Reviews (page 7 of 8)
Nice beats and sound with lots of adult lyrics
It's fine, but it's definitely one of those albums that is here because of context rather than content.
I love the dark and Gritty and feel of this, also quite tight as a record. Missing a shining element, but not a bad record by any means.
Un álbum complejo, que borda entre la genialidad y el fracaso. El particular sonido de la voz de la ex-pareja de Mick Jagger, al igual que la crudeza de sus letras, puede explicarse por los difíciles años de adicción que vivió Faithfull. A la vez, el álbum adelanta las tendencias New Wave que dominaron los tabloides ochenteros. Un particular LP que destaca como una pieza histórica dentro de los 1001 que hay que escuchar “antes de morir”.
Nope. Not this. This ain't it. Has little redeemable qualities and too many irredeemable ones. Starting with her voice; I can't stand it. She is not a good singer, which sometimes works for an artist as they have a unique style. She has nothing. The instrumentation is lackluster and arrangements are completely unoriginal. I want to forget about this ill-fated road stop along my journey as fast as possible. 1/5
Rating: 7/10 Best songs: Broken English, Guilt, What’s the hurry
Wasn't terrible, but wasn't good either. Some songs started to sound like other songs in the beats, not sure if that's like a deja vu thing or if this just felt that basic.
Never heard of this lady, but she's got some decent stuff on here. The last track is absolutely unhinged, scorched earth breakup song. Wasn't expecting to hear such profanity when I put this album on, and I respect the rage. But yeah, decent album with some different genre lanes represented. Not much to say, but I didn't mind this at all. Favorite tracks: Ballad of Lucy Jordan, Why d'Ya Do It, Witches' Song. Album art: Blue-d out portrait photo, with a little red cigarette tip. I love the use of color for this one, elevates it well above standard portrait/band photo stuff. 3/5
Amazing how this simple but beautiful work is growing on me. Stunned
Not my taste
Well this is really annoying. I just don't like her voice. The music was uncomplicated and not over produced. I really liked it, and as I said I don't like her voice. Now you may think that is what makes this difficult, but you'd be wrong. What makes this complicated, is she compliments the music perfectly. I really couldn't imagine any other voice performing those tracks. Would I buy it, yes I would. Would I actively seek it out to buy, no probably not. That only leaves me one score to give it. 4
Completely new to me, and much better than my preconception!
Interesting album, I was aware of her 1960's stuff and her Girl on a Motorcycle film. But was pleasantly surprised by the wrecked voice thing going on here, brought on by too much drugs etc. Surprised I've missed this. On first listen seems a bit samey in places, but will give this a few listens in future. 3
I respect what she was trying to do here, but it just wasn't doing it for me. She had a very unique style as far as singer-songwriters go, but I wouldn't actively seek this album out again. Stand out track: Witches' song
Not the best album, but listenable. The only song that I actually liked was Why'd Ya Do It
Another British person,,,, but once again pleasantly surprised. The wiki entry taught me a lot about somebody I’d never heard of before and the added context of her illness and addiction contribution to her unique voice is very touching. She’d have made a good blues singer or 60’s singer songwriter with her smoker voice. The music itself I liked a lot, and the new age synthy-rock blends well with the older styles of blues and rock she sounds like. The Ballad of Lucy Jordan is particularly good
Given that “As Tears Go By,” originally written by Mick Jagger and Keith Richards, was the only Marianne Faithfull song I’d ever heard, I went into this album with decently high expectations. Maybe those expectations were unfair, but I feel let down. Armed only with this this trivia nugget, the opening track throws a bit of a curveball. I hoped it was more experimental than anything, but “Witches’ Song” sounds like a drunken washed up suburban soccer mom with bleached hair stumbling through a Christine McVie-led Fleetwood Mac tune. I can see why the synth and heavier hitting lyrics of “The Ballad of Lucy Jordan” make it her most popular song, but I still can’t say I like it. Overall I feel like Marianne Faithfull is an acquired taste, but at the same time, I guess you could say the same thing about Mick Jagger. I’m truly confused about how this is the same singer as 1964’s “As Tears Go By,” because her version is absolutely beautiful. I’ll at least give her two stars for that.
"Why'd ya let her suck your CAWHHKK" Not my cup of tea but some of the songs had a nice bluesy tone that I can appreciate.
I've had heard of Marianne Faithfull before, but I don't recall having listened to her. Pleasantly surprised, I always assumed she did a totally different genre. I like it.
Makes sense to me that she’s described in the same breath as Leonard cohen - I thought the association rested in my head solely on the title of So Long Marianne and their being near contemporaries, but turns out it’s rather with the occasionally crude & abrasive and eternally vulnerable & unrestrained storytelling musical style told over soft & dark backgrounds. On first listen the Ballad of Lucy Jordan - not written by Faithfull - stands out from its role on Thelma & Louise and because I love a good synth. Not sure it’s an album I’d put on again but I enjoyed listening to it and will pick up a few singles from it.
Not my favorite.
Pretty enjoyable sound with harsher tones and subject matter but a notable breakout for Marianne Faithful
Typical pop from the era (with more rock-oriented songs) overlayed with spacey synths and guitar, fast beats, and rustic vocals to give off cool mature vibes. It's good but didn't leave much of an impression. Favorites: Broken English, Why'd Ya Do It
I really want to like this album more but I just don't like her voice. It's nasal to the point of grating. Which is a shame because I like almost every other aspect of this album. The melodies are great, the instrumentation is wonderful, the lyrics are fine, it's just her voice that doesn't do it for me.
Amazing voice. Interesting lyrics.
Suprised, didnt know this artist. Solid album.
Solid album, not my cup of tea personally but there were parts I did enjoy. This is the only album I've reviewed so far where I can get behind every review someone has.
Really liked Marianne Faithfull's voice. Sounds like she lived through a rough time in the 70s, which made me connect with her more and cheer her on for making it out of a heroin addiction. Great music, had never heard of her before. Might be a 4.5.
