Broken English

Interesting story, seems to be similar to one of the songs monty python uses (or takes the piss from)

New to me and I like it

God bless her but i’m so tired of the complaints of sad junkies who chose the left-hand path

Didnt listen

Ég hélt alltaf að þetta væri sú Marianne sem að Leonard Cohen væri með en neinei ekki hún hún var ekkert söngkona. En RIP ég held hún hafi verið að deyja. Tónlistin er ekki alveg my vibe

Meh

this one was not what I expected. Only thing I know of her is her vocals in “The Memory Remains”. And I hated it. This was so much better. It was like a new wave album. Like blondie before blondie. Way better than I thought.

Not a great suggestion.

This really wasn’t exactly my thing and I’m honestly not quite sure whose thing this is. But it still was not too bad. I think my biggest complaint is her voice, it didn’t do well with me, but there were some genuine moments on this album I really enjoyed such as Guilt which was a great song and also the Shel Silverstein track.

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

standard new wave album that’s rlly fun and has some kinda crazy lyrics for the late 70s lol

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.

This was a good listen. It’s not a personal favorite and I forgot most of the songs once they were done but she has a great voice and it’s clear she’s lived a lot of life.

Marianne Faithful has an interesting voice but the songs left me a bit cold.

Quite average to be honest, not off putting but not great either. The cover version of John Lennon’s ‘Working Class Hero’ fits nicely as it doesn’t really know what it’s about and neither does this album.

This was a bit of a mixed bag for me. I wasn't inclined to add any of the songs from this album to my playlist, but I didn't dislike any of them either. Faithfull has a very interesting quality to her voice with pretty consistent vocal cracks that add to the stories she is telling each song. Why'd Ya Do It was a particularly interesting song, which I can only describe as "perfect feminine rage." The topics of her songs are very gritty, and her storytelling had me listening intently to each song. Some I revisited throughout the day just to really take the story in. I would be interested to see what else Faithfull's discography has to offer, and I found this to be a decent introduction to her artistry.

Definitely unique, although I didn't really like it.

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.

It's an interesting blend of synth-pop meets rock, vocals are very raw and edgy, not something I'll come back to in a hurry but I did enjoy it

Vibey, but not memorable

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.

Interesting. Didn’t enjoy it all that much. I’d feel I need to listen to it again.

Nah

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

A bit too cleanly new-wavely for my liking. But has done enjoyable stuff going on. 2.5

In contrast to the negative reviews of this album saying it’s only on this list because of its context, although this Definitely helped with the decision, this was definitely an enjoyable album and quite unique albeit containing some more generic bluesy rock in some parts. Her voice, i thought, works well in most parts with the lower tone and crackly voice giving a bit more of a sinister vibe which definitely worked well for the songs aiming for that kind of concept. However, the constant voice cracks in some parts most notably on brain drain were not particularly pleasant to listen to when she was attempting to enter a higher register, I think her voice worked really well on the last song in comparison where she sounded bitter and angry. Musically I thought it was engaging throughout the album for the most part with a cool spin on new wave and punky themes. Overall, a three but a high three (6/10.)

Never heard her. Excellent album.

2.5 - alright

From the other reviews it sounds like this was a 'you had to be there' type of album where it was really good and influential at the time. For me it was a relatively boring album with a couple of highlights such as 'broken English' She definitely has a unique voice, but everything surrounding it was nothing special

Can’t stand her voice. Couldn’t even finish the album

Not bad but nothing really stood out for me on this album.

I'd probably give it a 2.5-ish, it was ok but not bad. Definitely a bit weird --sometimes in a cool way and sometimes in a weird-bad way.

her voice kinda sucks. hate to say it because all the drugs and homelessness that cam before this but im just keeping it 💯. Why'd You Do It was a fitting closer to the album (it sucked)

Nice

Ganske hakkete

It's ok, she's always been just ok to me

Her vocals a terrible and I don’t see how this album made the list.

This is a pretty interesting set of songs in an intriguing mesh of styles, but I guess the most remarkable thing about it is where the artist was in her life and career at the time of release. I don't know loads about her but from everything I've heard she seemed like a fascinating, enigmatic character who had quite a life. R.I.P. Marianne.

I liked the music more than her voice. Wasn't all bad, just mostly. 2/5

Eurgh, no matter how much I’m told she was a trailblazer, a wild spirit and huge influence, I just can’t abide Marianne Faithful.

