So many albums in I think she lost some of the juice.

Was not expecting this to be so good. It’s timeless. Could’ve been recorded today and would still hold up.

One of the most recognizable voices in music. I have only listened to a handful of her songs before, though. I remember her featuring on Metallicas The Memory Remains, and her own song Guilt popped up in a fitting scene on Mindhunters (great series). This is a short album, but I liked it. Good songs, lyrics and I find her voice works well here. Favourites: Guilt, The Ballad of Lucy Jordan.

Litt svak 4’er

I thought this was a really good album with deep and meaningful lyrics

I like the rhythm of the album. A real pleasant listen without fails. Somehow sounds more like 80s to me?! Surprisingly good. favourite: "Broken English", "The Ballad Of Lucy Jordan" 3,5

echt een mooi plaatje, voor wie van haar stem houdt

Not what I expected at all! I thought it would be jazzy torch songs, not essentially a Grace Jones art pop/new wave album

I only listened to this album once before today and not really liking it. However, upon relisten, this album is incredible. The bass in some of these songs is smoking.

Never listened before but enjoying the blend somewhere between Blondie and Pink Floyd

# Album Name: Broken English # Artist: Marianne Faithfull # Rating: 4/5 # Comments: Ah marianne. The only thing i know about you atm is the infamous mars bar. Apart from that, this will be my first album. Hopefully its as good as the mars bar. I enjoyed this album. MF has a very husky voice. I quite liked the pink floyd-esque drive on many tracks. Working class hero sounds like a take that pink floyd would do. An interesting take on the track. Not a bad effort. Several good tracks on here. It didnt blow me away but its a good album. It will definitely make me look into other stuff. Which is the whole purpose of this project anyway. A solid 4. Why'd ya do it - track of the album for me. # Top Tunes: Broken English / Witches / Lucy Jordan / Whats the hurry / WCH / Why'd ya do it # Would I listen to it again? Yes

Other preamble: I feel like I see Faithfull's name everywhere as a "favorite artist's favorite artist" type. I've never gotten into her, but excited for the occasion Listening notes: -Title track is good. her voice is distinctive in a good way. Backing bass track is solid. -She sounds strung out, which I think is very much intentional. -Obvious comparison here is Nico's Chelsea Girl, but this is after the world has beaten the musician down, discarding her on the side. Brain Drain is the obvious exploration of the effects of drugs -"Guilt" seems confused to me. On one level, it feels like a listing of all the things others have done to her that she feels guilt for: Mick Jagger and his crowd picking her up to exploit, then tossing her aside as the drugs take their toll. But I can't make much sense of the lines about murder, which seem to indicate that she would if she could, which seems to be appropriate to be guilty about. Or maybe we're back to comparing herself against the big shot more famous people. Anyway, there's ambiuity, but that's pretty much alright by me. Anyway, the instruments on this track are really doing it for me. -Working Class Hero is a really great cover. Taking what initially sounds almost like a guthrie-style folk song and giving it the exhaustion and defeatist sound that pervades this album is really good. -Okay, Why'd you do it sucks. This song is real exhausting. Review: Accidentally saw that the group hated this album, which really dimmed my excitement for listening, but now that I've done it, I'm not really sure what the deal was. This is an awesome album. I guess the fact that she's like Nico (another artist I loved whom the group despised) should clue me in here. Man the last song on its own takes away the fifth star though.

fino valentino

This kicks ass. Rock isn't my jam usually but even I liked this one. Killer setlist. 4 stars

Really good. I'd give this a 3.5+

What a great album discovery!

3/4

I would have some Guilt if I called this a Brain Drain because it’s not.

Pop, Rock, 1979 -> 4

This was nice and I really enjoyed The Ballad of Lucy Jordan, which sounded like I've heard it before. I like her voice a lot and it was entertaining to see Steve Winwood listed as the keyboard player here.

15/03/2026 *1. broken english - synthy. oooo... love the bassline. wow the chorus... really love her vocals <3 2. witches' song - more acoustic. like the bass. love the droning, synthy noises in the back. nice :) *3. brain drain - immediately love the bass and guitar together. loooove the chorus! love the organ? synth? in the back!! drums are great!!! fantastic!!! 4. guilt - more synthy again.. love the chorus. bass is great! *5. the ballad of lucy jordan - even more synthy again. especially love her voice in this one. the lyrics are so beautiful <3 *6. what's the hurry? - reaally love the bass throughout this whole album! guitar solo! great! *7. working class hero - liking the start... the almost ticking noise... love how it's amping up throughout the song!! reallly great! *8. why'd ya do it - loving the guitar intro! wowowow!!! saxaphone(?) is really phenomenal! reaaally loved this one! incredible album cover as well <333

best English blues album I've heard. no joke, the keyboards save this album.

I didn’t know who Marianne Faithfull was until this listen and am glad I do now.

