Reviews (page 3 of 8)
This is a very interesting album. The riffs are strong, the mood is dark, and there’s a real edge to the whole album that gives it weight. Overall a decent record.
I’ll give it another listen because there is something there. Put on my first go around. I didn’t think the songs were that strong and I definitely input off by the period production. Why’d ya do it is easily the standout for me. Marianne is a treasure but this isn’t the one for me.
Fine. I like the cover of working class hero.
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+
I’ve like Ballad of Lucy Jordan for years, but not too familiar with MF. Unique voice for certain. I can imagine her having done something like Appalachian folk songs.
Terrible songwriting.
It's definitely an interesting one. I don't even know how I would classify it other than not my cup of tea. It's not as bad as I expected it to be but the everything about is kinda forgettable outside of the lyrics. She's got a very unique style that I can appreciate Highlights: Guilt, Working Class Hero
What a great album discovery!
Just bad, not redeemable really. How is her 7th album a must hear, when her entire catalog is filled with mediocre soft/pop rock? She can't sing, like i never criticize vocalist because at least they're out there doing it, and have style. But shes just nails on a chalkboard, no real talent to see.
Marianne Fartfull. Yea, not my best work but I didn’t care for this at all. 2 stars
The groove in Brain Drain is enough to save this album.
This was fine and didn't really grab my interest
I went into this not really knowing what to expect. My only knowledge of Marianne is from the Metallica track The Memory Remains. And you know what, I quite enjoyed it. The cover of Working Class Hero is good, the rest is not bad at all really. Discovered something new which is the point right.
3/4
I would have some Guilt if I called this a Brain Drain because it’s not.
I think it is a little gem
Influencial. But I'm not listening to it regularly
Pop, Rock, 1979 -> 4
Liked a few songs, mixed bag
grating vocals and instrumentation
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.
This dropped in 1979, but if you had told me it was a mid 80s release, I totally would have believed you. Most of this feels like a precursor to the sonic pallet that would dominate the 80s in the best of ways. And the way Faithfull takes advantage of her new vocal range following the severe laryngitis and drug abuse she suffered from is so impressive. Hit the hardest for me on “Why’d Ya Do It.”
theres flashes of greatness. the production is very interesting. i do not like her vocals, too raspy and pitchy for my taste. some songs were reminiscent of the abba sound. this was interesting but i dont think id listen again. 5/10
Marianne's voice sounds really amazing. The album starts really strong and there are couple of good moments after that, but as a whole this album don't quite reach the same heights as the title track.
First thought was "how old was this", because it doesn't give out late 70's vibes, at least not in the first few moments of the album. The music is not really that much to my liking, but her musky voice adds one more star to my review 3/5
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
Might be the best album cover so far. And the music itself isn't bad either. Nothing special, but very decent new wave or whatever yee call it.
best English blues album I've heard. no joke, the keyboards save this album.
I didn't particularly love Faithfull's voice in the 60s, but this is just a struggle.
Ehhh man skulle nok have været der
Ret fed energi for en synthpop plade
Pretty basic, everything that one hit wonder
Sarebbero potenzialmente 4 ma non ho voglia di riascoltare
Pure torture.
The first song and the last song are the best ones, to me. My mom loves this album.
This is a lot of fun. The back story is maybe more interesting than the record, but I still enjoyed it. The last song has a Patti Smith vibe, which I really enjoyed.
“At the age of 37 she realized she’d never ride through Paris in a sports car with the warm wind in her hair.” The Ballad of Lucy Jordan sure made up for a lot of the rest of the album but ultimately could only do so much.
I didn’t know who Marianne Faithfull was until this listen and am glad I do now.
I was kind of put off by Marianne's voice at first. Ik sounded a lot rougher than her famous earlier hit. Reading the backstory explains it however. This has some great songs though, Working Class Hero was one of my favorite John Lennon songs and this cover does it justice. New wave production here is great, the slow pounding drums really bring forth the intensity on some tracks here. Still don't really know whether I like it or am medium on it.
# 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.
Kinda boring honestly
Synes det var nice, et af de få albums jeg har gemt. Ville give 3.5
Not my cup of tea. The individual pieces were great, but the execution of it all together was unappealing. Even the cover art is beautiful.
Ok aber für mich kein Highlight 2/5
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".
Unequivocally one of the albums of all time.
(69/100)
While I wasn't really fond of this as a whole, a couple of tracks are definitely worthy of saving for the future. Favourite track: Why'd Ya Do It
Hey that's the woman that sings in Metallica: The Memory Remains. Was quite good
Some bangers on here, some dull songs too. 3 seems fair
Not bad, saved a few songs for my long-term library, but wouldn't go back and listen to the whole thing. Why'd Ya Do It caught my attention a few times.
I liked it more than I thought I would. 70s and 60s rock merging into 80s synth. 3.5
This was a wild ride. First track had some disco vibes, last track had a killer guitar solo and everything in between. I thought it dipped a bit in the middle despite the strong finish. Reading about it afterward - what an impressive achievement for someone formerly homeless and addicted to heroin.
I loved the first song but then it fell off a bit
Wasn't really sure what to expect with this one. I didn't come out with any great new love of her music or anything like that -- it's serviceable enough. The cover of Working Class Hero is a bit on the weirdass side. It's fine. I guess she walked so Lucinda Williams could run.
I actually think the world has enough of english already
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.
Some of the most pedestrian pop I’ve ever heard. Boring, uninventive, and the lyrics seem wildly uninspired.
Well that was something. I liked the synths.