It's not bad, theres not a track I'd skip individually, but this is here because of the context of the album and not the album itself. It's fine, but I can't imagine anyone is obsessed with this album.

Hahaha that was kinda dope, right on the cusp of the 80s music vibe. She’s giving crusty art music

Its got a great cover. Was expecting something folky with buttery vocals so was surprised by the electro new wave beeps and the rough as sandpaper vocals. It's certainly a grower and by 3rd listen was really enjoying it. Fav track Ballad of Lucy Jordan.

Broken English I do really like this album, I’ve got a bit of a soft spot for it, despite it obviously sounding a bit dated. But I think it is one of those albums that needs to be taken in context, she was an early adopter of synth/new wave and that paired with her caustic, cracked, scratchy vocals the lyrical bite gives it enough weight beyond the synth-dance-rock surface. The title track might be the worst culprit for superfluous and dated squelchy R2-D2 noises though, but at least it never goes full Jazz Police (and this was released 10 years before I’m Your Man). Thereafter the synths feel more structural and melodic rather than as mere sound effects. Witch’s Song is good, much warmer feeling with the acoustic, but I’m not as keen on Brain Drain. Guilt is great though, it has a bit of a Slow Train Coming vibe and an excellent lyric. The Ballad of Lucy Jordan sounds a lot like We Belong by Pat Benetar to me, but I really like it, it's a great synth-pop version of the song. What’s the Hurry is a nice if slightly forgettable bit of synth rock. I’ve never really been a fan of Working Class Hero as a song, but I quite like this version, particularly as it's more of a tribute than a bit of self-mythology. And that leaves Why’d Ya Do It. The angular guitar matches the contempt and spite in the vocals and lyrics, and it is great hear her sing dick, fanny, snatch, cunt, bitch and pussy Right between 3 and 4 - I’ve always enjoyed it, and it’s on the side of 4 for the genuinely scornful lyrics and vocals, and while I like it musically it is hard to escape some of the datedness of the sound, even with context, and that pushes it down to the threes. I think I’ll go 3, I’ll listen again of course, but it’s not one for regular rotation 🏴󠁧󠁢󠁥󠁮󠁧󠁿🏴󠁧󠁢󠁥󠁮󠁧󠁿🏴󠁧󠁢󠁥󠁮󠁧󠁿 Playlist submission: Why’d Ya Do It?

A surprising album, opening with the eponymous track, having the pulse of a synth-driven Kraftwerk number. But it has the artifice of a challenge game show - think Krypton Factor, think Crystal Maze - rather than the minimalistically delivered motorik beat of those aforementioned tuetonic peddlers of synth ambience. 'Why'd Ya Do It' is by far and away the best track. It perfects everything the album is trying to achieve. A great groove, fantastic bass hook, well-applied sax, Frippian guitar. A vocal that is semi-spoken with venom ostensibly flowing from persona experience. And lyrics that'd make a whore blush. Some decent album bookends, but overall it's a sense of a good story behind it rather than a good album. I can't see NASA putting it in a space capsule and firing it out to Mars alongside 'Dark Side of the Moon' put it that way.

I get that Marianne Faithfull went through some shit, and this album is probably historically important, but this belongs more in 1001 Album Wikipedia Pages to Read Before You Die. It doesn't sound horrible, but it sure doesn't sound great either

lo empecé tres veces y nunca lo terminé, para mí es suficiente como para saber qué (de forma idéntica qur la gran mayoría de estos álbumes) no vale la pena

Not a great New Wave album. Didn't age well, a bit cheesy and lacks any sincere power. Good on Marianne Faithfull for making it out of whatever self-inflicted hell she had been in though.

Ok, not really my thing.

mágico

It's not Mick Jaggers' ex-old lady and not an album; it's not good, interesting, or musical. The music on this record, you know, the instruments and shit, sounds like canned keyboard backing tracks from one of those keyboards with all the preprogrammed music. Then the voice, not Mick's ex, get out of here, sounding like one of Marge Simpson's sisters. Its a objectively terrible record and has not place on the list or in a personal collection, its broken poop record.

What a horrible, whiny voice with 80s synth pop backing.