# In-Depth Review: *Broken English* by Marianne Faithfull (1979) ## Overview *Broken English* stands as one of the most remarkable comeback albums in rock history. Released in November 1979 on Island Records, it marked Marianne Faithfull's return to music after a devastating decade that saw her transform from a 1960s pop ingénue into a weathered survivor of heroin addiction, homelessness, and lost custody of her child . The album represents not just a career resurrection but a complete artistic reinvention that would define her legacy. --- ## The Voice: From Soprano to Rasp The most immediately striking element of *Broken English* is Faithfull's voice. Years of cigarettes, whiskey, downers, and heroin had destroyed her once-"trilling, feminine soprano," replacing it with a lower growl that was sometimes slightly off-key with gaps in phrasing . Yet this damaged instrument became her greatest asset. Where her 1960s voice conveyed a "weightless air" and disaffection, her new rasp carried raw emotional authority . As one reviewer noted, her voice now had "nakedly pleading directness, a knack for communicating pain and wonder" that combined elements of "Marlene Dietrich, David Bowie, Patti Smith and Jacques Brel" . The technical limitations became expressive strengths—when her voice cracks on "The Ballad of Lucy Jordan" or strains during her famous *Saturday Night Live* performance, the fragility becomes part of the emotional message . --- ## Production & Musical Style Producer **Mark Miller Mundy** crafted a sound that captured the late-1970s moment while remaining timeless. After seeing Faithfull's band at the Music Machine in 1978, Mundy recognized something special in their tight, drilled sound . The album was recorded at Matrix Studios in Bloomsbury with a band including: - **Barry Reynolds** (guitar, co-writer) - **Joe Mavety** (guitar, co-writer) - **Steve York** (bass) - **Terry Stannard** (drums) - **Steve Winwood** (synthesizers) - **Darryl Way** (violin) - **Morris Pert** (percussion) The production blends **post-punk, new wave, reggae, and disco elements** with a "late 70s muso vibe" . Winwood's synthesizers add atmospheric depth, while the rhythm section maintains a propulsive, danceable foundation. The arrangements are sophisticated—some might say slick—but they always serve Faithfull's vocals, keeping her weathered voice in the spotlight . --- ## Lyrical Themes & Song Analysis ### Political Terrorism: "Broken English" The title track addresses the Baader-Meinhof Gang (Red Army Faction) and specifically Ulrike Meinhof, inspired by a documentary where Faithfull noticed the subtitle "broken English... spoken English" . The lyrics confront revolutionary violence with weary skepticism: > "What are you fighting for? / It's not my security / It's just an old war / Not even a cold war" Faithfull essentially asks the terrorists: "What the fuck are you doing?"—a question applicable to any criminal organization posing as freedom fighters . The disco bass and synth groove creates an ironic tension with the grim subject matter. ### Catholic Guilt & Psychological Manipulation: "Guilt" Written by Barry Reynolds, this track explores "the formal distinction in theological anthropology between objective guilt and subjective guilt feelings" . The lyrics examine how guilt is weaponized: > "I never gave to the rich, I never stole from the poor / I'm like a curious child, give me more, more, more" Notably, the lyric changes between verses—from "stole from the poor" to "gave to the poor"—suggesting the human tendency to lie about condemned behaviors versus the honest truth . ### Feminine Desperation: "The Ballad of Lucy Jordan" Faithfull's cover of Shel Silverstein's song (originally recorded by Dr. Hook) became definitive. The story of a 37-year-old housewife who realizes she'll never "ride through Paris in a sports car with the warm wind in her hair" resonates with themes of broken dreams and mental collapse . Faithfull identified deeply with the character's descent into instability, delivering what many consider the album's emotional centerpiece . ### Sexual Betrayal: "Why'd Ya Do It?" The controversial closer—originally intended for Tina Turner—features explicit language and raw anger over infidelity. Set to a reggae-disco rhythm, Faithfull spits venom at a cheating lover: > "Why'd ya do it, she said, why'd you do what you did" The song was banned in some territories and remains one of the most visceral depictions of sexual jealousy in rock music . ### Class Warfare: "Working Class Hero" Faithfull's cover of John Lennon's classic arguably surpasses the original. Where Lennon's acoustic version was sparse, Faithfull's arrangement—with ominous bass from Steve York and slashing guitars—builds menacing intensity. Her handling of "But you really can't function, you're so full of fear" carries uniquely feminine compassion, and she wisely omits Lennon's problematic final line . --- ## Influence & Legacy *Broken English* established the template for the "damaged chanteuse" archetype that would influence artists from **Siouxsie Sioux** and **PJ Harvey** to **Cat Power** and **Lana Del Rey**. The album proved that a woman's voice didn't need to be technically perfect to be emotionally devastating. The record demonstrated that "women belong in rock & roll" at a time when female artists were fighting for recognition . Faithfull's unflinching confrontation with sexuality, addiction, politics, and aging created space for later artists to explore similar territory without compromise. The album's fusion of new wave aesthetics with confessional songwriting anticipated the 1980s alternative movement and beyond. As one reviewer noted, it "sounds of its time but has aged well" . --- ## Pros | Strength | Details | |----------|---------| | **Vocal Transformation** | The damaged voice becomes an instrument of authentic emotional expression—raw, cracked, and utterly compelling | | **Lyrical Maturity** | Addresses terrorism, religious guilt, sexual betrayal, and class struggle with unflinching directness | | **Production Quality** | Mark Miller Mundy's sophisticated arrangements blend new wave, reggae, and disco without overwhelming the vocals | | **Interpretive Genius** | Covers of "Working Class Hero" and "The Ballad of Lucy Jordan" arguably surpass the originals | | **Emotional Arc** | The album builds in intensity, culminating in the explosive "Why'd Ya Do It?" | | **Historical Significance** | One of the first albums to present a middle-aged woman as a fully sexual, angry, political being | | **Band Chemistry** | The assembled musicians, including Steve Winwood, create a cohesive, supportive backdrop | --- ## Cons | Weakness | Details | |----------|---------| | **Uneven Pacing** | Early tracks like "Witches' Song" and "Brain Drain" can feel less focused than the later material | | **"What's the Hurry?"** | Some listeners find this track forgettable—a "misstep" that doesn't do enough to stand out | | **Production Polish** | The slick, "muso" production occasionally clashes with the raw emotional content | | **Limited Vocal Range** | While emotionally effective, the ravaged voice lacks melodic flexibility | | **Context Dependency** | Some critics argue the album's reputation relies heavily on the backstory of Faithfull's suffering rather than pure musical merit | | **String Arrangements** | Some reviewers wished for a proper string quartet on "The Ballad of Lucy Jordan" rather than synthesized approximations | --- ## Verdict *Broken English* is a masterpiece of transformation and survival. It succeeds not despite Faithfull's damaged voice and troubled history, but because of how completely she integrates those elements into her art. The album captures a specific moment—late 1970s political anxiety, post-punk musical experimentation, second-wave feminist awakening—while remaining timeless in its emotional honesty. Faithfull herself described the album's energy as: *"Fucking hell, before I die, I'm gonna show you bastards who I am"* . She succeeded. *Broken English* isn't just a comeback—it's a declaration of artistic independence that redefined what a "female singer" could be in rock music.

I bought this album years ago on cassette because it was reduced and I was working abroad, so why not? But I really liked it. My favourite tracks on the album are "The Ballad of Lucy Jordan", and her cover of John Lennon's "Working Class Hero".

I liked it more than I thought I would. 70s and 60s rock merging into 80s synth. 3.5

I was a bit surprised by how I liked this album. Cover art set me on a bit gloomy atmosphere and I mostly got what I hoped for.