A lot of it sounded repetitive and was difficult to get through
Her life is way more interesting than this album.
Her vocals just irritated me, the lyrics were generally repetitive and the music just a bit safe to lift this from the doldrums. The Ballad of Lucy Jordan at least adds some interest and storytelling, but the music doesn’t match this, so still falls flat for me. The least said of the cover of working class hero the better.
I didn’t hate this as much as I thought I would. I don’t mind her voice. Some of the lyrics are witty and clever, some are just angry. It didn’t drag on too long either.
Hmmmm... I'm not sure you really should take against a whole album based on the opening note, but I fear I did. However, as first instincts go, it seemed to be pretty dead on for my opinion on the full album. I hated the vocals. Absolutely despised them. I realised there's a good reason she sounds that way on this record but that doesn't mean I am going to enjoy it... It was genuinely difficult to say motivated to listen right to the end. And the last track? WTF!? Longest 37 minutes of my life. 1/5
Her voice is like listening to nails on a chalkboard. The music is ok. Nothing remarkable. Overall this album is a drag to listen to.
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
Almost went 1/5. Didn’t enjoy this.
I really liked this. Her voice is raw and angry. I appreciate complicated women who don't easily fit in a box and am always grateful when we come across their albums. We need more representation, damnit!
Her English isn't the problem.
Well, first of all, that's a great album cover. I love it. The music, though; it's not bad, but it's not amazing either. It's fine; it's not like I discovered something out of the ordinary today. Sometimes I have an issue with her voice, sometimes the instrumental gets too bland; there's always something. Not once is a song fully good throughout, so I'd say this is a lower 3, more like a 2.5. I didn't pay attention to the lyrics 'til the very end. What do you mean, 'Every time I see your dick, I see her cunt in my bed,' Ma'am? Interesting lyrics for the time period. If people lost their heads when 'WAP' came out, I'm curious what the reaction was to hearing 'barbed wire pussy' on the radio. I'm actually trying so hard to understand the deep lyricism in this song. Like, did the girl he cheated on her with have a 'barbed wire pussy'? Because this didn't make much sense to me. It doesn't make it sound like he was attracted to cheating, so to speak. A 'bear trap pussy' would have been a way better choice of words. He got caught in it and couldn't get out no matter how much he tried. No matter how much the OG girlfriend loved him, what they had, everything is out the window because he cannot escape anymore, like actual hunters. Fucking around and finding out. Or is it her pussy that is, in fact, barbed wire as a punishment for his cheating? She knows that he cheated, but he doesn't know he's been found out yet. So, in a way, this is similar to the bear trap. In that scenario, he got trapped without knowing; the moment he realized it, he couldn't escape anymore. In the second scenario, though, he just realized he's been found out, so he tries to escape but he gets caught in the barbed wire. Again, he cannot escape, for his actions cannot be forgiven, so in the end, he must suffer regardless of which scenario was meant to be the true one. I actually can't tell what she meant. Anyway, thank you for coming to my TED talk; see you on another review.
Meh.
Love the instrumentals and the album cover but her voice pissed me off
I didn't like this album that much. It's such a shame after I had 2 great albums this week. "Why'd Ya Do It" is surprisingly good, and the rest of "Broken English" should've been like it. The synths ruin the album as they don't fit Faithfull's vocals. That sucks, as I'm usually the guy who likes electronic music. 2 stars for "Broken English".
I vaguely knew this one, mostly because of the title track, which is great. The rest is good in places.
#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?
Such a strange album, not at all what I expected or liked!
21/02/2026 I actually enjoyed this. I've heard of her, but never listened to her. It was different. Spotify listeners: 485k
Less than 24 hours after listening, I can't really remember any of it besides a general ethereal vibe. Would never relisten, so...
Some of the backing music is a bit lame. I guess there wasn't a global decision on 1st Jan 1980 to start using Casio keyboards and drum machines for every form of music, so even though this is from the 70s, this sounds very 80s to me. Marianne's voice is certainly cracked, almost to the point of being distracting, but it just about holds up I suppose. The lyrics are a mixed bag, some banal, some interesting. The first and last track lift this from two stars to three.
I was not a fan of this album. It seemed as if they were trying too hard to be edgy. I’m not sure what she was like before this album but the last song was fine but I didn’t need to hear it. It was fun and I’m sure at the time was a bit shocking. But it had been done better by other artists in the early 70s like Betty Davis. The rest was just bland new wave.
I came into this not knowing anything about the artist or what to expect. Her voice is so full of pain and emotion and after reading the wiki article I understand why. Marianne lived such a hard life before creating this album. This album must have felt like the sun coming up after a long cold moonless night for her. Unfortunately, it's not something I enjoyed listening to. Despite her courageous battle with drugs, heartbreak, and sickness, this album is average at best. This is pre 80's pop and you can hear the sounds and synths that led into prime "80s Pop Sound". 5/10
Seems to gain a lot of traction due to the singers perona and legacy - raspy, edgy, arty vocals and simple cold synth lines - hell, on paper this is my sort of record - but on this occasion it did nothing for me. Almost nothing. As cool as the voice may be, it delivers nothing lyrically. Musically basic and uninteresting. And that Working Class Hero cover was completely vapid. 2
ohhh she's feeling it
Enjoyable
390/1089 - Instrumentation is cool. Songs are on the repetitive side. Weird voice.