This was good

Gefällt mir nicht

An interesting selection for the day. I'm pretty sure I've never heard any of the songs on this album, and if I've heard anything by Marianne Faithfull I'm not aware of it. And even before I read about the sad story of where this album stands in her life/career, I could tell there was something somewhat tragic from her voice alone (a bit like listening to Billie Holiday's ravaged voice in "Lady In Satin"). But whatever the inspiration or source, the combination of her voice, Steve Winwood synthesizers and a basic backing band makes for a strangely compelling album that combines a New Wave aesthetic with almost country-style songs. There's really one track that falls a bit flat ("Brain drain"); my favorites are the title track, "Witches' song" and the surprisingly caustic and explicit "Why'd ya do it?", as well as both covers which vastly improve on the originals (an impressively darker and more believable version of Shel Silverstein/Dr Hook & The Medicine Show's "The ballad of Lucy Jordan" (that absolutely shines in "Thelma & Louise") and an inspired take on John Lennon's "Working class hero"). At times I was reminded of Toni Childs (a shame that we don't get anything from her in this collection), but more from the resonance of her voice than the bleakness of some of the tracks on this album. Given how tortured her life was at times, I kind of figured she must have passed away a while back (although likely not at the age of 37). But I only just now discovered that she died very recently (1/30/2025). RIP Marianne!

I don't have words for how significant this album was to me when it came out. I was a 15 year old wanna be punker and I think my playlist was Patti Smith "Radio Ethiopia" / this album / Lene Lovich "Stateless" and then the usual suspects (Talking Heads, VU, Dylan, Bowie, etc). The obscenities were shocking at the time, and her voice, the anger, and the kind of laidback way it all spins out felt--and still feel--fresh to me. And how great to hear Witches' Song again! This album isn't for everyone but for me for a time, it was everything.

I'm bored, it's kind of cool though.

J'aime bien sa voix particulière, son attitude juste assez frondeuse, ses revendications pertinentes. Sur le plan musical, ça me semble un peu plus banal, devait être plus «frais» à sa sortie

Never heard of Marianne Faithfull. Has a very 80's sound for a 70's album. Sounds like a movie soundtrack from the mid 80's. "Working class hero" is great.

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

first listen I actually kinda dug this

This is the first album I’ve gotten where I just…could not understand why people like it. I tried! But I felt like the songs were uninteresting, and I did not enjoy the way Faithful sings either. I’m sorry, Marianne Faithful fans, but…what am I missing? 1/5

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

No real thoughts on this. It was decent. Nothing jumped out as super interesting.

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.

I really like the story behind this album, but unfortunately it didn’t hit for me.

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.

My only exposure to Marianne Faithfull was her early work in the '60s, which, frankly, I didn't enjoy. So I wasn’t too excited for this album—but what a surprise! I never thought I’d appreciate her voice, but it really works beautifully with the musical arrangements. It's a 3.5 for me.

No disrespect… but holy hell that was awful.

I really disliked her voice. I never got used to it.

I liked the second half a little more than the first half, with the addition of more reggae and post-punk style. I found the first half repetitive and annoying. And most of the songs I liked the most were covers.

Blondie and Gwen Stefani before they were cool. Not bad either way.

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

Loved the first track, but the rest was pretty bland.

I really didn't like this album. There were pieces of things that I generally like all across it, but nothing hit the mark for me.

Solid new wave/art rock album. Två sista låtarna klara highlights

Okay, I'm sorry but these vocals are just grating on my ears. Melody and bass are really repetitive and flat, auditory drudgery to get through.

Dieses Album habe ich irgendwie nicht so sehr gefühlt. Klar, ihre rauchige Stimme und die düsteren, teils provokanten Texte haben eine besondere Atmosphäre, aber musikalisch wirkt das Album manchmal etwas monoton. Der Titelsong und The Ballad of Lucy Jordan sind starke Stücke, aber insgesamt fehlt mir die Abwechslung. Vielleicht Geschmackssache – für mich bleibt es eher ein Album, das man einmal hört und dann nicht unbedingt wieder auflegt.

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 felt personally victimised by the last track.

It was okay, not my favorite.

Wer "Ballade of Lucy Jordan" zum ersten Mal hörte, dem ließ diese Version nicht kalt. Eine berührende Geschichte mit soviel Schmerz und Traurigkeit. Eine zerbrechliche Stimme, die schon alles auf dieser Welt erlebt hat und überzeugend zu Gehör bringt. Das Album überzeugt auch insgesamt. Marianne Faithfull überzeugt. Ich glaube ihr alles und liebe dieses Meisterwerk.