Dit voelt als een jazzy, druggy, experimenteel album. Ik kende haar niet van tevoren en wat ik erover lees klopt dat druggy in elk geval behoorlijk. Haar stem piept en kraakt bijna soms gewoon, de instrumenten daaromheen draaiend, het voelt allemaal gewoon heel erg trippy en spacey. Maar dan wel trippy in een doorrookte jazzruimte. Luister maar eens naar 'Guilt' dat is New Wave ROYALTY. Die saxofoon, die stem, de vermoeidheid waarmee ze zingt. Het raakt me en ik merk dat met elk nummer ik het meer en meer naar mijn zin heb. Instrumentaal is het niet allemaal even modern, dit is dan ook een album dat bijna 50 jaar oud is he? Muziek is emotie, ik schrijf het vaker, en ik denk niet dat ik veel albums heb geluisterd die zo bomvol emotie zitten als dit album. Je hoort dat dit misschien wel een wanhoopspoging tot een beter leven is. En zelfs al let je daar niet op, is de muziek ook gewoon best wel heel erg interessant. Het lijkt op de oppervlakte een simpel singer-songwriter album, maar je hoort best wel veel elektronische invloeden op het album. Marianne doet me qua stem, en ook een beetje qua verhaal, heel erg denken aan Janis Joplin. Maar waar Joplin meer traditionele rockmuziek maakt is Faithfull volle bak in de new wave elektronica hoek gedoken. Sommige nummers pakken me wat minder, maar alles bij elkaar? Heerlijk album dit. Dit is waarvoor ik deze lijst doe, want ik heb hier werkelijk nog nooit van gehoord en denk ook niet dat ik het anders was tegen gekomen maar een nummer als Guilt is meteen in mn playlists opgenomen. Wat een prachtplaat en wat een heerlijk album is dit. FAVO: Brain Drain, Guilt, The ballad of Lucy Jordan, Working Class Hero

#47/1001 🇬🇧 What a good record. Mixing a gritty guitar sound with some nice synths and even a bit of a reggae bounce to the last track. I've never heard this album before, and i've enjoyed it immensely. Lyrically its not an easy listen and 'Lucy Jordan' is one of the saddest tracks that i've heard in a while. I enjoyed the lyrics and delivery of Guilt too. There is wonderful version of Lennon's Working Class Hero and also a powerful version of Sister Morphine in the bonus tracks. The final track was brilliant but was not one that i'd play for my mother inlaw! Much is made of Faithful's vocals, damaged by years of excess but for me they really make this record. Best Tracks: The Ballad Of Lucy Jordan, Guilt, Why'd Ya Do It?

It's your typical new wave fare, but that ain't a bad thing. 3.5 bumped up to 4.

Jokes I like this

Cool

Very good instrumental section. Marianne’s vocals are what I’d call an acquired taste. She basically sounds like an old lady. But the album is pretty solid.

I haven't really noticed, by some songs had strong lyrics, plus its unique and a vibe

Rawboned and lyrical, Marianne showed us that rebuilding your life was always possible.

74/100. A very interesting record. The riffs are strong, the mood is dark, and there’s a real edge to the whole album that gives it weight. It feels gritty, confrontational and very self-aware. Not always an easy listen.

Prekvapenie... Akoby 80. roky začali skôr. Strana B albumu je oveľa silnejšia.

I like some of this stuff, and bump her up one rating for female artists on this list as there are so few.

this was very good actually my favourite was the title track the last track was a bit weird and ‘cock’ heavy but overall enjoyable

Solidni

Some of the production choices (bleeps and bloops) haven't aged well, but the songs and performances are top notch.

This one had a quiet and then loud rawness about it that just resonated so well.

I’d only heard The Ballad of Lucy Jordan before, but this was a real surprise. Real strains of having been made in 1979, I think Marianne could easily have fronted a punk band. I liked it.

loved a few songs

The title track, “Witches’ Song”, and “The Ballad of Lucy Jordan” were the standouts for me. I wasn’t initially a fan of the synths on the latter, but they grew on me. Excellent guitar work all over this record, particularly on the title track and “Why’d Ya Do It”. I definitely vibe with her weathered voice and can hear some Patti comparisons (no doubt informed by the style/soundscapes behind her). There are no songs here I dislike, really. The only reason it “stalls” at 3.5 is because I don’t feel much of a major connection to it, nor did I have any truly strong reactions to it. I enjoyed it well enough and could most certainly return to it with zero issues, it’s just not something I feel very passionate about. 3.5/5

very soft and soothing

She was very interesting to read about. Is this one of the greatest comeback albums ever? I quite enjoyed so I wouldn’t disagree. “Why’d you do it” is instantly one of my favorite album closers of all time. Album cover is awesome as well. It was fun listening to her 60s hits to hear the difference. Rating: 4.4

The songs themselves are not all that original musically. But there is something about her performance that elevates them. It’s realistically a 3.5, but I will probably round up.

this was an interesting one! i wasn't familiar with marianne until now. very unique voice and an enjoyable listen overall. that was a crazy cover of working class hero.

i had never heard of marianne faithfull but this album is very cool. broken english is such a good opener, really gives that height of the cold war vibe from songs like o superman and 99 luftballons. the working class hero cover is much more interesting and engaging than the original, and why'd ya do it is a wild album closer. definitely coming back to this in the future. favorites: broken english, the ballad of lucy jordan, working class hero, why'd ya do it

Love

J'ai aimé l'ambiance générale, mais j'avoue avoir écouté d'une oreille distraite. J'ai pensé la moitié de l'album que c'était un gars qui chantait. The ballad of machin machin ça sonnait très early Dylan.

Étrange voix la madame Faithfull. Et pas le son que je m’attendais! Mais en lisant un peu je voix que c’est un «retour à la gloire » pour elle après quelques années de silence. Bien drôle d’écouter ça tout de suite après Gary Numan et de voir les influence New Wave communes! Aussi why’d ya do it qu’elle belle chanson de fille en tabarnak. Tellement vulgaire!

I found her voice really powerful and I enjoyed a few tracks, specifically: Broken English, The Ballard of Lucy Jordan, and What's The Hurry? The album felt like a mood I could sink into.

A nice contrast to the blandness of Taylor Swift

Didn’t think I’d like this album, but damn Marianne Faithfull has beautifully written lyrics and I love the stories that she tells with her music. 4 Stars 6th Of January

This is one of those records whose impact was more cultural and historical than musical. There's no doubt, to those aware of her backstory and what she represented in the sixties, that this was a dramatic comeback, and different enough musically from her previous work to be notable. Listeners in more of a vacuum not appreciate it, through no fault of their own. Musically, it'a good, not great. But hearing that profoundly-changed voice coming from the once-sweet folkie was really something at the time. She does the typical-for-the-time tour through new wave influences, and it's all performed well, but probably not a frequent listen, especially 40+ yrs later.