BEST SONGS: - Broken English - Brain Drain
⭐️
2.5 (36:25, 8 tracks, 7th album, 1979), New Wave (British) Overall I think she benefited from her dark past, guess she was a major recording artist/actress in the 60s. "As Tears Go By" (1965 - British Invasion) broke her - it's an OK 60s bubblegum song, melodic with high vocals (definitely not this album - she roached her voice) - video is a black and white young blonde (in the style of the times) with breasts very pointed and pushed very high. Sex appeal no doubt helped. British of course. Dated Mick Jagger, broke up (1970), fell apart ended up homeless and addicted to heroin but somehow made a comeback. Had moderate success in 80s and 90s kept recording into the 2000s. Died Jan 2025 (78) Glad I listened - however I don't see any major genre defining or other reason it should be on this list. Wavering 2 or 3, not the worst 2 but . . .I liked some of her earlier work better (checking out Marianne a bit). She was rated the 25th Greatest Woman of Rock and Roll (VH1 1999) so maybe I'm missing something? Rolling Stone ranked her 173 Greatest Singer of All Time. Ended 2, downgrading because context is greater than content on this album. If was going to give Dylan's Blonde on Blonde a 2, I can't fathom giving this a three. I just hate Blonde on Blonde and I know I'm supposed to love it. . . (by the way upgraded to 3, but barely, that was yesterdays album.) Album cover I believe is her, dark blue with a hot red ash cigarette - it's not a bad cover. Marianne Faithfull’s major comeback after years of drug abuse, homelessness and anorexia, first release since Love in a Mist (1967). After ending her relationship with Mick Jagger in 1970 and losing custody of her son, Faithfull suffered from heroin addiction and lived on the streets of London. Her voice was lowered and cracked from years of smoking and drug use. Musically, Broken English is a new wave album with elements of other genres such as punk, blues and reggae. The backing band of Barry Reynolds and Joe Mavety (guitars), Steve York (bass) and Terry Stannard (drums) had been formed in 1977. The album's title track took inspiration from terrorist figures of the time. "Guilt" was informed by the Catholic upbringing. "The Ballad of Lucy Jordan", originally performed by Dr. Hook & the Medicine Show, is a melancholy tale of a middle-class housewife's disillusionment; Faithfull's version became something of an anthem and was used on the soundtracks of the films Montenegro (1981) and Thelma & Louise (1991). "What's the Hurry?" was described by Faithfull as reflecting the everyday desperation of the habitual drug user. The last track "Why'd Ya Do It?", is a caustic, graphic rant of a woman originally conceived as a piece for Tina Turner. Faithfull convincing him that Turner would never record such a number. The song's profanity and explicit reference to oral sex (which earned the album a “Parental Advisory” label on some versions) caused controversy. Faithfull notoriously performed the title track and "Guilt" on Saturday Night Live in February 1980 where her voice cracked and she seemingly strained to even vocalize at times. Track list - ** singles 1. **"Broken English" 4:35 2. "Witches' Song" 4:43 3. "Brain Drain" 4:13 4. "Guilt" 5:05 5. **"The Ballad of Lucy Jordan" Shel Silverstein 4:09 6. "What's the Hurry" 3:05 7. "Working Class Hero" John Lennon 4:40 8. "Why D'Ya Do It" 6:45
It's your typical new wave fare, but that ain't a bad thing. 3.5 bumped up to 4.
I’m at a 4. It did take me a little bit to really get into the album; I thought “Broken English” was sort of a catchy, if one-note ‘first minute is the whole song’ type of opener, even despite the pretty killer bassline. “Witches Song” felt a little better, but the lyrics felt strange & the instrumental progression didn’t really hit like that. With an unremarkably fine start through the first two tracks, I had a real fear it would stay at that pace for the rest of the album. Thankfully, I think this album finds a bit more focus by “Brain Drain”, just because it’s such a straightforward track about what drugs can do to a person, & with the worn tone in her vocals reflecting that exact struggle she went through, it just clicked really nicely. I’m surprised it has the second least plays of any track on the album on Spotify. “Guilt” got really funky by the end of it, and while it does feel like a track centered more around greed & desire than guilt, I think the track just really clicked for me, with Steve Winwood’s keyboard work giving the track some bite that Marianne’s vocals matched. “The Ballad of Lucy Jordan” is a pretty damn good cover, and one that probably relates to her struggles well, though I can’t help but think it needed a solo or something to shake the instrumental up just a little bit. There’s a small misstep to my ears with “What’s the Hurry”, though it’s not because it’s a bad track; it just doesn’t really do enough to stick out more memorably. The instrumental has a good tempo, the lyrics are fine, but there’s just something missing. I dunno what though. The final two tracks recover quickly: “Working Class Hero” is a fantastic cover, and the slow anger that builds up in Marianne’s voice over the course of the track really sells the lyrics. I’ve never heard John Lennon’s original version, but we’ll get to it whenever we get “John Lennon/Plastic Ono Band” down the line. I’m going to make the bold claim that “Why D’Ya Do It” is a great closing track – not because it’s the most fitting track to end on, but because it’s so funny in its subject matter (a valid crashout over a cheating husband, yet done in such a Karen-y obnoxious way you can’t really blame the guy for cheating to begin with) & so fucking funny in the lyricism ("Every time I see your dick, I see her cunt in my bed" feels Shakespearean), that I just think any track that could’ve followed it would’ve been overshadowed. You just kinda have to end on that, really. With just 5 of the 8 tracks really clicking at a deeper level for me, yet with no bad tracks overall, I’m pretty safe with a 4 here. I think the floor is a competent 3, so I sort of understand the 2.89 on the site, but at the same time, when you have the second highest review here saying that it “sucks on a visceral level” & calling it an “awful, godforsaken wreck”, I just can’t help but see the average score as a result of hyperbolic underrating. It’s not THAT fucking bad, people. While I can’t say with my whole chest that it NEEDS to be on the list, I’m not gonna call for its removal anytime soon. I enjoyed it, and I think it’s a pretty solid 4.