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.

marianne faithfull sei troppo cool per questo mondo

Sweary coarse electro funk ballads of pain and emotion. Bit ahead of its time methinks. Gravelly voice and some Bowie type backing.

Wins best Spotify "about the artist" so far. MI6+ ballet

Working class hero a classic interspersed with great displays of angst - enjoyable

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

I’m giving it a three, not because I love the album but because I love her story and I love her comeback.

Its not good, but its not bad? Best Song: Guilt Rating: 4.0/10 2 Stars

scratchy voice is not for me

What a journey she went on to get to the point of making this album.

Not bad.

Shit, I'm not sure if that was depressing, or I'm just in a mood. Maybe time for some Bobby McFerrin.

RIP

Banger with unexpected C bomb

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.

Interesting to listen to this especially as she has sadly so recently passed away 😢

Boring

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

The first/title track was a banger, the rest of the album didn't do much for me

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?".

I like her voice. It’s tells a story all on its own; the story of a hard-lived life that couldn’t break her down. There were a couple of absolutely killer songs, but the rest didn’t grab me.

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

I’m not sure what this was supposed to be

The most important thing about this album doesn't come from the music, but from reading at least parts of the Wikipedia page. It's incredible for Marianne to have returned to make music, and to release an album after everything that she went through. You can hear it in her voice, both the quality (poor) and the emotionality (great). The suggestion from the producer to go more "modern and electronic" was a really great decision, I think. I think the album falls pretty flat as it is, and I think it would have been much worse without that "modernization". Ultimately, I think this album wouldn't make this list if it was made by anyone else. Context is really important, and this album is notable mostly for that reason. Favorite Song(s): The Ballad of Lucy Jordan

Not bad. Kinda reminded me of the store brand of Stevie Nicks. Last song was pretty good and reminded me a Sonic Youth

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

Not bad. Simpsons: No

It was OK.

It was ok, but I don't think I will be coming back to this anytime soon

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!

I don't know what I was expecting but it wasn't this. Very interesting stuff. Not my personal taste but still very intriguing record.

Sounds like my grandma doing Karaoke with a lisp vaguely trying to remember what fleetwood mac sounded like.

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

I don’t think I like this lady’s voice but the lyrics were fun!

On record, Marianne Faithfull is only ever a foil for other people: Jagger and Richards weaponising her innocence; 90s hitmakers revelling in her back story and her pedigree - PJ Harvey, Nick Cave, Beck, Billy Corgan, Jarvis Cocker, Metallica. Even her interpretations of Weill, Mercer, and Kern or settings of Byron and Shakespeare rest on how her deep, rasping croak feels like a debauchment. Having her vocalise at all seems like decadence. Broken English is the most significant of a handful of records that prioritises Faithfull's contribution as artist rather than interpreter. However, she was not an artist in that sense and she was not a lyricist or a melodicist. Backed by an egoless new wave band, rather than more successful musicians as on most of her other records, she falters a little as the main focus, so the band never really takes off. Songs like Broken English and Guilty simply aren't as rich or sophisticated as others that she would perform in her life and they never seem to go anywhere. The covers, The Ballad of Lucy Jordan and Working Class Hero, stand out, although the latter sounds odd in the mouth of a patrician such as Faithfull, regardless of how low life laid her. Probably 2.5. The cover art for Marianne Faithfull’s Broken English looks like satire on an imagined collaboration between Joni Mitchell’s Blue and David Bowie’s “Heroes” I will also confess to laughing out loud a couple of times while listening. Ultimately though, I appreciated that I wasn’t supposed to be laughing. This is terribly dull, witless music. Four-square phrases played by a band of no musical distinction. Marianne Faithfull certainly has a characterful voice but no melodies worthy of it. The lyrics are rotten stuff - pedestrian couplets (sometimes laughably contrived) and mangled common metre. By the time ‘Why‘d ya do it‘ tries to grab the listener by the scruff with its cocks and cobwebbed fannies it is too late - that track feels merely like a grotesque and slightly desperate addendum. Covering The Ballad of Lucy Jordan was, no doubt, a bright idea although its dramatic potency emerges predictably from the obvious and crass conceit that Marianne Faithfull at this time ‘fit’ the character. Covering Working-Class Hero was a terrible idea. 1/5

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

I was a bit offput by the vocals at the start, but I decided if I could learn to like Neil Young's voice, I could learn to like this one. Sure enough, by the Ballad of Lucy Jordan I was really feeling the vibe, and by Working Class Hero I was singing along. On a re-listen, I am definitely feeling the groove and now having read the story behind the album it's a totally different experience. I can't rate it higher than a 3.5 because it's really not my type of music, but it's certainly compelling.