En ganska underbar liten skiva det här. Faithfulls cigarettröst inramade av lite lätt new wave. Förutom sista spåret som anskrämligt flörtar lite med reggae är det bra rakt igenom., bra låtar, bra producerat, bra framfört. Solklara höjdpunkter i titelspåret, som både har tyngd och allvar och är förnämlig pop. Dr. Hooks "Ballad of Lucy Jordan" som hon gör till sin egen signaturmelodi på ett sätt som är närmast häpnadsväckande, jag kan aldrig höra mig mätt på den. Och Lennons "WCH" som ju är Jerry Williams-bra. Omslaget som finns i massor med olika färger och nyanser, ibland med cigarettglöden highlightad ibland inte, är en rolig detalj. Min kanadensiska press är grå utan glöd. Jag har sett flera olika nyansar av det blåa omslaget både med och utan glöd, ett rosa omslag, ett violet, ett blekgult, det är dom jag sett. En lite bortglömd pärla, fyra till Sister Morphine

- I enjoyed this - I didn’t really know any Marianne Faithfull before those, but she’s a badass, and I can definitely see why she was a muse to so many people. - Best song is Why d’Ya Do It. So good. I felt her anger. - I like her raspy voice - it really helps make the songs feel raw. Obviously, I wish that she didn’t lose her voice because of her struggles and that she had the choice to sing in a more or less raspy voice, but I’m glad that she embraced what she had. - Really happy to have a strong woman with a point of view on this list for once instead of the abundant SAers and pedos. I’d probably rate this a 3.5, but because she used her music to make political and societal statements made me go for a 4, as well as to correct for the many incels and other women haters on this site. - I don’t love the instrumentation as much as the vocals. I like when music is upbeat with sad, thoughtful, or ironic lyrics, but I don’t think it works as well with some of the more disco-adjacent choices here, e.g., suddenly having a sax on “Guilt” just takes away from the feel of it for me. I kind of felt like the instrumentation got pretty dated. - Dislike the nasal and diphthong vocal stylings in “Brain Drain”.

Cool. Very cool. I need to explore Marianne Faithfull

Appreciated this. Kind of proto-synth pop? But it had an eeriness to it that was interesting and the lyrics were raw. Light 4.

A surprise. Gritty. Sounds current. Enjoyed this.

Beautiful album

I don't know why I love her voice and hate bob Dylans. I think it's the lived experience of this voice. Truly an icon. I prefer her later stuff because some of these songs feel a bit dated but when this album hits it hits HARD.

Maybe again because it sounds a little more modern, liked this one more than others I’ve listened to so far.

- new wave inglês que mistura blues e pop, com ideias bem originais. a história do álbum é muito interessante também, ela escreveu depois de um coma e de morar na rua - o que mais me impressionou foram as letras. tocam em assuntos que são difíceis de abordar, como dependência química, conformismo, falta de esperança e desigualdade social, de um jeito bem direto e humano.

faves are title track, guilt, why'd ya do it

Cool early post punk, apparently she died this year and dated Mick Jagger in the 60s. wild. The closer and the first 2 tracks were definitely the highlights for me, love it when she keeps her voice subdued and creates a lovely blended gothic soundscape. Pushing her voice into ranges that don't suit her ruined some of the songs for me, particularly 'What's The Hurry'.

Good tunes

New wave comeback album raspy Broken english Guilt Why did you do what you did

1979 was a great fucking year. I was 19 and a college student. I was a DJ at a local community college station playing a mix of punk and post punk and CanRock (Shout out to Goddo and Triumph!) and new wave was beginning to percolate into the night clubs. I recall being at the Luv Affair after a Violent Femmes show when the goths descended on to the dance floor to dance to Siouxsie and the Banshees and Bauhaus and “Broken English” was dropped into the mix. Seeing the goth flock suddenly sync up was definitely a moment. Marrianne’s voice, like several other vocalists of the time such as Nina Hagen and Lene Lovich, was district and the tone compelling and sultry. The vocals ooze and slither and wrap you in their warm tone. Brain Drain is a vibe with the repetitive Brain Drain compelling you to softly tap your foot. Mesmerizing. As I search for words to describe the vocal performance on this record, mesmerizing captures the feeling as Marianne’s voice floats on a bed of sound with a groove that connects vocal to sound. While some songs - Guilt, Brain Drain, and Broken English seem derived from the same origin, the musical and sonic exploration in each song resonates - like a tuning fork to your soul. The cover of Dr.Hook and the Medicine Shows Ballad of Lucy Jordan is a mid LP highlight with its tale describing the disillusionment of a housewife. One of two covers on the record, the other being a amazing cover of John Lennon’s Working Class Hero, The Ballad Of Lucy Jordan encapsulates the emotion behind the struggles in Marianne’s own life surviving homelessness and drug addiction only to come out the other side. For a 7th album this was a huge realignment and direction. This was an album full of synthesizers and keyboards (played by Steve Winwood who would also have his moment in this same period). The closer Why’d Ya Do It is an almost 7 minute screed directed towards a cheating relationship (perhaps Mick Jagger whom she dated in the 1960s?). The album is lyrically vivid and really a sonic tour de force. A worthwhile exploration is the Deluxe Edition to hear the original mixes which are definitely different both in tempo and sonically. Broken English is more of a Euro Disco track in its original form as well as a long version of the track. There is also an excellent cover of the Velvet Underground’s Sister Morphine. The cover versions are transformative works in Marianne’s hands.

8/10

3.5

Не очень понял, надо слушать ещё. Но вроде мелодично, слушать можно. 6 из 10. С натяжкой 4 звезды.

I quite enjoyed this album, despite knowing very little about the artist going into it. I knew her name and some vague association with Mick Jagger, bit not much beyond that. These songs are mostly really compelling, punky, and seemingly quite ahead of their time. I feel like this sound was something like Leonard Cohen was aiming for with I'm Your Man (missing the mark wildly). Especially liked the title track, Brain Drain, Working Class Hero, and Why D'ya Do It. I don't really understand the negativity in the comments - surely the context of an album should always be taken into account when doing a list challenge like this? It's quite relevant here too, as it explains the raspy nature of her voice and direct, explicit lyrics.

Quite a great album

Had no expressions of this album , but was pleasantly surprised with the great voice Marianne has and the quality of the songs . Which were both edgy and melodic in equal measure

....

She's fun. Would have loved to this rock and roll hot mess in the 70s.

He leído su biografía porque me sonaba el nombre y me he quedado loca. El sonido que hace es muy inteligente y seductor, recoge el movimiento futurista-emancipador de los 70s-80s y a la vez consigue separarse del resto de grandes cantautoras de la época de una manera que no sé explicar. "Keep you doped with religion and sex and TV. And you think you're so clever and classless and free". Me cae bien Mariana. Favs: Brain Drain, The Ballad of Lucy Jane, Working Class Hero

Mi primer contacto con la voz rasgada de Marianne, que en sus notas más altas y entusiastas me recuerda a Stevie Nicks, y en las más discretas y melancólicas, a Julee Cruise. Es decir: me gusta, y mucho. Obviamente no me transmite tanto, pero puedo ver perfectamente su appeal. Canciones directas y electrizantes con sonidos potentes, oscuros, casi teatrales, y perfectamente sostenidos por una producción que juega entre sintetizadores (let's fucking go), percusión seca (let's fucking go) y guitarras incisivas (mis favoritas jeje, let's fucking go). Por esta época el art pop que populariza Kate Bush ya empezaba a forjar su legado, así que me alegro de escuchar representantes del género tan interesantes como Marianne. Favs: Broken English, Working Class Hero, Why'd Ya Do It

A very good and introspective record with interesting sounds on it. This kind of record is why I am in this challenge. It’s exposes me to everything especially things like this that I should know.