I thought this was a fantastic album, great production and songwriting.
She's a badass
Good production and the title track was excellent, the rest however very forgettable.
I thought it was great. Highlights were The Ballad of Lucy Jordan and Guilt. Really good cover of Working Class Hero as well. Her voice is very cool, and I enjoyed the electro stuff.
I think I like the production on this album more than I like the songs, if that makes any sense. Having said that, most of the songs seem to be a little too slow and long. I did really like Guilt. It's too bad she wrecked her voice.
This album was not what I was expecting at all. The first track, "Broken English" , was a great piece of New Wave synthpop that I really enjoyed. But most of the subsequent tracks seemed to be in different genres and were nowhere near as good, until "Why'd Ya Do It" at the end, which was great again. 3 stars, but they're almost entirely for the opening and closing tracks.
err... i don't know. it felt too slow and a little dull. not much more to say?
didn’t sound broken to me
3 1 Cant put my finger on it Just didnt enjoy it
The bass line in "Broken English" sounded a lot like the one in "Every Breath You Take" and I thought that was the best part of this album.
Mostly didn't really stand out, but Why d'Ya Do It? was good and unique even if it drug on for a while.
I was looking forward to seeing what this one was all about. I've heard the name Marianne Faithfull before and was interested to see what her music was like but was not a big fan. I'm not particular about voices but was really not a fan of her singing on the majority of the record (aside from the two standouts). I found the album fine but didn't hear anything on it that grabbed me or would make me want to come back to it. Standout Tracks: Witches' Song, The Ballad of Lucy Jordan
Vond dit niets. Geen hele nummers, redelijke productie, en ok gezongen. Voelt alsof dit er alleen in staat omdat het voor Marianne een fantastische comeback was, ooit, in de jaren ‘70.
Faithfull modernizes some older styles with an early new wave approach, and, combined with her fairly rough voice, she created a pretty unique sound.
No doubt Marianne Faithfull is a survivor. She's been through everything and still came out with a decent album here. Very late 70s early 80s vibe that is somewhat dated. I prefer Lennon's version of Working Class Hero but her version is very cold, nihilistic and detached which does work. Why D'Ya Do It is angry as hell. Not perfect but pretty good.
A mishmash of genres that suits Faithfull’s smoky voice. Could perhaps stabd to ge a bit longer.
This could be a 3 or a 4. It's quite good, Broken English, Guilt and Why'd Ya Do It are highlights. I could see myself revisit it, which i can't say for a couple of the other albums I'd rated a 3. It's a 7.5/10. There are so many little influences dotted about throughout this album, punk, ska etc. Great voice, some great production.
Cooool
She can't sing, so many people disagree with me but she's super nasal and shrill. I guess lyrically it's pretty powerful and has a interesting story behind it which includes where she suffered server laryngitis... that explains alot
4.25
A decent enough listen, but a bit MOR and forgettable.
Tremendo está este disco. Realmente tiene unos arreglos y una musicalización espectacular.
A great closing track preceded by 7 average new wave songs.
This album is so trash, I broke a big fat streak of not reviewing anything just to say this album trash
Punky, I liked it. Good fun and the last track was very funny
J'aurais bien aimé donner une bonne note mais les éléments suivants m'en empêchent : - Le nom Marianne Faithfull est insupportable, j'ai toujours détesté l'entendre. - Marianne est bien trop alcoolisée. - La première note juste arrive après d'une demi-heure, Marianne ne sachant absolument pas chanter.
Une Marianne des plus alcoolisée viendra nous crier au visage "Je suis pas bourrée juste un peu pompette" pendant environ 40mn. Marianne finira l'album inconsciente, en boule dans la baignoire de l'appartement.
Didn't hate this, but didn't really care for it either.
Varied yet cohesive, with an rdge
5/10. Eh, not in love with it. I can sort of see the appeal, though
Was gonna rate this lower but the extremely raw tone of Why’d Ya Do It piqued my interest at the end. 5/10
An album that improves as it plays and I suspect improves as it is re-played. Faithfull was onto something here - this observer of the rock and roll lifestyle, stuck in the fame amidst the depths of the addiction, everyone caught in her sights and nobody is safe. Defiant, feminist, individualist, writing her own narrative.
first time listening
Classic album by a classic survivor!
1-2
pleasant listen
Truly truly dreadful. What an awful vocal style, and cheesy dated accompaniment. Gross.
It's, um, definitely an interesting album... didn't sound exactly like I pictured, but I also thought this album was older than it actually was, so that definitely played a part in that. If the vocalist was different, I could see myself liking this more. Last song was a bit too long for me. I don't even know what else to say. It kinda just happened. My favourite song was Broken English, I think? Can't remember what anything sounds like.
Ägt skivan en gång i tiden. 3 låtar höjer sig över mängden.
"The Ballad of Lucy Jordan"
fé
This was pretty good. Was not familiar with her or her music, though I'd heard her name.
I got a nicotine buzz just listening to Marianne's vocals. Turns out the qualities of her voice were the bi-product of turbulent life circumstances, this album marking the artist's reemergence from a downward spiral, and marking a stark transition from her past musical persona. Kudos to her for pulling it together for this album (and beyond).
I had never heard of Marianne faithful before. Poor man's Stevie nicks. Big meh from me.
Not my cuppiest of teas
Despite her rough voice being the product of years of hardship, I’m not a fan of it.
There's some decent tracks on this album. Broken English is a fun song - she's pretty talented and an interesting song-writer (Why'd Ya Do It - vulgar but interesting story there I'm sure). She lived an interesting life! Being homeless and addicted to drugs/battling anorexia before releasing this album. Good for her.
The opening for Lucy’s Ballad sounds so much like Pat Benatar’s We Belong. Did Pat lift it off of Mary Fai?
Meh
Never heard of her... she certainly has an interesting story, and this album is full of feeling. Was a solid 4*, but the final track bumped it up to a 5. Music with feeling and style, and I guess it must have been pretty ahead of its time too.