A perfectly fine album that doesn't stand out with the exception of the Shel Silverstein penned 'The ballad of Lucy Jordan' and an interesting take on John Lennon's Working class hero'. But, without Maryanne Faithfull being who she is this album would not be on the list. 3/5

Nah

Bleh

no no just no. mainly because I don't like her voice nor her style of singing.

I love her "whisky-soaked" voice, which lends itself perfectly to this gritty album.

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

I couldn’t stand her voice. I made it through, but I didn’t like it. 1/5

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

Interesting listen and powerful voice but didnt get over the hump for me. On the three side of a 3.5

I like the sound and her voice. Some tracks are really good (closer especially), but I probably won’t return to it in album form.

Pretty boring with some interesting moments

decent sound, reminded me a little of Janis Joplin, 70's era bass and soul.

Porn grooves with a bad voice. I'm sorry, but I couldn't listen to this all the way through.

Fine.

i couldn't understand

Mid...only interesting part was that you started to hear a lot of 80's type motifs despite the fact this was a late 70s album. 1.5/5

2.8

WHY'D YOU LET HER SUCK YUR COCCCKKKKKKKK??????? lowkey the best part on this album why'd she say it like that some good tracks but overall a little uninteresting. feel like i need more time with this album to fully appreciate it because I don't necessarily hate what I'm hearing on this album. last track and guilt are really good, especially the last song, love how spiteful it is.

Did not enjoy.

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

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

A decent album, although I think the cover of "Working Class Hero" is my favorite track. Otherwise it was fine with good moments, but not an album I would listen to often. 2.5/5 stars, rounded up.

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

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.

Barely tolerable. Nothing memorable about it.

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

DO NOT like her voice. Sounds like lung cancer. I liked the closing track though.

I mean, whatever, it's fine. Nothing exceptional, but not bad.

2/5. Nope.

Had never heard this before. New respect for her.

Easy listening, listened a few times in a row

3/5

Someone discovered Patti Smith

During the 2nd track I was reminded of the Metallica song "The Memory Remains" in which an old lady does the same kind of Na na na noises she was doing here. Upon review, Marianne is indeed the vocalist on the Metallica track that came out about 20 years after this album. However, I'm not sure I really dig her normal music. It kind of is a mix of Loos Griffin and Joan Rivers. Unique enough to be appreciated, but some phrases approach nails on a chalkboard for my ears. She has quite an interesting career and apparently her voice was permanently damaged in-between this album and her first couple so I'd like to go and hear the before voice at some point and see if suits my ears better. She is also still alive today and had some recordings in 2020 so would be interesting to see everything from those 50-60 years. All in all, not my favorite but was a lot more of a backstory for the old lady in the Metallica song than I was expecting. Favorite track "What's the hurry?" 2.5/5

First time hearing Marianne Faithfull. Her voice sounds familiar, probably similar to someone else I can't place, like the Motels or Stevie Nicks, but not quite. The songs are unique, though a bit depressing. I hated the last track, Why d'Ya Do It? Favorite track: Broken English.

it's ok 3/5

Her voice is terrible, and after reading the Wikipedia on the album I see why. I think the music is super good but I didn’t enjoy her singing through most of the album pretty much at all.

Enjoyed it

A fine singer/songwriter album. Dark and moody and beautiful

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.

The songs feel raw and unapologetic, like a quiet storm brewing. There’s this dark, pulsing energy that reminds me of Siouxsie and the Banshees but more grounded. It’s stripped down but still hits hard.

1+ Stars (3/15)

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.

Crap. And shit crap at that.

On the one hand, I enjoyed this decently enough. On the other hand, it didn't make a giant impression even with two listens...

Feels ahead of it's time for 1979. 3.5/5

такой гнусавый голос и странные песни что ретроспективно показалось, что я не могла это не слышать. какая странная хрень, ещё и местами эротика)

There are some fun synthy things going on, and the songs and lyrics are ok, but I don't really like the music or vocals much. Feels like the new wavy edge of the disco era and this album doesn't know what it wants to be.