Jokes I like this
Good musicians and good music but The voice are broken
I like the vibe and the voice of the main singer 3/5
Cool
Meh ?
Good lyrics. Just didn't think the music and beats matched it.
I think a key word for this album is intriguing. The cover art, the lyrics, the sound; All of it is very intriguing but falls just short of enticing
Great voice, interesting album. I’m glad I heard it, but 2 stars feels right for this list
Lemppari: Witches’ Song Vähiten lemppari: Why’d Ya Do It
Yea not bad. I didnt hate it. Music is a bit ahead of its time for 79. Sounds a but like Tina Turner would years later. Not sure if needed to hear it before I die. Definitely on here because its british
2/5/26. Busy day so didn’t give this the full attention it deserved, but was decent. Ballad of Lucy Jordan was the standout track for me.
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.
Queen of the British invasion
Not my type.
This was a cracking album. Short but very sweet. I was amazed it was nearly 50 years old, it sounded very contemporary to me. To be fair it had Steve Winwood doing a lot of work, and he is one of the best in my book. I kept thinking it sounded like a lot of the later work by Blondie.
Absolutely Brilliant, Marianne at her best.
This album is a hard one to rate. On its face, to me it's one of those albums where the obvious historical weight is more powerful than the album itself. The album itself is a mixed bag to me, insofar as my listening styles. the late 70s/early 80s electronic stuff is a detraction for me, but there's more to the album that *isn't* that. There are some tracks which I can kind of appreciate and others which really do nothing for me. The album, in my opinion suffers most simply from a lack of cohesiveness. Is this album a victory in the sense that it brought a transformed Faithfull back to the world? For sure, and there are certainly merits to the album, but I'm not sure it'd be a regular or even occasional addition to my rotation. Maybe repeated plays would change that. But for now a solid 3.
I haven't really noticed, by some songs had strong lyrics, plus its unique and a vibe
Me gustó mucho pero la neta lo mejor son los sintes , no sentí tantísimo por la voz ni la composición
Rawboned and lyrical, Marianne showed us that rebuilding your life was always possible.
3.0 What a rockstar name. I should think about changing my name at some point for a bit more panache. Broken English was a pretty hip song, Working Class Hero (love that song) was a satisfactory cover. I could leave the rest of it
Decent listen, the title track and final track are the gems here. Although the final track is shockingly explicit for a song released in 79. Otherwise, chill background music.
Broken English sort of starts out like a darker Cyndi Lauper record and then goes in some weird directions that I didn’t really expect. I like that, at least in theory, but I guess my problem with this record is that it never feels like it gets out of second gear. I guess I’m saying that there are some interesting sonic directions here, and the songs aren’t bad, but they never really move into “great” either. 6.5/10
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.
Complete and utter mediocrity.
I like some of this stuff, and bump her up one rating for female artists on this list as there are so few.
I thought it wasn't very good and then realized that this was written in the 70's so maybe it's not that bad given the era. That got me thinking... Why is this on the list, but there are no albums by Heart?
I had been unaware of Marianne until this came up on the list. Pretty tragic life, but it's made her unafraid in her singing. She doesn't try to hide her voice, nor over-emphasize it, it is just hers, and this adds a bit of raw emotion to the singing.
Not a fan of her voice, but otherwise ok. Incredible timing for this to show up...just watched a documentary on her last Sunday at Sundance (good but not great), with Norah Jones and Rufus Wainwright each performing one of her songs after the movie.
A bitter album with a chilly, dark atmosphere. I don’t intend to revisit it, but very much worth hearing.
good, pas vraiment ma came, trop 80s mais j'ai aimé Guilt
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
Nice album but not better than 3
Love the instrumentation and production on this one. Unfortunately it doesn’t resonate in a way that particularly makes me want to revisit it. A very cold album you have to be in the mood for. Could potentially grow on me. For 1979, this is objectively quite a forward thinking record in terms of its aesthetic, definitely worth recognition in that regard.
I had heard of Marianne Faithful but I knew nothing about her nor knowingly heard of her songs. She definitely has a distinctive voice. Much different than her first couple of albums…….drug addiction will do that to a person. While this album does not stick out to me, it is hard to believe it was released in 1979. The music, especially the keyboards, make it sound almost contemporary. It’s an ok album. Her voice did bother me when it seemed to drop out - mostly at the end of a line. Found that annoying. Random observation…..The Ballad Of Lucy Jones reminded me of We Belong by Pat Benatar. It’s the keyboards.
Some of the production choices (bleeps and bloops) haven't aged well, but the songs and performances are top notch.
Ugly ass voice
Never listened. Expectations: None - Verdict: Very Good - The best discovery so far by miles! I could easily see this creeping up to a 4 over time. I only knew of Marianne as Mick Jagger's girlfriend so this was a brilliant surprise.
Beautiful and angsty comeback from the British singer. The vocals sound harrowing at times and the instrumentals sound lush and well-produced. 8/10 [KEEP]
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
I am glad Marianne Faithful got a shout out on the album generator. There is history and social stuff involved in her story that kind of matter and may be good to review and think about now and then. She is interesting musically speaking, a kind of cross between soft rock and post-punk, with some poignant lyrics thrown in for good measures. She is in a sense a success story, rags to riches to the gutter to something OK in the end. I wish in a sense her musicality was as interesting as her story, but we are in a kind of crossroad where she IS fine musically, but not THAT interesting. Yet I am glad for the nudge and reminder of those that came before in music history.