Broken English is the seventh album by English singer Marianne Faithfull. It's considered her comeback album and has been described as a masterpiece by Faithfull because it was her return to music after years of drug abuse and homelessness. Musically, the album is new wave rock with parts of other genres like punk, blues, and reggae. Broken English was critically acclaimed and was a massive success for Faithfull. It was a moody, but beautiful album that I'm glad Faithfull was able to record and release for the public to enjoy.
2/8, 25%
Musically some decent arrangements, apart from the title track. Vocally I found Marianne extremely annoying, more reminiscent of the pished old doll singing up the pub on a Saturday night, in fact I couldn't wait to skip through the album. This one definitely not for me.
Not fussed on this one but her cover of Working Class Hero was great and lifted the album at the end.
Perfectly ok to listen to
The ninth studio album! The previous 8 seemed to have been released by different labels, though. Not sure what to make of it. Broken English has a part that sounds like someone is blowing their lips to make motorcycle sounds.... Someone please confirm this for me.
Nice little surprise. Though some of the synthesizer/electronic vibe that is layered behind many of the songs date it a bit, there really isn't anything here that isn't strong... it's a pretty consistent interesting album. I enjoyed her take on Working Class Hero as well as songs like Broken English and Guilt.
She makes a Shel Silverstein song sound like it was written by Kate Bush. This was obviously years ahead of its time. An amazing blend of Patti Smith, Courtney Love, and Exile In Guyville. One thinks people wrote her off for "just" being one of Mick Jagger's flames. But the hot take part of me believes history will continue to improve it's standing and it'll eventually be considered among the top 20 albums ever recorded by a female artist. And Christ, what an album closer.
I found her voice to be irritating after a while. I liked some of the music but her voice was just too much.
A long way from her sweet ‘60s voice. I wouldn’t listen again.
Top 3 Songs: 1 - Why'd Ya Do It (8) 2 - Broken English (1) 3 - What's the Hurry? (6)
This is pretty ahead of its time for 1979. It has also aged pretty well. This was a good listen from start to finish.
Meh
Not bad music but hated her voice
Not great at all
Some nice pop moments but mostly unremarkable
kind of dull at times but much more interesting than i was expecting it to be
This is a beautiful album. Marianne Faithful's frail voice is moving, you can sense she went to hell and back just by the emotional strength of her performance. The cold-yet-determined synth-driven title-track is the main highlight here, of course, along with two fabulous covers, Shel Siverstein's "The Ballad Of Lucy Jordan" and John Lennon's "Working Class Hero". "Guilt", sounding like a lethargic disco track under valium is also pretty hypnotic. Is the instrumentation in parts of this record dated? It sure is, but such "objective" flaws now add to the vintage feel of those songs. They help conveying what this LP is really about, tunes about old age and disillusion, played under the guise of white, "new-wave" blues. I sort of hesitated between a 4/5 and a 5/5 grade for a minute, but fuck it: *Broken English* is Faithfull's magnum opus, she says it herself. Let her reap the rewards that had been denied to her for too long before this moving album finally came out. 5/5, then. Number of albums left to review: 566 Number of albums from the list I find relevant enough to be mandatory listens: 210 (including this one) Albums from the list I *might* include in mine later on: 102 Albums from the list I will certainly *not* include in mine (many others are more essential to me): 126
Patchy - some good songs
Simply being alive after what she went through in the 1970s would be cause enough for celebration. We are all incredulous about Keith Richards' survival skills but Marianne endured the same toxicity without the supporting family and gazillionaire's bank account that Keith had. Those dark days and her shattered vocal chords didn't stop her from putting out a fine album. The highlights: Broken English, The Ballad of Lucy Jordan, Why'd ya do it and her excellent cover of Working Class Hero. One thing that always impressed me about John's original was how intense it was given it's just him and his acoustic. Marianne adds instruments and keeps the intensity.
Her voice sounds like she’s had more than a few rough years. I remember when I first heard this thinking, ”how old is this gal who’s making a splash on the new wave scene?” Not much over forty, it turns out. The back up musicians really deliver, the song-writing is good, and although she didn’t do much of it, her raspy interpretations stay with you, especially on the more haunting songs like “Working Class Heroes” and “Guilt”. While I’m not a fan of profanity, “Why’d You Do It” is an exception. I think I have a better appreciation of the song and the album in general, when listened to within the context of the ten years of her life that preceded it, which I didn’t have in 1980.
She had a crazy, eventful life and it's all distilled into her distinctive raspy voice. This was a great comeback album for her and a huge departure from her "As tears go by" days. The singles on this album are bangers - Broken English (featuring Steve Winwood on electric keyboards!), Ballad of Lucy Jordan and Working class hero. Why'd ya do it is also pretty raw and raunchy. Solid effort and deserving to be on this list.
Mmmmm, ok.
This is an exceptional album
She sounds like someone who desperately needs a throat lozenge. Bland folk/pop that people who think salt is spicy probably think is dangerous and deep owing to her terrible life choices. The Mars bar incident made her interesting for a brief spell - this doesn't. If this is her self considered "masterpiece" that I can safely say I didn't need to hear, I definitely don't need to listen to any of her other stuff. Best Tracks: Brain Drain; The Ballad of Lucy Jordan; Why'd Ya Do It
Case in point that bad times don't always make good albums. A disappointing record.
Stark, brutish and British. 4 stars.
Generally seen as Marianne Faithfull's best album (but I am not so familiar with her work except for the string of 60s singles, some albums from the early 00s and this 1001 album). In any case, Broken English is of course an excellent album, which just falls short of being a true classic (say 9/10 so still 5*).
Never really checked Faithfull's discography, though I think I heard Before the Poison (2005) at some point. This one took a few listens to get into, especially her voice being a bit out there, but in the end I quite enjoyed it. Interesting Lennon cover.
I liked most of the songs, Why'd ya do it as favourite. Difficulties with the vocals though.