Classical Album.

“Released in 1979 following periods of homelessness, heroin addiction, and scandal, Marianne Faithfull's opus recovered her from exile and captured a generation's disillusioned comedown.” — Lindsay Zoladz, Pitchfork https://pitchfork.com/reviews/albums/17565-broken-english-deluxe-edition/

Très cool vibes, jolie voix très crunchy.

Overall I enjoyed it

My first response was that this kind of felt like someone's mum - albeit a very cool mum - has had enough of this sh*t and decided to tell it like it is through the medium of a new wave album. Perhaps because I did find this an uncomfortable listen in places. It's heartfelt and quite a tough listen at times. To quote Mark E. Smith "I don’t particularly like the person singing on this L.P. That said, I marvel at [their] guts". Not one I would play often, but I am glad it exists.

Wow! This album kept surprising me! The first track was solid, the next two were kinda meh for me but by the synth-funk breakdown at the end of “Guilt” I realized this was something a little more special. The rest of the album is super strong, I am sold. Marianne Faithful sounds so effortlessly cool. The album cover is fitting because of her raspy vocal delivery, I imagine her holding a cig in the recording booth while pumping this out. 8/10 Favorite tracks- “Broken English” “Guilt” “

Quand même un vibe. Certaines chansons feelent comme des monologues

When Marianne Faithful released her first single in 1964 a song called 'As Tears Go By' written by Mick Jaggar (her soon to be lover) she was an ethereal looking 17-year-old golden-haired, fresh-faced schoolgirl. By 1970 Mick & her were separated both her music & movie career were at a standstill. She would record a handful of singles, act in a handful of movies and get lost in the dark blur that is heavy drug use, homelessness & mental issue. In 1980 she released Broken English looking/sounding completely different than she did just a decade earlier her voice a hoarse mess due to endless cigarettes, whiskey and health issues. It was a shocking reinvention that somehow worked. Broken English with it's at times gritty confessional lyrics backed with loungey/new wave/punk-ish music put her back on the map where she stayed until her death earlier this year. So long, Marianne. I much prefer her 1960s work in fact the first time I heard this album few years ago I HATED IT I wanted the pretty songbird that I could relate to not this messed up looking lady looking like death warmed over & singing about nodding off while giving head. Years later (today) I heard Broken English again & I liked it a great deal more- it made sense.

This is #day411 of my #1001albumsyoumusthearbeforeyoudie challenge, and… honestly, I've had a complicated relationship with this record. I initially rated it low, but it kept lingering in the back of my mind, so here I am, revisiting it. For me, it often starts with the cover, and Broken English is one of those that instantly grabs your attention. It's up there with, say, The Marble Index... that kind of striking, unforgettable image. Musically, this is exactly what I like about the late '70s-early '80s: a perfect new wave backdrop, dark and brooding to boot. I also get the sense that this record tells a story of the resurrection of an artist pulling herself back from a low point. Personal highlights: the title track and especially "Guilt." Guess I'm finally landing on a 4 out of 5. Looking forward to #day412.

great start

I LOVE the album cover, and it's a cool album overall

Great album

Went back for a second closer listen.

A great voice and lyrically interesting album. It absolutely has a place in this list.

If you told me, this was early demo tapes of Cyndi Lauper, I would believe you

Baller. Ikke egentlig det jeg tenker på som New Wave, mer inspirert av golden era Pink Floyd art rock. Trodde at dette måtte ha kommet i kjølvannet av Edge of Seventeen, men neida, det var vel heller Nicks som dro en Faithfull enn vice versa.

One of the greatest comeback albums ever.

I was so jazzed when I saw this was the album for today. It's an absolute banger, I'm shocked the reviews are averaging below 3.

Surprisingly good album to listen to, quite fun and very poignant. One I will revisit but not all that often

Enjoyed the first half, I like the voice a lot as well as the mellow rhythmic vibe. Second half was a bit weaker but not bad. Favorite song was Brain Drain. 7/10

The kind of voice you get from smoking all the cigarettes.

I thought this was pretty good. 3.5

I didn't really like Broken English, but the rest of the album was solid.

Dark, sparse.

Caustic, raw, emotion-filled. I liked it.

Superb! I know this is considered her masterpiece, but I wonder how much of that is due to its being considered her comeback. In my mind, anyway, 1987’s Strange Weather was a touch stronger. (And it has a redemption angle, too.) Anyway, I love Broken English’s early-ish New Wave sound, and the songs are strong from start to finish. Of course, Faithfull’s world-weary vocals are always the draw. If I could, I’d give the album 4.5 stars.

An overlooked album with a fascinating backstory.

pretty good

Surprisingly good

Enjoyed listening to this album immensely. A person who was very much part of the British Invasion. Her voice says it all. New Wave? Yes Wave.

Day 31 I have listened to this record maybe two times before. Absolutely LOVE Marianne's voice and I have been obsessed with the ballad of Lucy Jordan for years! The new wave influence and her raspy voice blend perfectly and sounds gorgeous. (4/5)

Muy buena la onda del álbum. Sonido retro pero bastante dark a la vez. La voz es muy rara, por momentos me encanta por momentos no me cierra para nada

:D

Damn, it sounds like she's seen some shit

4.3

Good English

Decent

Much, much better than I expected. Her voice is not great, but it works. Cover was Working Class Hero was great.

I actually kinda liked this one. Working class hero is a jam.

Fav songs in order: Why'd Ya Do It; Broken English; Brain Drain I have complicated feelings about this one. I actually really, really like it. The song choices, production, tight length are outstanding. Provocative, powerful, sad. However there are moments, many moments, I wish her voice wasn't so shot through. "Broken English" is where I would like someone else to be singing this song. She's reaching for notes her voice cannot truly find. Her voice works better when she is spitting anger and bile in "Why'd Ya Do It". The album art is '80s cool before the decade arrived. Love it.

I saw the phrase "raw emotion" come up a lot when researching this album, and that seems like a fair descriptor. Went in with no knowledge of this album or of Faithfull, and found it a pretty captivating listen. Hovering between 3 and 4, but I'll go with 4. A very cool, very human album. If this came up on shuffle, I'd be delighted.

Oh this was a tremendous discovery. Dark, moody and synth - this slots in next to albums like Bowie's Low and Reed's Transformer in my head. I'll have this on repeat for the rest of the day. A very high 4 - on another day it might be a 5.

This was such a fascinating album to listen to. Some of the lyrics would certainly raise some eyebrows today, let alone in the 70’s. It’s very graphic, and very lyrically punk. The music itself doesn’t feel punk, but the vibe is very much so. It’s almost as if Carole King and Joan Jett fused into one person.