A solid listen
I just couldn’t get into the vocals or lyrics here, otherwise it would be a good album. The instrumentals were pretty good though, 2/5
Not really my thing. Like a bluesy, discount Joan Jett with a voice that grates on me a bit.
Really mid album. Nothing stood out, didn’t really hate anything. Just a slight ennui. 4/10
This album was interesting, but not something I think I'd come back to often. Faithfull's bio up to the release of this record is pretty intriguing though, and it's wild that Steve Winwood is on this album but only plays keys. 3/5
I was kinda stoked to listen to this based on the wikipedia info, but the reality is that this is a just-ok album. I'm sorry, Mrs. Faithfull, but I didn't find this to be a masterpiece... 2.75/5
Heavily disliked the voice, don't have much knowledge of the musical era though so my opinion might be heavily flawed in that sense. It should get better on the way with this musical journey I have just begun. All in all, not for me without the context.
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
Straight up five star album. I don't need to listen to this for the project but I sure as hell am. So badass.
Great voice. Mediocre material.
very soft and soothing
Didn't enjoy
What an amazing album. I knew Broken English and maybe a few other tracks less well. But the whole thing was just so raw, gripping. I usually don't like that late 70's/early 80's synth sound, but here it works well. As an album it's better than the individual tracks. It sets a tone and has a progression from start to finish.
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
Really cool album I'd never have heard about without this project
It has a unique quality.
I love the album cover. If anything, it built expectations for what the album would sound like, and those expectations weren't really met. But I did enjoy it overall. Was not expecting the final song to be so explicit.
Love
Really liked the energy
I wanted to like her but I don’t :// Also re the album cover don’t smoke friends, risk factor for like every single thing in medicine except ulcerative colitis #funfact
This is respectfully not my sound. Fun fact tho I was a waitress at a restaurant called Broken English in Chicago
Son meilleur album.
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!
Not my vibe
This is alright album, nothing too exciting, just a bit meh. The most popular song was alright as well, so the whole thing is just a bit alright, but nothing too great.
"Broken English" title track vocals reminiscent of an angry tipsy woman singing karaoke; very 80s sound for a late 70s release so I guess it's probably quite inventive. "Witches' Song" adds a second drunk karaoke woman but takes a step back in creativity. Karaoke definitely seems to be the overall vibe of the album - I just have a picture in my head of Marianne wandering around a bar invading people's personal space and "singing" aggressively at them. It's reasonably inoffensive in terms of the actual musicality - a couple of decent guitar hooks and bass lines, I just feel like I'd enjoy all of the songs more if they were sung by someone with a better voice. Favourite track probably "What's The Hurry?" even though I still think the singing is the worst aspect. "Why'd Ya Do It" close second, it's a bit too repetitive musically (breakdown is OK) but the lyrics are amusing.
Jagged, late-night grooves built from wiry guitars, cold synthesizer pulses, skeletal rhythms, and frail, nicotine-scarred vocals pushed starkly to the front shape this new-wave album like listening to a confession recorded on a failing tape machine, with lyrics that lay bare addiction, erotic obsession, political fear, and emotional exhaustion without comfort or resolve.
honestly not half bad, definitely good that it was only half an hour long. Don't think I could've endured an hour of this.
some interesting stuff but not really working for me!
She has a really unique voice, but other than Lucy Jordan none of the songs were particularly notable.
Ei hassumpi! Hieno ääni! 3/5
Musiikillisesti mukiinmenevää ja lauluäänen takia kiinnostavaa, mutta taitaa olla listalla enemmän taustan kuin musiikillisen annin takia.
I don’t like her straining voice. First 3 songs all sound the same. Too bad because the bass is cool in some of her songs but just not the vibe or relatable.
Honestly? Kind of boring. Working Class Hero was probably my favourite track. Sister Morphine which is on the deluxe album is definitely a great track as well.
Why’d Ya Do It actually made me laugh. Felt like a ridiculous, very old fashioned diss track. There’s album deserves to be on the list, I just didn’t like it all that much. But there are times and moments that I did enjoy the music, I just feel like some of the songs dragged on a bit.
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.
Liked. Wouldn’t listen again.
It’s a bit out there but it grew on me. And it sounds downright revolutionary compared to Taylor Swift. Wouldn’t be surprised if it got to 4 after further listens. Wouldn’t be surprised if it didn’t. And who has the time to find out?! A solid/high 3.
The album grew on me.
Scabrous
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.
had a good start to the album but i feel like it fell off as it went on
Goes nowhere interesting and is very repetitive. Came out a decade before Cohen's I'm Your Man (which it reminded me of) but nowhere near as good.
Meh. It's fine.
This is a great story and a decent album. It's interesting to me that of the two top reviews here, one is entirely bought in, and the other is completely cynical. Although, honestly I think the answer is somewhere in between. It can be true that Marianne Faithful was both born into aristocracy *and* cruelly cast aside by rock culture. And this is her highly regarded comeback where she embraced new wave and leaned into her time and substance damaged voice. I would say the results are broadly successful: she sounds earnest and angry and she wears new wave well. Some of my favorites here are the title track, Brain Drain, Guilt, and Why D'Ya Do It. Although, I'd also like to shout out her Working Class Hero cover, which I'm not sure I *fully* buy, but she performs it very well (admittedly I'm not fully sure I buy the original either). Like I said, this works, and it is a cool comeback from a *very* wronged artist, and I am glad she got her flowers in the end.