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

Apple Music recommended Kate Bush after finishing this album. Yeah. That says a lot to 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.

Enjoyable but common with albums around this time I think the synths date it a little 3.5*

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.

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

Broken English 3.4 Witches' Song 3.2 Brain Drain 3.3 Guilt 3.5 The Ballad of Lucy Jordan 3 What's the Hurry 3.1 Working Class Hero 3.6 Why D'Ya Do It 3.7 Score: 3.35

++: 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

I haven’t heard much else from Marianne Faithfull, but I know her earlier albums were more folk-based. For me, this one didn’t quite hit the mark. I understand she was trying to explore post-punk and new wave, but the execution felt uneven. Some songs work better than others, but overall, it feels like she stepped a bit too far outside of her comfort zone. Her gravelly voice and singer/songwriter approach don’t always line up with the music, which made the album feel a little off-balance to me.

3.5/5

its interesting and a little weird but I can't really get over the singing voice.

That last song is a doozy.

No idea why this is on the list

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.

Good, but not great. After everything she had been through, it's just good to see her still doing ok at this point

Pretty good, slightly odd vibe

Good stuff, quality sound.

Not bad, feels appropriate for the timeframe, but nothing grabbed me.

6/10

"Stretched" voice on folky, poppy music

3.4.

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 don't like her voice. The music is well produced generally, but would be hugely improved by a proper rock vocalist and an enthusiastic drummer. As it stands, it's underpowered and plodding. Not bad - just nowhere near as good as it could be.

It was bold in spots, I'll give you that.

Cool voice, a bit boring

Not bad

Good I think? But can say I feel all that strongly about it

Meh

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.

instruments sounds great

Not to bad

Pretty good, was familiar with Broken English and Ballad of Lucy Jordan. She is an institution.

ok

I always thought Stevie Nicks had a raspy voice but Marianne Faithful takes that prize by a landslide (no pun intended). Broken English had a more New Wave sound than I was expecting. I'm not sure if I thought Marianne Faithful had a Joan Baez sound, mostly because I have heard her version of "As Tears Go By," but also because it was just an assumption on my part. There is some really good music on here. I liked Brain Drain, Broken English, The Ballad of Lucy Jordan, What's the Hurry and Why'd Ya Do It. Why'd Ya Do it feels like a pretty dirty song for these times. The Ballad of Lucy Jordan is probably the standout track for me. I like the cover of this album a lot. Faithfull is holding a cigarette and just looking absolutely exhausted with the world. Really cool image.

Oof, that voice is horrendous. Would be an extremely mediocre album without it, but with, shocking stuff. 1.5*

Meh

Her voice is bad

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

I kind of like 1972, I almost like Wolfy

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.

5/10 this certainly is music that is being played. I'd know it anywhere 10-31-2024

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.

This is a decent enough listen. I’m not 100% on her voice, but the songs themselves are good enough. I like the dark synths that crop up on some tracks, along with the more upbeat numbers in general.

I don’t get it

Oddly not bad, last song is weird with how it mentions some private things.

Dark moody synths and extremely 80s tone blues guitar set the mood: brooding and sultry. The vocals are nasal and hoarse. It's like Nega-Fleetwood Mac.

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

4-4.5

First album I didn't really want to finish. A bit all of the place with range of sounds Thought hey at least it's ending stronger before remembering working class hero is a John Lennon song.

ekkert sérstaklega gott, þó glittir í eitthvað við og við. hlusta samt tæplega aftur. 2,5.

Nice

Did not like this at all. 1.9 stars

The way she sings the word “guilt” is really annoying. Otherwise wasn’t too bad

I mean she did tell me to spit on her snatch 🤷🏻‍♂️

Chill new wave rhythms A voice burdened but still strong Makes pleasant alt pop

before: no idea what to expect while listening: in the beginning it felt a petit country, but ended with hints of classic rock. overall not my favourite album, but I liked it. her voice control is AMAZING I must say. more rock-ey songs would suit her well.