Working class hero saves this from a 2 to a 3
Not for me
this is fine I guess I don't really like when she makes her voice all choppy. seems like maybe it was trendy in the 80s and didn't really stand the rest of time
I know the name, but never listened to Marianne Faithful before. Probably cool not listening to this again. There’s not much interesting to me in this one. I’m guessing the atmospheric stuff was rarer in the 70s when this came out. But to me it feels tired and uninteresting.
Elvis never meant shit to me.
Quite interesting and sounds a good bit ahead of its time, like 1985 instead of 1979, with its edgy, electronic-y, decidedly post-punk feel. Titular opener is biting and engaging. "Brain Drain" is pleasantly spiky. "Guilty" smolders with a touch of understated funk.The voice isn't exactly to one's tastes, but it's well-used throughout, especially in building drama and suspense. One finds this to be a worthy inclusion on this list, if mainly for "new" music discovery.
this was a lot better than i expected she sings with so much emotion in her voice. would listen to it again eventually
funny
Gute wenn auch alte Musik
It feels like an album ahead of its time, but at the same time it fails to take me to the places that the music I like does. That said, Lucy Jordan is one of those unique songs that always mesmerise me. It depicts a very coherent picture and it hits me in the guts, probably because of identification and similar realisations to the Lucy’s.
I've never heard of Marianne before, and I have a pretty good idea why is that so. Her music is very boring and uninteresting, and her voice is absolutely dreadful. I had a hard time trying to sit and listen through one of her songs. I'm afraid this might be one of the worst albums I have listened to on this list. Quite frankly, waste of time.
I do not like this album. MEH. Patty says 1 star.
tupakkaa vetänäesque album cover sekä ääni... täsä albumissa on kaikennäköistä... vittuako sä tätä arvostelua luet.... voi ihan rohkeasti mennä kuuntelemaan itse...tehdä oma päätös... jaha alhainen numero... no en sitten kuuntelekaan... heh... guilt
Better than expected. Would not have picked this as 1979, it's got a far more modern sound about it to me. I only knew of her as Mick Jagger's ex (ok, that could be lot of people), and knew the first song. Working Class Here cover was great. Emotive voice, she's not hitting highs but sings with passion.
Occasionally good when the vocals aren't there
Depressing and pretentious. No thanks!
Not for me
Super unpleasant voice, nothing special here.
Not my jam, but totally see the appeal. I enjoyed reading the backstory of the artist and what they went through leading to this albums release. Brain Drain was enjoyable.
Surprisingly enjoyed it though the composition is simpler than many other albums
Right after Jimi Hendrix, Frank Sinatra, and Miles Davis, I got some new wave. Gotta love this random algorithm.
I wasn't really feeling this until the final track, "Why d'Ya Do It?" and then the whole album I'd just listened to finally gelled.
A fantastic mix of broody sass and attitude, an original punk heroine!
Portrait of the artist slowly turning into a vampire.
Meh
It's bluesy rock with spacy synths. It sounds newer than it is. Weird combination of styles. I don't like it. Her voice is quite monotonous. I don't think anyone needs to hear this. Favorite song: Why'd ya do it
Worth it for ‘Why D'Ya Do It’, one of the nastiest, and best songs ever committed to tape, but pleasingly, ‘Broken English’ is full of highlights, such as the aforementioned track, the title track, ‘Guilt’ and ‘The Ballad Of Lucy Jordan’ to name a few. ‘Working Class Hero’ is the one cut that doesn’t work for me, the arrangement just falls flat. Apart from that one small blip though, the rest of ‘Broken English is excellent, and it’s an album everyone should have in their collection.
This was my second listen. First time didn’t really grab me. This time through it was more impactful. The working class hero version stood out.
that's the spirit marianne, get it all out there and bathe in the catharsis. a shit listen but sounds like she needed to get that all off her chest so i'm down with that.
An agonising, slow, torturous death of a record. A shit in a kettle in a Premier Inn hotel room, but it's too late, you've already drank the tea. Musical AIDS.
Episode 8: Scott takes mushrooms, freaks out and forgets he's at a funeral. He throws up all over the elderly woman's decaying corpse. It's a metaphor for this album.
A perfect mix of folk, dance, and punk. This album is the epitome of what the early '80s became and is a soundtrack for 79-80.
Look, I know there was supposed to be an, "I'm not dead yet" comeback album and, because she'd been through some stuff, we should cut her some slack. And, okay, I will cut her some slack but it's still not that great. The songs are just okay and none of them are really grabby. The production is so-so and the vocals... well, that where the slack comes in because they're... a bit rough to put it kindly. I think this album is mostly notable because of Marianne's story and not because of the music itself. And that's problematic as I'm here to rate albums and not biographies. Best I can do is a slack-filled 3 stars. But I'd watch the biopic on Mrs. Faithful. I'd even pay theater prices to see it.
boring
Don't judge an album by it's cover hey? Seen this a million times and always assumed it would be sultry, bluesy, deep, meaningful and interesting.
Really unique voice, I genuinely really like it. Every song has it's own charm, and the lyrics are great. Also cool album cover. Fave track(s): Brain Drain, What's The Hurry?
Kind of a slow burn at the beginning, but after a while it becomes really good. A mix of blues-rock, synth, at times with a bit of Pink Floyd vibe, both musically and lyrically. And the unique vocals really help this album stand out.
The music is interesting and appealing throughout. The vocals were, for me, very hit and miss. Clearly a storyteller -- some songs are gripping -- but for most songs the vocal delivery falls flat rendering the songs boring when they didn't have to be. The album art, grimly blue and black and a bit fuzzy but with one incandescent spot (Why'd Ya Do It) is quite apt. All that said, full props for such an amazing comeback. 3.5
No thanks. No mi gusta. There is a reason she drifted into obscurity.