Quite short, didn’t realise it ended and started playing other artists. Pretty good though
Meh
I understand that the lyrics hold a lot of weight, and Faithfull is almost preaching like a 1966 Dylan, but her voice takes some getting used to. Love the songs on here though.
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
Det ödsliga lätt elektroniska ljudlanskaper passar fint med Mariannes lite spruckna pratiga sång. Som i titelspåret, Guilt och versionen av Working class hero. Jag önskar mer var så.
Album med artister som varit nere på botten och rest sig genererar per automatik gott renommé. Förtjänar de nödvändigtvis goda omdömen? Nja, det tål att diskuteras. Här finns absolut en del bra låtar. Bra framföranden är det dock ont om. Ett grundläggande problem är förstås att Faitfull har en dålig röst. Den må vara sprucken, sargad, men revanschlysten. Men det går inte att komma från att det låter som en gnällig kärring som kedjerökande på balkongen gapar åt kvarterets ungar som lite för högljutt leker dunkgömma. Skivan finns förstås i hyllan. Inköpt för en billig peng på nån mässa. Brukar vara lätthittad i reabackarna. Inte så konstigt varför.
Den här skivan har aldrig fastnat hos mig. Jag köpte den i en reaback på rekomendation av Lars B Persson för säkert 15 år sedan. Hennes röst är väl tillräckligt egen, men det saknas låtar som verkligen tar tag i mig. Bäst är nog avslutande Why'd ya do it.
It's OK, but it's definitely one of those albums that is on the list because of historical context. I enjoyed reading about it more than listening to it. 2⭐️
It is a truth universally acknowledged that if a man enjoys the fruits of a rock lifestyle then good for him, and if he dies at the age of 28 then that’s only to be expected. However, if a woman dares to enjoy sex and drugs and rock ’n’ roll then she must be a slut, a whore or most shameful of all, an unfit mother. Marianna Faithfull was one of the best known faces of the swinging London scene of the sixties. She enjoyed notable success with her first album, as well as an acclaimed movie career, but that all seemed to be forgotten when she was labelled as just being Mick Jagger’s girlfriend. Her reputation was permanently tarnished when she was arrested during a drugs raid at Keith Richards house wearing only a fur rug. Nobody seems to have worried about what any of the men involved were (or were not) wearing at the time. Faithfull’s life spiralled out of control not long after that incident. She split from Jagger, there were prurient rumours about her sex life, she lost custody of her son and ended up as a homeless heroin addict for much of the 70s. Nobody expected to hear from her again, until this remarkable album was released in 1979. The vocals are not surprisingly considerably rougher after a decade on the streets, but they are perfectly suited to this angry and powerful album. Musically, it’s a world away from her previously folk tinged pop, being a mix of post punk and new wave synth sounds. The songs deal with terrorism, mental breakdowns, guilt and an icy cover of John Lennon’s Working Class Hero. The standout track is the closing Why’d Ya Do It about the bitter recriminations of the end of a relationship confronting a partner’s infidelity. Powerful stuff.
Kinda early disco/electronic music with some rock influence. The lead singer's voice is weird to me so I'm not much a fan.
- 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”.
Mid like fine but nothing WOW
Meh. Not my type of sound. Don’t love Marianne’s voice. 6/10
The Ballad of Lucy Jordan // What’s The Hurry // 2.5/5
i’ve listened to this before and not liked it but i enjoyed it this time around, i do like her raspy voice and why’d ya do it if a phenomenal song. i like this version of lucy jordan better than the original 3.5
Cool. Very cool. I need to explore Marianne Faithfull
If this album came out today, nobody would notice. Her background does a lot of the heavy lifting for why critics like it, and why it's on the list. The music is good, but fairly dated due to Steve Winwood on keyboards that give it that early 80's sound. The lyrics are edgy enough, giving her teeth. Even the notorious track, "Why'd You Do It?" isn't any more scandalous today than most rap hits. In 1979, this is shocking. Today? This is just another Thursday. My Rating: 3/5
This grew on me as the album progressed. Worth a revisit at some point. Favored a couple at the end.
This was really cool listen. I was more familiar with pre-drug pop gentle voiced Marianne, but after hearing this I’m a fan. There’s a punk rock edge to it while being run through a new wave blender with whiskey-soaked post-drug raspiness. A comeback album if there ever was one. Hard to imagine other female artists like Cyndi Lauper, Debbie Harry, Pat Benatar or even Annie Lennox sounding like they do without borrowing from this, knowingly or not. Good stuff.
I feel like I could see these songs being played at a farmers’ market. A tambourine and drum machine would probably be involved. These are not compliments. I really sorta hated all these songs. And don’t really have an constructive feedback, so…
Kind of a mix between Dolly Parton and Stevie Nicks. Her voice bothered me the more I listened but I did think the Ballad of Lucy Jordan was a cool song. 2.75
Thought this was pretty good. Love a good redemption story. Rounding up. 2.5/5
= the Beatles This is the very definition of middle of the road. Truly don't get people calling this edgy. It's anything but.
Appreciated this. Kind of proto-synth pop? But it had an eeriness to it that was interesting and the lyrics were raw. Light 4.
Really expected not to like this but was pleasantly surprised. Actually thought it was pretty good if not very original
Had no idea about the ups and down of her life before reading about this album. It was decent musically but you can really hear what she went through in her voice. Would do a 3.5 if possible.