Good album i loved the vibe in itt but thats all didnt think it was very special so 3star

The music and vocals for this album are good overall. I'm not sure that it would be on this list if the story of the album and how it fits into Faithfull's life weren't so compelling, but it's worth a listen. The production is really good. It feels weirdly influenced by the 70s NYC punk movement, though this is definitely not a punk album 3/5

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

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! 🫡

Why did I enjoy this? 3.125

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"

If Faithfull hadn't found her way back from the trash heap, or if her voice hadn't gone so raspy in the process, would this album be notable? The music is cheese. Her new voice reminds me of Bonnie Tyler and Tina Turner put together. Not bad. But man, her old voice was so much more beautiful. I found the first half of the album kind of boring, though perhaps a little less so her the title track. Her other big tune The Ballad of Lucy Jordan kind of kick started things on the back half. What's The Hurry? had a bit of a Blondie feel and had some good energy. Why'd Ya Do It? would make Alanis Morrisette blush - people got all up in arms about her explicit lyrics in You Oughta Know but that's nothing next to this song. Kudos to her for delivering a strong performance on it. If nothing else, it was in interesting musical education finding out about Faithfull's rise from the ashes. Album average at best.

October 8, 2024 HL: “Guilt”, title track, “Working Class Hero”, “The Ballad of Lucy Jordan” I like less than half of this record half as well as it deserves The other half is brilliant

Bit of a weird vocal style and the lyrics were not what I was expecting, but there was enough low-key punk energy and catchy songwriting to make it a decent experience

Cyndi Lauper before drugs.

Way to speak truth. Brave lyrics. Don't care for it musically.

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

Well this was a nice surprise. Marianne hits you hard in the senses right out of the gate with the title track - and its anti-terrorism message, featuring haunting keyboard riffs and repetitive drums. Themes of the negative aspects of her catholic childhood in the blues-y 'Guilt'. The bouncy electronic based 'The Ballad Of Lucy Jordan', with its tale of how things in the middle class aren't always as good as one thinks. The fast paced, lyrically drug fuelled 'What's The Hurry?'. And the very, very, very solid cover of John Lennon's 'Working Class Hero'. There's just so much to unpack in the first 6 tracks alone; and she somehow manages to cover a surprising amount of genres in such a short time while still ensuring the album is flowing seamlessly. Then the last track, 'Why'd Ya Do It?', smacks you in the face to finish things out. By far the most potent, angry, and raw look into the emotional roller-coaster a person goes through after being cheated on you'll ever hear; something I believe we can all relate to. It's a near 7 minute clash that just never lets up; and it's all backed up by Marianne's raw, piercing, almost punk-esque vocals. There's just a brutal honesty that rings throughout the tracklist. It's angry, it's introspective, and it absolutely needs to be listened to. It doesn't supply the listener with any answers to the rants and observations, but it will certainly resonate with people and make them feel like they’re totally not alone in this world. Much like John Lennon's 'Plastic Ono Band' album, 'Broken English' also feels like a therapy album for Marianne Faithfull. I feel like this is a bit of a hidden gem, and I'm glad this list brought it on my radar. You won't leave this album feeling positive. If anything, you will leave it feeling like you need something happier to listen to afterwards; and that's fine. That's the beauty of subjective art. Because 'Broken English' is full of raw expression, pent-up aggression, and a need to let it all out in the most blunt manner possible. 4/5

Definitely original, but not something I ever plan to come back to. Definitely enjoyed it a lot more in the second half than the first, specifically with Why'd Ya Do It. The brutal lyrics and general groove felt good even though it was almost 7 minutes long.

Her voice is super interesting to me and the lyrics, especially on Why’d Ya Do It are absolutely brutal. This is one I might go back to sometime. Highlights were Broken English, The Ballad Of Lucy Jordan, and Why’d Ya Do It.

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

Not feeling it but do recognize its influence. Spotify played Suzanne Vega right after and it tracked with this influential artist.

Well, today we ran the gauntlet from ‘OK this is actually pretty funky’ right down to ‘Good grief, do you kiss your mother with that mouth?!’ I’d listen again, but certainly not in polite company.

Beautiful scene setting music

man wtf was that last track all about

It’s interesting, but that’s the best I can say for it.

Ahead of it's time and what a voice.

I was looking forward to this one but found it a bit boring!

This was fine but nothing stand out

Meh, the English here is perfectly cromulent.

Avausraita bängeri

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.

Discount Stevie nicks

In an incredible comeback from years of drug abuse and anorexia, Marianne Faithfull laid down a steady mix of new wave tracks, evolving from the relatively light-hearted earworm of the title track to the angry, explicit vulgarity of Why’d Ya Do It, a truly ballsy way to end any album, let alone your make-or-break comeback. And I for one think she made it. Even the cover of John Lennon’s best song doesn’t ruin it, a new twist with differing vocals makes for an all-round interesting listen. A nice surprise for an album that I hadn’t heard of.