Highlights: "Broken English," "Guilt" This album is here because of who the artist is, their connection to pop music history, and how we're expected to read that into the mostly banal lyricism. The fact that it sucks on a visceral level is supposed to achieve symbolic meaning. It rests on merits of theater, or marketing, not music. It's a postmodern kind of critical acclaim, where the shortcomings and contradictions are profound until proven otherwise. We're told this album is an indictment of the icons and false promises of the '60s, but to have that weight it requires us to be preoccupied with rock tabloids in the first place, to glorify the artist for their connections in the first place. Pick a review at random and you'll find all the same name-dropping that occurred back then, the accolades of people that wronged her. She's trading in the coin she tells us is baseless. It's not just about celebrity eating its own head, we might suggest in her defense; it's about the rosy egalitarianism of the times. Then where does she stand now? The daughter of a baroness sings songs about a lower-class woman who will never have the rich man and the luxury car, covers John Lennon's "Working Class Hero" -- perhaps to self-flagellate, the generous listener thinks -- but what are Lucy Jordan and Lennon's hero to do? What's the heroism? Certainly not protest, unless it's to languish and snarl over deadbeat lovers, and political violence is right out. The only pointed political target besides Lennon's vague pancultural consumerist and authoritarian is the communist RAF, and her one point is that they don't represent her, literal royalty. There's nothing socially *constructive* she has to say, unless you count her dogmatic ode to witchcraft -- apparently *that's* the element of the counterculture she still finds credible! It's purportedly a personal triumph, an album of resilience... except defiance is only the most limited kind of resilience. She does after all fall back on the self-exploiting image of the Ruined Woman throughout the work. To credit her just for writing music after homelessness and losing custody of her child would be a grave insult to artists like Moon Dog or Joni Mitchell. Her attack on her milieu takes the form of a cautionary tale: see how horrible this is? Isn't this culture she's participating in right at this very moment so repugnant? Isn't this an awful, godforsaken wreck?
Please Stop Singing
LP
not bad
Syntikkaa tuhmia sanoja ja vanha giff! Tässä kaikki mistä tykkään! Objektiivisen kakkosen aika.. Heh.. Vähän vituttaa että tämö merkattu folk ja rock... on niin vitu poppia... Joku sano joni mitsell.. Heh kuitenkin englannista.. pidetään ne tollot saarella.. tai hiillostus projekti.. hitler konsanaan.. Saarelaisille voi aina kevyesti antaa paskaa niskaan.. Punaniskako. HÄH... itse olet.. baarissa käyvä... kakkaniska..
Not sure about this one. I know the name but didn’t really know what to expect, it wasn’t this though. I like the production, bluesy, funky, electronic - didn’t expect any of those things. Just not a fan of her tone, somewhere between Tina Turner, Cortney Love with a sprinkle of Dolly Parton at times! She wrote half the tracks? Could be a 4 for the over all vibes, could be a 2 for her tone and the covers so we’ll have to split the difference and go with a 3
An ok album, good for background music.
I wasn't feeling it.
Extremely bland instrumentals coupled with Marianne Faithfull's weird, bordline awful, singing. The best part of the album is the second half of the song "Guilt" as Marianne isn't singing that much and the song gets really good.
This is the first time I've ever given Marianne Faithfull a fair chance. Love the synthy / new wave vibes, I just feel sometimes the songs are slightly forgettable. Starts out with a bang for sure!
I cannot tell you how happy it made me to see this was the choice today. Again, it’s been kicking around the house since its release 40-odd years ago. Her voice is amazing and every song is painfully raw and emotional. The Ballad of Lucy Jordan - I used it as a learning tool when I was young - that I would never be in a position to feel stifled and helpless and ‘unable to ride through Paris’. Then I grew up. But it still has an amazing visceral power with the ability to reduce me to tears, every time. (Side note - Michelle Shocked’s Anchorage has the same theme and same effect on me. Playing these two songs back to back is a killer.) Back to MF - this is one of those albums that makes you feel exposed. Every song is incredible, for me there are no weak points. And the cover of Working Class Hero, I would wager, is better than the original. She adds another layer of pathos. I feel like I’ve had the stuffing knocked out of me and need time to recover. But I guess that’s indicative of music that can bypass reason and inhabit your soul. Outstanding!
She was God in ‘Absolutely Fabulous’ and it was a well-deserved role. She is fantastic. I just checked on Wikipedia to make sure she’s still alive and she is.
So here's an interesting one... On my first listen, distracted and not fully engaged, I was pretty indifferent to this record. But I had an opportunity to listen again, more focused, and I was taken in. Reading a little about Faithfull's personal struggles, including her losing her voice, definitely put her singing and story in an entirely new perspective that made a difference in how I related to the material. I was less smitten with two of the songs that were among the top listens on Spotify, "The Ballad of Lucy Jordan" and "Working Class Hero" (never a fave of mine). Everything else was very engaging in a strange way — it's hard-to-articulate what it is that's compelling. I'd say it's the entire package of songs, mood, production, and performance that coalesce. The closer is raw and aggressive in a way that must have been pretty shocking in 1979, the opener is provocative, and I enjoyed "Witches' Song" a lot. Along with all this, the 4-star rating speaks to my interest in listening to more, particularly the live album, "Blazing Away," and the following studio release, "A Secret Life," that features her working with Angelo Badalementi (who died in 2022 — https://blog.discmakers.com/2023/01/musicians-who-died-in-2022/).
I had high hopes for this, which was my first time ever hearing Marianne Faithful. Her voice surprised me, and honestly, grated on me as the album went on. I did like the first track. There's some interesting stuff going on here, but ultimately, I kind of feel like these songs would be better served by other performers/producers/arrangers. But props to her for putting out a comeback album that's not a rehash of her early stuff. love the cover, though.
I've tried before with Marianne Faithfull. Many times. The closest I got to really liking her music was 1987's Strange Weather. But in the spirit of 1001, I opened my mind and turned on the tunes. I love the album cover and the song titles got me all psyched---witches, John Lennon cover! Let's go! Nope. Snoockered again (did I use that properly, Nicole?!). On top of her voice, which has always sounded wrecked, I just find her music arrangements nondescript. Banal.