Album 826 of 1089 Marianne Faithfull - Broken English (1979) Rating : 3.75 / 5 I first heard this one about a year ago and ended up buying the vinyl—not what I expected from Marianne Faithfull, but in the best possible way. This album is harder, edgier, and more punk-influenced than I ever imagined. If you only knew her earlier work or hadn’t kept up with her career, you might expect something more poppy and subdued—but this hits with grit and attitude. The musicianship is solid all around, and Faithfull’s voice adds a rawness that fits perfectly. Her cover of “Working Class Hero” is a standout, and overall this one was a very pleasant surprise. One of the many great women rockers I’ve discovered (or rediscovered) during this listening project.

Great album, I like the production and the vocals are fantastic

beautiful beautiful album… especially the original songs… i love her

This is a pretty cool album and she seems a bit ahead of her time. Never heard this artist before. I liked the John Lennon cover. And I think the music to Why'd Ya Do It is fantastic. Her lyrics are totally vulgar but damn. I'm seriously impressed that she went for it back in 1979. rock on!

I really liked this. I’ve never heard of Marianne Faithfull and she just died earlier this year. RIP, I wish I would’ve discovered her sooner. Her voice has Cyndi Lauper vibes, and turns out Cyndi was influenced by this album and had a lot of love for it. Neat! I like her sound and the feeling and depth she performs with. The Working Class Hero cover was so dark and cool. What’s the Hurry and Why’d You Do It were other faves. I dug this.

jävlar vad bra detta var med bra hörlurar. tighta 37 minuter. måste lyssna igen.

It's warranted a second listen

Es ist ein kompromissloses Album voller rauer Emotionen und düsterer Atmosphäre. Mit einer markanten Stimme und mutigem Stilwandel hin zu *New Wave* und *Punk* gelingt ihr ein Werk, das auch heute noch unter die Haut geht.

An absolute treasure from an addict.

I can't imagine a rawer, more moving album. She had been through six kinds of hell by this point in her life, and she turned it into true art.

3.75

A good album, I liked Guilty and Working Class Hero the most.

Her great comeback after she lost custody of her son, struggled with heroin addiction and anorexia and lived on the streets as a homeless. Her past is all in her voice on this album. It's a very nicely made new wave and bluesy folk collection of songs with unique textures and great production that stands out. I like that it is a short album that doesn't overstay its welcome.

Best when she is bad ass. Glad this was on the list I never would have listened otherwise. It sounds surprisingly fresh and I like her rough voice.

A 1979 new wave backdrop with a singer/songwriter overlay that largely succeeds. “Guilt” and “The Ballad of Lucy Jordan” were the strongest songs. Opening song (title track) was dull and the angry closing track was vile, leaving a total of 4 other songs that largely succeed. A pleasant surprise. I’m rounding up to 4.

This is a very interesting albums with solid tracks and some misses. I'm rounding up from three (3) to four (4) based on a degree of difficulty. I always thought of her more as an actor/model/character over a musical artist, and in the wake of a pretty crazy lifestyle emerges with a very solid album. I was crazy about her take on Working Class Hero (Lennon), but it's better than most Beatle/former Beatle covers. I don't usually single out tracks in album discussion, but Guilt was my favorite. This was a surprise for me.

Had only heard individual songs from Marianne Faithfull, but I liked this. The Ballad of Lucy Jordan was a highlight for me, as was her cover of Working Class Hero.

Digging the instrumental out of the gate on Broken English. Love the confident strut with warbly shit in the background. Vocals are not my favorite, but they also aren't particularly off-putting. I am finding that I enjoy the song structures and instrumentals themselves -- very groovy and satisfying (writing this as I listen to the pocketed groove on Brain Drain). I've definitely heard Working Class Hero before -- ah yes, its a Lennon song. I enjoy this spin on it. Really enjoyed this one. Vocals were the lowest point throughout, but the instrumentation more than made up for it. 4 / 5.

Great album. Didn’t know what to expect but this was raw and gritty and emotional, but it also felt like you could dance to it. I love the duality of that.

I’ve been reading a fair bit about Ms Faithful in the music press after her recent demise. I played this album not really knowing what to expect but I have had it on twice already today I can say I thoroughly enjoyed listening to it.

Beautiful.

Cool, moody, slightly off-kilter rock. Very enjoyable. Favorites: Broken English, Guilt, Working Class Hero, Why'd Ya Do It

Nice surprise! Warm vocals

And Your Bird Can Sing

Jarring, intentually so it would seem. But give this a little time. Still jarring, but you might recognize a lot of depth and importance.

Great album from a great voice, love the title track, "Ballad of Lucy Jordan,"and that final kiss-off with lyrics that made me blush. Was that Keith Richard's playing on the last song?

I really enjoyed this. Interesting lyrics from someone whos clearly seen some shit, genre bending tracks, and a really cool john Lennon cover. Love how the last track just keeps going. Had only vaguely heard of Marianne Faithfull but I'll definitely listen to this again and check out more of her stuff

Ooh. this was the kind of album I was looking for, something unique that I wouldn't have found on my own

Wiw the closer Why Y'da do it was pretty intense and got this up a star. It got better as it went on maybe needs another listen

New to me and I like it

Surprised to hear this is from 1979 - like a number of albums from that era, it seems to have had a ripple effect on the sound of songs 5 or even 10 years later. Also like those albums, it's not very good on its own merits compared to what others did with that inspiration. That sounds like I hated it, but really it's just fine. In the interest of being fair, I listened to the deluxe edition, where apparently the first disc is the remasters and the second disc are the originals. The originals are better. Rising anger throughout, and ends with a nice howl - the, uh, intangibles of her voice can't be denied. I was gonna give this a coward's 3 but I slept on it and realized I've been thinking about it way more than that, so up it goes.

Have never really listened to her music, but this album is kind of cool in a unique, and different way. There are a lot of good tracks to listen to here, and this is something I'll probably listen to again. Solid songwriting here. 4/5

Extraordinario regreso de Marianne a las grabaciones. Hoy ha quedado un poco desfasadoa la producción pero sigue siendo un gran disco.

Such an appealing voice. Listening to the music and her together seems so natural.

So I like the anger. And while I hear the bros saying she's here because of context, ... is she? Where do people start with their creative talent and ambition, and what do bad partners and heroine rob them of? I have thoughts.

I didn't know her and was pleasantly surprised. Album still sounds good after 45 years. The singing is full of feeling. 3.7

Outside of that Metallica song and her dating Mick, I don't know a lot about her music career, but I loved this record. Definitely going to listen again and peep some others.