Very little to sincerely dig your teeth into here. The lyrics fall flat, the vocals are aggressively middling, and there’s no catchy melody to be found in the new wave sound… Falls neatly in the “context over content” category in this list.
Weird one. Sounds like someone's angry grandma decided to release a really spiteful new wave album with a backing band that actually rocks. Final track is searing, "Guilt" sounds just like the Alan Parsons Project, and Stevie Winwood's synths sound great, but unsure if I'll ever return to this
Kind of liked the energy to this. It felt quite self assured and had some rawness to it. I find it difficult to believe I would seek it out for another listen but it definitely held its own.
It has a realness about it which I like. OK there is history here but it translates well to the music. It is not a soft folky fest as it has a really solid well recorded band to listen to with blended genres. I think the compliment of the genuine darkness, genre busting band and fatigued lyrics just work in harmony. Was a pleasant experiance as it grew on me and I found I related to this music in a unconventional way. I dont love it all and nore would i have ever chosen it but a great album based on its situation, style and harmony. Its why I enjoy music (albums) like this! Sometimes it just works. Really got into this in the end and it had me captivated. Very strong 3!
I have been on a bit of a journey with this one. I didn't immediately enjoy it, it sounded dated and I thought the tone of her voice was surprisingly poor. I thought the songs were well structured, though, and the production value and use of synths sound very prescient for 1979. Listening on, I was intrigued by the context and did some reading on the life of MF, someone I hadn't heard of previously. With her backstory in mind, and with a more careful appreciation of the lyrics, the album was transformed from a fairly mid, proto-eighties pop album into something a bit more interesting. A woman who has been chewed up and spat out by the toxicity of 1960's pop-culture and she's come back swinging. The album ends with the excellent 'Why'd Ya Do It', a slow, angry punk/ska track that was middle finger to her past experiences and much more my style. This isn't an album I can see myself returning to with any frequency, but it was a very interesting listen and another win for the project.
I wish I could give this 0.25 stars, or 0 stars
Not my thing
70s fem rock, it was ok
Funny
The last song is really cool and interesting.
this one is tricky to me. I think i want to like it more than I actually do. The vibe is cool, I love how the instruments sound, I like her voice, but overall the lyrics aren't my fave tbh. There's something that's just not clicking with me. I did look at Wikipedia and Genius Lyrics for more context, trying to fill in the gaps to maybe like it more, but still I can't find the puzzle piece that's missing for me. It honestly might be because I am a lyrics girlie for the most part. The ones on here just didn't really click with me sadly. They're fine, there's nothing really inherently wrong with them, they're just not really my vibe. I noticed she didn't have writing credits for at least half of the album, which honestly shocked me. Most of the artists I listen to daily are Singer/Songwriter types, like i grew up with that being so cool, so when someone doesn't actually have a hand in writing most of their music it surprises me a little. (I feel the need to say there's nothing wrong with singing songs you didn't write) My favorite is probably "The Ballad of Lucy Jordan", I will 100% come back to this one. "Guilt" was pretty cool too. I think I have to give this a 3/5. Maybe a 3.25/5 if you wanna be technical. there's nothing wrong with it, I like a few songs, but I don't see myself really going back to most of it, sadly. I really do wish I liked this more.
This was fine and sounded like something important for albums that came after, but in the end was rather forgettable for me. 2.75/5
Good album ig
Perfectly fine! Hasn't blown me away.
her voice is so grating to my ears, i’m sorry women
This one didn’t do it for me. Working Class Hero stood out, as well as the namesake headliner. I liked the instrumentals well enough but never loved the vocals or lyrics.
I do love her voice but the songs only occasionally speak to me. Not too bad but not writing home about it either.
From the first moments of this album where there are clanging keyboard sounds and abstract farting noises it does not improve from there. A despicable cover of working class hero as well. This is really quite unnecessary!
The Good: We won’t have to worry about getting cheated on… The Bad: Faithfull isn’t the same as faithful... The Ugly: Trying to put back together the English… I really tried to understand why I had to listen to this… I really did, and I still don’t understand it at all. Could it be that the list of 1001 is not really about good music, but could be about lyrics, which I am not paying attention to?.. I am glad for Marianne that she was able to put her life back together, I really am. However, this album was a bit tough to get through… Regretfully, I will have to rate this at 2* because I can’t honestly see any redeeming qualities to this except for a kudos for getting one’s life back on track!
3-3.5 Fine, but a bit slow and repetitive. Admittedly, didn’t closely listen to the lyrics
Another listenable one with nothing that I loved. Working Class Hero was nice, I’d be fine with the album as background music
heart wrenching and beautiful and just a pleasure to listen to, faithfull is so cool and, not to diminish or glorify her struggles, inspiring. hard to believe she ever even gave Mick Jagger the time of day
A surprise. Gritty. Sounds current. Enjoyed this.
Beautiful album
Soulful and interesting backtracking, probably not something I’d go back to again though.
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.
she's got a lot to say! heroin addict + homeless + mcjagger's ex is quite the background. Is it on here for context or becaue it's good? I found the ballad of lucy jordan to be quite good, and the rest was ok.
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.
I had never heard this before. It was pretty great. Really liked her cover of Working Class Hero.
That laryngitis voice was a nice listen. Tailed off towards the end
Fairly insufferable. Couldn't last past song 2.