Like a cut rate Patti Smith
Post punky a la the Slits. Some new wave and blues influence here as well. Middle of the road for me. Favorite tracks: "Guilt", "Why D'ya Do It?"
As far as this new wave stuff goes, this is up there
En del riktigt bra låtar. Och flera inte riktigt bra låtar.
Interesting and raw but not really a great album.
I kinda like it.3.5
First of all, 10/10 album cover. Faithfull's voice is incredibly haunting and she manages to be equal parts fragile and gritty (as on the closing track 'Why D'Ya Do It'). 'Broken English', 'Witches' Song', and 'Guilt' are all great, and 'The Ballad of Lucy Jordan' paints an all too clear imagery while borrowing a bit of melody from 'Desolation Row'. Also, her version of 'Working Class Hero' has been stuck with me since the first time i heard it. To me, it's the superior version. It really is a great record which, besides being carried by Faithfull's vocals, is driven by incredible guitar work. It's perfectly groovy, always in the background, but continuously pulsating and creating momentum.
Not only did this album resurrect Faithfull’s career - I’m sure it might just have saved her life as well. Her raspy and emotional vocal suits the rock/punk/new wave aesthetics, but we have to reach “Guilt” before everything really starts paying off. The following “The Ballad of Lucy Jordan” and the closing “Why’d Ya Do It” are the absolute highlights with the tom toms and the guitar sounding especially great. There are highs and barely any lows on Broken English. But there’s a bit too many mids where I’m just not that invested.
some groovy blues-y bass lines, but her voice/lyrics made me wanna kill myself
A couple of interesting songs. Let’s go with 2.5/5
Well, I recognized the one from covers. Some of these appealed. Others not.
Idk. The vocals weren’t as good as they were on her older stuff. Kind of a dark slow album. Not my thing
british boomer picks another punk rock folk lady singer. shes cool. she is energetic, feisty, angry. i get it. this one belongs as “should listen” but it also feels a little stale. some reggae rhythms. some folk. some blues riffs. its fine i guess. she cant sing, which is fucking punk. cool. i guess its fine. i dont know. good pick british dad?
I liked this overall. Appealing voice, kind of Tina Turner-like, and interesting songs for the most part. However, sometimes when I look at the album details on Wikipedia and I see 11 different songwriters involved and 13 musicians involved, it makes me think that what I'm listening to is less of an artistic vision and more of a product that's been produced for me by a faceless corporation. This album sort of feels like it's in the middle of those two extremes. 3 stars.
Voice is kinda off for me.
3.5
Man, this has the set up to be a good album, I like the instrumentation, and this feels like something I'd like, but that voice. I understand the back story and it's "unfortunate" (although it worked out for her so I suppose it isn't all bad) but the voice rivals Springsteen in annoying. It's comparable to if Nina Simone's voice was shakey and awkward rather than powerful and soulful. It just isn't enjoyable to listen to. I mean, it could be worse, none of the songs were bad per se, but they weren't good either. The best song was the final song, as her voice far more complicated the very harsh tone, but even that tacked on one or two minutes that really didn't feel the need to be there.
Nothing special about this one besides the early electronic vibe. Meh.
Este ha sido un verdadero descubrimiento. Se agrega inmediatamente a la biblioteca y a la rotación.
79/100: Truly a very, very good album. This album is good fit mostly one reason: Marianne Faithfull's voice. With that being said, I can see how you might hate her voice, I find it incredibly beautiful and unique. I've never heard a singing voice quite like this until I turned this album on this morning. Somehow her voice is both raspy and soft at the same time. Really cool and unique sound.
This album is beautiful. I loved it's strange New Wave melodies. They feel lost somewhere nice between between punk and disco. With just a twist of kraut rock in the synths and percussion. I loved that the brutal honesty of Marianne's lyrics feel especially brutally honest in the unique voice and way of her singing. She is an amazing storyteller. "Witches' Song" might be my favorite. "The Ballad of Lucy Jordan" and "Why'd You Do It" too. This is my first time ever hearing this album. And I'm so grateful for it. It feels really special.
When I started listening to this album I had a lot of conflicting feelings. First off, it sounded like a completely unknown sound to me. I couldn't figure out this genre! cwm described it best, some kind of a mix between punk and disco and krautrock. Truly an original and unexpected sound, so props to the team for coming up with that one. But damn, do I dislike her voice. I read up on Marianne Faithful and the 70's was not a good time for her. She was houseless, addicted to heroin, suffering from laryngitis. When she surfaced with this album, her voice had shifted in some raspy ways. A lot of people loved it. I find it extremely grating. Not even the sick album cover can save this one for me.
I really felt like I connected to Marianne Faithfull in this record. You can hear the years of pain, suffering, grief, defiance. I think her performance is captivating, and it helps that the music is so well produced, a really good example of this style, great guitars. The one track in the middle that sounds like an English folk tune, but with a different take on it production-wise… THAT I really liked. But it had me hooked from minute 1! Four stars!
Not for me
Didn’t do anything for me.
This is a package to be commended. A more than fine example of where the music delivers to album cover. It is an interesting mix of songs that are well produced. The vocals vary but are punchy, gritty and strident throughout.
Listened in the car, liked some songs! Might be better for a rainy night at home
She has an interesting bar singer voice. It works well for background music, but not much else. It doesn't move me.
3.6 - This one's got all the trappings of a late career record from a fading rocker (see also my reviews for Emmylou Harris and Dennis Wilson): a) expensive and subtle studio production and sound engineering, b) vocals that betray nicotine addiction, c) vague lyrics with whiffs of sex and drugs, d) subdued instrumental arrangements that complement, and don't distract from, the energy of the geriatric artist, e) just enough trendy sonics of the day (synths, electronics, etc.) to keep things "hip." Throw in a compelling backstory of redemption for the artist (up from addiction, homelessness, etc.) and you get this record. OK, all my cynicism aside, "Why'd Ya Do It" is one of the better songs I've heard that expresses hot rage directed at an unfaithful partner.