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!

Faithfull certainly has a unique voice, giving her this sort of "edge" compared to other vocalists from around this era. I personally think it sells the emotion better, and Faithfull certainly had a rough go of it in the years leading up to this album's production from the sounds of it. That emotion really culminates all throughout. The closing "Why'd Ya Do It" is probably the stand out track here, as it's basically six minutes of scathing bitterness directed towards an unfaithful lover. To be honest, a lot of this sounds like it could've been released a decade or two later, given the popularity of women in rock that would come later. But alas, this one can certainly be appreciated on its own.

The rock songs are good. The New Wave ones are not.

Surprisingly punky and biting in places. While I liked the first and last tracks, the middle tracks lost me a bit. Highlights: Broken English, Why'd Ya Do It

Rock und New Wave. Markante Stimme.

This went better then expected

Just not very compelling in any way. Album cover art gets a 4, but the overall sound and vibe of this album left me feeling... underwhelmed.

This album is musically unremarkable and the vocals are...... not good. I'm not sure how this is considered some sort of seminal work from her. If it is, then the rest of her catalog must be shit garbage.

Nope

Nothing surprising, but also not bad

A bit meh

sure

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.

Beautiful cover

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.

4.5/10

Started off thinking I should like this but ended up realizing I don’t.

Impressive production, probably ahead of its time for 1979, but did not resonate. Hated the vocals.

"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 👍

Listening to Marianne Faithfull's Broken English was a mixed experience for me. I found her voice raw and gritty, but instead of being intriguing, it felt grating and unpolished. Her cover of John Lennon's Working Class Hero was particularly disappointing; it lacked the emotional depth and subtlety of the original, feeling more like a harsh imitation. Similarly, her rendition of Dr. Hook's The Ballad of Lucy Jordan didn't capture the charm and poignancy that made the original so memorable. The production aimed to be edgy and contemporary, but often felt dated and overdone. Despite these issues, I did notice some moments of lyrical brilliance and bold themes in the album. Songs like the title track Broken English showed her willingness to tackle difficult subjects, even if the execution was uneven. Collaborations with musicians like Steve Winwood and Barry Reynolds brought a level of musical sophistication, but it wasn't enough to save the overall experience for me. While Broken English might appeal to fans of Faithfull's unique style, I found it to be a polarizing and challenging listen. It’s far from horrible, but certainly a long way from good. NUMBER OF BANGERS - 0 STAND OUT TRACK - None

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.

More like broken voice. Wailing in the wrong key over simple loops does not make for a good time.

En ole varmaan koskaan ennen kuunnellut. Viihdyin levyllisen verran seurassa eikä jäänyt poltetta saada lisää.

Lauluääni mun makuun, mutta biisit ei pääsääntösesti iskeny. Kuitenkin solidii tekemistä

Faithfull’s voice has a massive impact but I wasn’t too enthralled with it until the final song, which had such a massive impact that it gained another star for me. What a mega song, especially for it’s time

3/5 ok music but absolutely not my taste

Awful start to finish!

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.

It was a good and unexpected surprise for me. It's not so memorable, but her voice and the lyrics will stay with me for some time.

I like her voice and delivery but I don't think the new wave sound fits with her very well. I really liked the last song "Why'd you do it", but it had more of a reggae/rock feel to it.

Broken English is the seventh studio album by Marianne Faithfull, originally released in 1979. This is an interesting one. Faithfull was at rock-bottom throughout the 1970s. She fell hard into addiction and was living on the streets. This is known as her "comeback album". Her voice is noticeably worn at this point from drug abuse. It provides more emotional depth to these songs. Where I think this album lacks is the production. It's too slick for my tastes. I mean, it was 1979, so it's pretty much to be expected. I just think a more lo-fi production style would suit her voice more.

Wtf even is this? She's not a good singer, or maybe I just don't like her nasally voice -- sounds like dive bar karaoke? 1* This was somehow a worse version of working class hero. This album has no redeeming qualities for me.

#54 - Vivey but I don't think the music really stands up on its own without the context. Not a big fan of her voice either.

This reminds me of rich white girls posting on their instagram stories, and then going on to consider themselves activists because of it. Like damn, marianne, u taking urself too seriously.