Läpeensä uhkaava albumi. Efekti on hieno! Tämä todellakin jää jo ekalla kuuntelukerralla mieleen. En ole Mariannen kärsineen äänen suurin fani, mutta ilman sitä osa kiinnostavuudesta puuttuisi. Mutta sävellykset tässä ovat jännimpiä, tosi tummia ja rajuja.

Avausbiisin intensiteetti kantaisi läpi koko levyn, mutta sen ei tarvitse. Guilt:istä lähtien LP on huomattavan kovatasoinen muutenkin, ja Lucy Jordanin balladi on oikeastaan mestariteos - ei vain lainattuna sävellyksenä vaan nimenomaan myös levytyksenä.

Interesting album. Nothing rose to the 5 star level, but I did enjoy her voice and intensity

Never heard her. Excellent album.

Nice

Ok, not really my thing.

mágico

This was good

This was pretty entertaining. The last few songs especially felt palpable.

first listen I actually kinda dug this

This is pretty cool. The more rock n’ roll elements kinda take me out of the otherwise post punk vibes though.

I know the name and some lore of Marianne Faithful, but I've never listened to one of her albums. I was expecting something folkier, but this was raw as fuck. She lived hard and came back to tell the tale on this one. I had John Lennon's original version of "Working Class Hero" yesterday and it really set me up to enjoy her anguished cover. "Why'd Ya Do It" contains the immortal line: "Every time I see your dick, I see her cunt in my bed" - that and other gems had it banned from release in many countries on release.

Voilà une chronique que j'appréhendais et que j'attendais à la fois. Un peu comme on attend un orage, ce mélange de fascination et de légère frousse. Marianne Faithfull, rien que le nom, pour les gens de notre génération, ça évoque un fantôme. Le fantôme du Swinging London, la petite fiancée éthérée des Rolling Stones, la voix d'ange murmurant "As Tears Go By". Une image sépia, une madeleine de Proust pour une époque que nous n'avons connue qu'à travers les magazines et les récits de nos aînés. On nous a vendu cette image d'icône fragile, de muse blonde et diaphane. Et puis, plus rien, le silence, la grande chute. Car entre cette jeune fille et la femme qui nous fusille du regard sur la pochette de "Broken English", il y a eu un gouffre. Un putain de gouffre de dix ans rempli d'héroïne, de clochardisation, de tentatives de suicide, d'oubli. La princesse pop est morte, et c'est une survivante qui a rampé hors de sa propre tombe pour enregistrer ce disque. Et ça, mon pote, ça s'entend dès la première seconde. Quand j'ai posé ce vinyle sur la platine pour la première fois, bien des années après sa sortie, j'ai cru à une erreur, cette voix... cette voix n'était pas humaine. C'était le son du papier de verre sur une plaque de métal rouillée, une voix fracassée, ravagée par les clopes, le whisky et la vie. Une voix qui avait tout vu, tout vécu, et qui n'avait plus rien à foutre de plaire. Une voix qui ne chantait plus, mais qui témoignait, qui crachait, qui accusait. La rupture n'est pas seulement stylistique, elle est physique car c'est l'un des rares albums où l'on entend, littéralement, la biographie de l'artiste dans ses cordes vocales. On est en 1979, le punk a déjà tout cramé, et sur ses cendres fume encore le post-punk. L'heure est à la froideur, aux synthétiseurs lugubres, à la fin des illusions. Et au milieu de ce paysage crépusculaire, débarque ce disque, il s'inscrit parfaitement dans cette mouvance new wave, mais avec une charge émotionnelle que peu de jeunots de l'époque pouvaient revendiquer. La production est glaciale, clinique, les nappes de synthétiseur de Steve Winwood sont inquiétantes, la batterie sonne comme une mécanique implacable, la guitare de Barry Reynolds est un rasoir. Il n'y a aucune chaleur, aucune tentative de séduction, c'est un écrin sonore parfait pour cette voix d'outre-tombe. Et les textes... mon Dieu, les textes. Marianne ne chuchote plus des bluettes, elle parle de terrorisme ("Broken English", inspiré par la bande à Baader), de désir sexuel frustré et de mort sociale ("The Ballad of Lucy Jordan"), de jalousie pathologique et de trahison. Et puis, il y a le brûlot. Le morceau qui, à lui seul, justifie la place de cet album au panthéon. "Why D'Ya Do It?". Je ne peux même pas citer les paroles ici sans faire sauter les filtres de la bienséance. C'est une diatribe d'une violence inouïe, d'une crudité sexuelle jamais entendue de la part d'une femme à cette époque. Sur un rythme reggae-dub lancinant et vicieux, elle déverse un torrent de haine et de rancoeur à l'encontre d'un amant infidèle. C'est cru, c'est vulgaire, c'est presque insoutenable et c'est absolument génial. C'est le son d'une femme qui reprend le pouvoir, qui refuse d'être une victime, et qui transforme sa douleur en une arme de destruction massive. On est à des années-lumière de la pop, c'est une catharsis, une séance d'exorcisme en direct. Écouter "Broken English", ce n'est pas une expérience confortable. C'est un disque qui met mal à l'aise, qui bouscule, qui agresse. Il n'y a pas de refrain facile auquel se raccrocher, pas de mélodie sucrée pour faire passer la pilule. C'est de l'art brut, à vif, c'est la bande-son d'une gueule de bois existentielle. Mais c'est aussi un disque d'une honnêteté désarmante, d'une force incroyable. C'est l'histoire d'une renaissance, pas une de ces renaissances hollywoodiennes où tout redevient rose. Non, c'est une renaissance dans la douleur et la lucidité. Marianne Faithfull ne redevient pas la princesse qu'elle était. Elle devient une reine, une reine en exil, certes, mais une reine quand même, avec une couronne d'épines et un sceptre en verre brisé. Pour moi, qui ai grandi avec le post-punk et l'indie rock, cet album est une pierre angulaire. Il a prouvé qu'on pouvait être une femme dans le rock sans être ni une groupie, ni une poupée fragile, mais une artiste à part entière, avec ses propres démons et sa propre voix pour les chanter. Ce n'est pas un album qu'on met en fond sonore pour une soirée entre amis car c'est un disque qui exige une écoute totale, qui vous prend à la gorge et ne vous lâche plus. Une oeuvre d'art brute, viscérale, et absolument essentielle. Un 4 sur 5 ? C'est presque trop peu car c'est un album hors catégorie. Un de ceux qui vous marquent au fer rouge.

This was a pleasant surprise. I really liked Working Class Hero.