Her voice is likely an acquired taste that unfortunately I have yet to acquire. The album itself isn’t terrible, towards the end the songs become less exciting.
Þessi plata er algjör negla. Fröken Faithfull kom þarna frama sínum aftur af stað eftir nokkur mjög erfið ár.
Not a lot to see here
I quite liked this. Very good country-punk-synthpop stuff, and I really liked the darker and angrier songs. Favourite: Working Class Hero
Interesting, dark, angry. I felt it
Excellent album, I love her unique voice. All of the songs are good.
it was fine, her voice was a little too gravely for me.
This was a weird mix of things and stuff. A little Stevie Nicks, a little good, a little bad.
total blindspot - had never even heard of her. sounds more recent than the 70s to me. intense.
Marianne faithfull - broken English (1979) Notes - First album after a period of drug addiction and homelessness, losing custody of her son and ending her relationship with Mick Jagger - She has a very distinct, raspy, broken voice that takes a minute to adapt to - Second half of this album is waaaay better than the first half - There’s a pretty interesting cover of working class hero on here as well - Why’d you do it sounded like it could’ve come from the clash Fav - What’s the Hurry - Good energy, cool guitar parts, probably Marianne’s strongest vocal on the album Least fav - Witches’ song - repetitive, not as interesting as the other songs 2.5/5
The albums opener broken English is a decent song rather simple but a nice plunge into her sound, but there’s something about her singing that I really don’t like to be honest, hope that opinion improves as the album goes on. Witches song goes in a folkier direction than the other tracks I prefer it to the last song but something still isn’t clicking. Brain drain was a rather likeable song though I don’t know why though but this one was good, very good in fact! Guilt is a nice tender ending to side one that eventually spirals in its energy throughout, not necessarily something a I love but still rather entertaining. The ballad of Lucy Jordan is a banger an amazing example of side 2 track one being a banger! What’s the hurry was also a banger but I couldn’t find anything notable as such. The penultimate track working class hero is a slow powerful banger loved this one! Why’d ya do it is dance rock at it’s finest brilliant closer. This is a very backloaded album in my opinion the last 4 songs were amazing but the first 3 were a mixed bag. 4/5
Surprisingly experimental and electronic, and quite raunchy.
Decent album. Kinda annoying voice after a while
AHEAD OF ITS TIME. i would believe this was made today if i didn’t know better.
Faithfull at his best
Listened Before? N I'm familiar with Ms. Faithfull from the Metallica song "The Memory Remains", and that's it. I always thought her voice sounded the way it did because she was older... turns out it's just like that. I am not a fan, and I don't understand what separates this album from any of the hundreds of other mediocre new wave albums that released during these years. Added to Library? N Songs added to playlist: Guilt
Have Guilt & Working Class Hero saved on my Spotify already. I go through periods where I like Marianne's voice and others where it's just grating to me. Overall I like the album but can never make a decision how much I actually like it upon revisits, so probably a 3 for me.
Not sure why is this here
Eight consistent tracks and overall a pretty good record, but really nothing more than this.
I can see why people really enjoy this, but it's not really for me
Very late 70's in sound which seems to suit her voice this album seems to be more about Marianne than the music. She has an odd voice and has a magnetic personality. Try checking out her 60's songs on Spotify and it's shocking the contrast. The music is average but the lyrics and Marianne's voice and persona make this worth listening to. It's all about excess and self-destruction. BTW don't listen to 'Why'd ya do it ' with your mother in the room......
I think this had potential, but it just didn't work for me.
interesting but
Well this was a pleasant surprise. Never heard of this artist before and it was fantastic. Reading about her I'm surprised the name doesn't ring a well since she was involved in the 60s British invasion. Definitely a great find.
Very bluesy, I can hear the rolling stone influences. Unique voice.
Idk i hated this
Broken English is an unusual listen because it sounds more 90s than late 70s and has a moody bluesyness to it that doesn't really fit with expectations or the era. And some of it is good, Brain Drain I liked, then there's some real rubbish like The Ballad of Lucy Jordan, which is curiously the most listened-to track. She has a cool voice but there's not enough here for more than 2/5.
Not a lot to say about this album, except that it suddenly grabbed me with the last track. There's so much menace in that, it really suits her voice (which sounds exactly like you'd expect someone who's been through all the things she had to sound), but it doesn't work so well for the rest of the album. Working Class Hero is one of my favourite Lennon songs, and I really didn't like the cover of it, not quite sure why but just had something missing. 2/5 for the album, but the last track is worth a listen.
Meh
Je ne sais pas si elle fait exrès pour que la voix casse comme ça, mais ça devient agaçant quelques fois. Autrement, c’est plutôt cool comme album.
Je connaissais le nom, mais n’avais encore jamais rien écouté de ce qu’elle a enregistré et j’avoue être agréablement surpris par cette écoute. La voix a du vécu, mais elle sert bien l’album. Gros coup de coeur pour Guilt et Why’d Ya Do It. Je vais assurément revenir à cet album.
Rockig, leicht, unaufgeregt
Really annoying voice/singing. Droning on and on and the songs aren't all that dissimilar. Nothing about this album is exciting. 4/10.
So-so - vaguely reminiscent of a very poor man’s Stevie Nicks. Last track is biting and also appealed to me the most n terms of rock music (Talking Heads mixed with Sex Pistols vitriol). Very telling that the LP was not a hit record in the UK…
this is a great album. Lyrics, band, both up there. Marianne's voice needs to be gotten used to a little but it came off well.
at the age of 37 kinda sticks to your brain, huh
This basically just needs to be listened to. It encapsulates an entire decade of thought and attitude by white people in the UK in one album. 5/5
For 1979, this album felt a couple years ahead of its time. However, this is also one of the few albums where the background of the album is just as interesting as the actual music. Mariannes personal struggles since her previous album definitely give the album an extra weight it wouldn't have had otherwise
Fairly uninteresting music. Repetitive and unfocused.