Great
faves are title track, guilt, why'd ya do it
Enjoying the groovy instrumental Bluesy new wave Witches song I didn't like, but broken englisjsh and guilt are pretty cool This falls a bit short somehow, not that it isn't good, but you know, something is missing to make the good great! We're talking best of all time on this list! Like a really think the idea of John Lennon cover is awesome but it's missing just a little something. Yeah I totally love Why'd ya do it, it's quite vulgar but it's bitting, honest and it feels deserved. Like fuck yeah, I understand why this is here then, this is cool!
Marianne Faithfull is someone I hear about a lot in reference to other musician’s biographies, so I was excited to listen to some of her own material for the first time. Unfortunately, I don’t know that this was the best introduction. The first half of the album was a bit difficult, as something about the sparse and repetitive synthy production was not working for me (this era represents the rueful turn towards ultra-processed studio techniques that marred the 80s). But things became more interesting by the time I got to “The Ballad of Lucy Jordan,” where a little bit more tonality was a welcome relief. I also enjoyed the Ian Drury-like cheekiness of “Why d’Ya Do It?” It was nice listening to this back-to-back with 1979’s maximalist synth of Gary Numan, and prompted me to return to this album with a little more satisfaction, now that I better knew what to expect.
Quite the story behind the making of this one….but anyway. The album itself presents well musically but some of the songs felt repetitive, namely the title track. I enjoyed Brain Drain and Guilt. Others as well, but those two were the take home tracks for me. The Lennon cover was done well too. All in all, not everlasting but still an enjoyable listen.
It's alright? It kind of passed without me noticing it did.
Absolute madness, starts off a bit odd then careers off the rails into some top end profanity
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'.
Standouts: Guilt Working Class Hero Why'd ya do it 😵💫 Why is it so experimental 🥹 First half was kinda bland and repetitive I love the blend of harsh and soft guitar sounds on the later songs. Probably a 3 but the 3 standout songs are carrying hard
Pretty good, pretty 70's. Lyrics a bit dull at times imo but has its charm. Favourite song on was probs Why'd Ya Do It
Good tunes
Pretty good music, very good album cover. 7/10 Favourite track: Broken English
It’s fine, nothing offensive. Just not an album that needs to be listened to before you die.
A very middling album, generally ok, but mostly unmemorable. The cover of "Working Class Hero" was a choice though.
New wave comeback album raspy Broken english Guilt Why did you do what you did
Well produced and well written music, but I'm not really into it.
Nothing exciting about this one. 2 stars
I didn’t love this nor did I hate it. Working Class Hero is definitely the stand out but over all this album wasn’t for me and won’t be remembered.
Cowgirl in the Sand
Please can I have a good album at some point, this week has been MISS after MISS
You go girl! 3.9
Interesting
Good new wave album! Not the one I will listen again, but it was a good experience. Solid 3. Ma favourites are: Why'd ya do it, Working class hero
Pleasantly surprised. Really enjoyed the raspiness of her voice, felt the album got better with each track. Standout tracks Guilt, The Ballad of Lucy Jordan and Why'd Ya Do It. Solid 3.5/5
Not a fan of the voice and singing
not at all what i expected. kinda cool
Didn't really like it.
First time I've really listened to Marianne Faithful. I've always known of her, but never sought out her music. It's not bad. I also listened to one of her earlier albums which I actually like better than this one, but I'm not particularly interested in seeking out her music again. A case of the music is okay, but just doesn't connect with me.
The bass lines are great. The rest is unspectacular.
did not demand nor capture my attention
Some cool "QUIRKY" ideas but not too into her voice sorry Marianne, 2.75 for me so round up. Could see it growing on me Fav song: Witches Song
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.
Heard it before. Yesterday my album was Imagine and now I get an album with a cover of Working Class Hero? What a streak. Marianne's voice getting raspier made this album sound very powerful. But most importantly she is my birthday buddy 3/5
01) Broken English - 8,0 02) Witches' Song - 7,5 03) Brain Drain - 7,0 04) Guilt - 7,0 05) The Ballad of Lucy Jordan - 8,0 06) What's the Hurry - 6,5 07) Working Class Hero - 7,5 08) Why D'Ya Do It - 7,0 TOTAL: 7,31 (73/100)
The voice was hard for me to get past.
Boring 70’s a little whiny voice too
Synth pop with country twang and punk lyrics
8/10
3.5
The last song was quite odd. The rest was fairly normal. Weird but normal.
This a reason the wish for a quick death. With a quick death i would not have had to listen to more then one of these slow feel shitty songs
Не очень понял, надо слушать ещё. Но вроде мелодично, слушать можно. 6 из 10. С натяжкой 4 звезды.
Внатуре Брокен
She's cool and this is a raw album with some great pieces, but the title is apropos - just so anti-snooty that it's snooty.
Provocative lyrics and pummeling punk inspired grooves. Definitely different, more edgy, and more listenable than I expected.
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
Yet another of Mick’s castaways. Jeez, how many famous ladies did this boink? I don’t think there’s an uglier guy who’s bedded so many hot women without paying for it, unlike Trump. Anyway, she’s a weird chick, and it reflects in her music. If you’re into strange, then it’s not a bad listen. Knock yourself out.
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
Didn't pung my socks.
Some decent songs. Not really a lot to say about it. Good if you like a raspy voice, I guess.
I put it on and it quickly faded into the background- it never grabbed me with either joy or anger - until that last track which was just shock for shock’s sake without any art to it. Would have been a 3 before the last track.
mediocre album from a mediocre actress and singer. had it all at her feet but addiction took it away. sad
....
The first track had my interest until it just went on for far too long. From there it was all down hill...