Das ist jetzt ganz was neues für mich und genau der Grund warum ich diese Website nutze. Das Album hätte ich selber nie gefunden und es war ein Erlebnis! Von Gesellschaftlichen Missständen bis hin zum wütenden Song über den untreuen Partner. Das Album ist voll mit Kraft und Wut. Es ist kein melancholisches Album für graue Tage. Mehr eines, das dich aus diesen grauen Tagen versucht rauszuholen. Es packt dich an der Schulter und sagt: „Es ist nicht deine Schuld, dass die Welt ist, wie sie ist - aber jetzt steh auf und tu was dagegen!“. 4/5 Lieblingssong: „Why‘d Ya Do It“ - vor allem weil ich noch nie was in der Art gehört hab! Groovy und wütend zugleich - Coole Frau!

I honestly never thought too deep about Mick Jagger's love life before. This was....surprinsgly cool. Some really early 80's feel to it(makes sense). But for something I didn't know existed - that was pretty cool. I had to do a double take on the last track when she started getting a little...err..vulgar Broken Englis and Guilt are friggin awesome. Sick cover of working class hero.

This is a fine album of tough minded rock and roll. The lyrics are angry, sometimes uncomfortably so. The raw, language used in Why'd Ya Do It still makes me wince. This song makes Alannis Morissette's You Oughta Know sound like a nursery rhyme. The title track is another high point, as is the slow burning Brain Drain. But the highlight for me is her cover of Working Class Hero which captures all the anger that John Lennon intended. 4.5 stars

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?".

Now I’m not usually one for vulgar songs but Why’d Ya Do It was great and earned the right. The rest of the album was pretty great, liked the title track and last two songs the most

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.

++: Broken English, Brain Drain, Guilt, The Balance of Lucy Jordan, Working Class Hero +: What's the Hurry?, Why'd Ya Do It +-: Witches' Song 8,5/10

Oh goddammit. I have not heard the title track in 35 years and it is crashing back from the start. Still rad as fuck. Ok I was not prepared for how rad the rest of this is. So glad to find it in this project. Really enjoyed this.

This album could have been made a decade later--it feels ahead of its time. Personal enjoyment: 4/5 Relevance to this list: 3/5

I wasn't really enjoying the first half of the album. I'm unsure about whether I prefer the last half, or maybe her voice grew on me as I listened... Either way, I'm satisfied. 3.5/5

A lot more than I expected. Underrated.

God I love Faithfull's voice on this album, what a surprise to listen to the silky contrast of her earlier 'As Tears Go By' after, but it works perfectly to show the move from the poppy 60s to grungy, drugged up fucked up 70s.

Marianne Faithfull was a big deal back in the day, but since I'd never listened to, I never knew why. Now I know and I can see why.

A name I recognise although o don't think I have previously listened to her. This will be changing and I'll be checking out more. Sian : I really like this album - lyrics and words are amazing and it sounds much more fresh and new than it is!

great record, excellent version of Working Class Hero

Nice

This sounds light years ahead of its time for 1979 An utterly fantastic and atmospheric new wave record A very pleasant surprise

Okay, then. I had heard later Marianne Faithfull works, where her voice had gone downhill pretty badly. I didn't realize it all started pretty much here. That last song "Why'd You Do It?"... there are a number of rap songs that I have listened to for this experiment that I was like "it's good, but I feel uncomfortable listening to it." This is probably the first non-rap song I had that feeling about. The music itself had a very angular feel to it, almost Frippian at times. The "Working Class Hero" cover was really good, her voice really gave it more gravitas than Lennon's at times. The title track was good too, a good opener for the album. The more I think about the album the more I enjoyed it, even the last track. (To be fair, it's not bad, I liked the groove, and you DEFINITELY remember it.) I'd probably give it a 3.5, which rounds up to 4. Top tracks: "Broken English," "Working Class Hero," "The Ballad of Lucy Jordan"

very weird and cool actually. bluesy with new wave elements? hell yeah

surprisingly good

This was a grower for me - it definitely didn't hit me for the first 3/4 listens, but then it did. Great stuff. Favourite tracks: Broken English, Guilt, The Ballad Of Lucy Jordan, Working Class Hero, Why'd Ya Do It

Marianne Faithful has many admirers and imitators, but she's as OG as Patti Smith. This album, which she herself calls her masterpiece, howls with the same passion as Smith's "Horses" or--to avoid limiting this to women in rock--any other great album of loss and redemption.

This is damn cool. Full of piss and vinegar. I like the dated instrumentation and he scratchy voice. Seems like a record that needed to happen for lots of things that came after.

This is a great, hidden gem IMHO. I bought this vinyl when it came out, and did not really know her work - although she did sing on some Stones classics like \"Gimme Shelter\" - [that's her singing Rape! Murder!]. Glad to give it another listen. Get past the raspy voice - it's character!

This version of Working Class Hero is outstanding. Why d'Ya Do It is an A+ jam, and the lyrics are uhh, eye opening when you're sitting at your desk in an office building at 7:30am.

"The ballad If luzy Jordan" ist eines meiner Top 10 Songs, die mein Leben beeinflusst haben. Davon gibt es 100 Songs. Ihr wisst, was ich meine. Und diese Lieder erzeugen heute noch Gänsehaut. Das Album insgesamt hat mir sehr gut gefallen, besonders "Broken English". Sehr düstere Lieder mit gebrochener Stimme vorgetragen. Sehr beeindruckend 👍

I had never heard Marianne Faithfull before, but I really dig her vibe. Her voice is so unique and her songwriting's very good too.

the lyrics were the most interesting aspect, i think this was well writetn. the music was not hugely speaking to me, though i could see myself really loving this in a different mood. a bit too repetitive and low energy for the me of right now; i was living for the bright instrumental moments that popped through. final track brought this from a 3 to a 4.

This album is fantastic.

This album surprised me. It started out almost tentative and scared, but by the end, it was full on riot grrrrl.

<3 women who cannot sing

I wasn't even aware of Marianne Faithfull's album. I heard some of it from friends back then, but never felt the need to own the album myself. I think the voice is great, but it can also get on my nerves in the long run. Alongside Broken English and Workingclass Hero, I particularly liked the track Why'd Ya Do It. 4/5

Little drama

Mick Jagger never made a solo record this good... or really, a good solo record, period. Team Marianne all day every day

Great album. Had a hard life, our Marianne. My favourite thing about this album is that the NZ release is missing the best song 'Why'd ya do it' due to that pesky C-word. Still very prudish over here right through the 70's.

Probably won't listen again but that was quite enjoyable. Plenty of post-punk goodness in there.

Very cool, I enjoyed this a lot.

I never listened to much of Marianne's work. This album was pretty good

Such a touching album. Great songs, the production blends well rock and early Electronica and Marianne's voice is super special and exposed yet strong. The song broken English itself was a favorite of mine for a long time, but hearing the entire album now just makes me appreciate it more.

This is pretty good. I can hear a lot of the sounds I really enjoy in 80s pop starting to form here.

4/5