Pretty average album but last track is great "why'd ya do it" lyrics are 👌👌
What an amazingly intense album on survival. The songs are incredibly strong, her voice broken and you can feel power, pain and disillusionment throughout the album. And an absolutely haunting version of Working Class Hero to boot. 4,5*
Goede tunes, enorme kutstem 1/5
Fairly indifferent about this… not great, not bad!
Fractured listen due to bike ride and needing to listen on YouTube. Nothing super memorable but nothing terrible either
More interested in her backstory than the album.
I have nostalgic feelings for the ballad of Lucy Jordan, and I enjoyed the sister morphine cover. Generally fine, but not super memorable
There were parts of it I really enjoyed, and I loved that version of Working Class Hero. Other songs faded into the background though.
Raunchy, raw, powerful. Faithfull's version of The Ballad of Lucy Jordan is iconic and moving and inspired me to get to Paris, even if it wasn't in a sports car.
Didn't do it for me
her voice on this album is the most unique part! you wouldn't think someone should sing with such a voice, but with the new wave and song contents, faithfull makes it work. it's somewhat off putting at first; her voice definitely grew on me. but she brings a certain charm to the songs. "the ballad of lucy jordan" rather grabbed me. i wasn't aware shel silverstein ever jumped into song lyrics (though it's clear this is his style), but i dug faithfull's version of the song very much. an easter egg for me is steve winwood on synthesizers! how neat.
Marianne Faithfull was new to me, but I found her to be intriguing. Her first album was released in the 60s and was quintessential 60s pop. Then, into the 70s, Marianne went through a rough patch, which led to her heavily abusing drugs and suffering from an eating disorder. As a result, her voice was permanently damaged and changed. In 1979, after mostly a decade of musical inactivity, she released this album which was an extreme deviation from her norm and a culmination and reflection of these many rough, life changes. This album was categorized as "new wave", and while I can hear those qualities, I felt like the album had a lot of other musical genres on display that were often even more prominent. Regardless of genre, the album was pleasantly dark and edgy throughout. This was coupled with Marianne Faithfull's raspy voice, which I loved. The songs themselves were a bit hit or miss for me. That said, Broken English and Witches' Song were both faves; the latter gave me strong Stevie Nicks vibes in musical and vocal style as well as lyric style. I'd clock this at about a 2.5, so rounding it up to 3.
There’s a lot of interesting parts of this album - but it’s a little on the monotone side musically as a whole. However it contains some juggernauts - Why D’Ya Do It - the album closer is off the wall gritty and powerful - her cover of Working Class Hero is also a perfect match for her brooding gravely voice - title track Broken English and Ballad of Lucy Jordan also elevate this album. The brutal honesty of emotion throughout this record just gives it an extra star - it is the journal of a wrought heart and should be measured as such.
Gave this a couple of listens but didn’t do much for me.
bleh
Plenty of pain here, and her ink belongs to be read.
60's female liberation calcified into snide, embittered, off-hand broadsides. She confidently rides disco-punk-and-even-ska rhythms that are itchy and agitated because it's not easy being a woman. Esepecially one who's putting everyone in the dock--herself, her cheating bastard boyfriend, and the cunt he had in their bed.
Not my favorite new wave/pop album. Some things were executed well such as the songs ‘Guilt’ and The Ballad of Lucy Jordan’, but overall, I found that this album was not as engaging as other new wave music from this time period. However, this album does represent a triumphant return for Marianne Faithful after 12 years without an album and bouts of drug abuse and homelessness so something should be said for that.
This is the kind of album I hoped I would find more often in this list, as far as variation goes. Generally, the album's style is pop/rock with some blues thrown in for good measure. The most well-known song is probably The Ballad of Lucy Jordan, which is dominated by a wobbly synth arrangement, but every single track is different here, so with every song the listener has something new to discover (unlike with so, SO many other albums on this list). This was a great find, to which I will listen again. 4/5
Some bops! But not full of them.
Okay?
Alrighty then - Reverend Father Ace Ventura (Pet Detective)
Goddamn but "Why D'Ya You Do It" is still bracing, isn't it? So many controversial songs get tamed by the passage of time, but somehow this hasn't...
This is so great. I've not listened to Marianne before so this was a joy to dig into. Working Class Hero was the standout on the first listen and on the second listen every track was a hightlight.
All very elegant and simple, but completely uneventful
First time listening to this and I really enjoyed. Do recommend
Seems ok to me. Nothing really stands out, but it is enjoyable. 2.5/5
Awesome guitar but the vocals are unbearable. I think this would work better as an instrumental album, but I get that's not what she was going for. This is about her struggles and damn, reading her Wikipedia article for the first time, how is this woman still alive.
Ah, we're at last graced with a British invasion album. And I have to admit that this is very different from what I expected. I Googled the artist and even though there are these piercing songs about classism and discrimination she was apparently linked to royalty or nobility in Europe and dated Mick Jagger? What is all of that about? I don't know, but this album was solidly enjoyable. Nice melodies, great lyrics, just okay vocals. 3 stars for me, but a strong 3 stars. Fave tracks: "Broken English" and "Working Class Hero"
Stand out Tracks - Broken English - Working Class Hero - Guilt
Interesting sound from the period between the 70's and 80's
pretty groovy, 8/10
Icy horror.
Liked this a hell of a lot more than I thought I would. Don't think I've ever listened to a Marianne Faithfull album before... Definitely pre-judged her and got it wrong
This is surprisingly good. I knew next to nothing about her. My only memory, and it vividly came to mind as soon as I read her name here, was when I was maybe 13 or so and she was the musical guest on SNL. I had never seen or heard of her before. The reason why the memory is so vivid is that I remember so clearly how striking her appearance was, and, sadly, not in a good way. I had never seen a human so thin and frail. She looked severely ill. The performance is referenced in the Wikipedia entry about this album, and the entry speaks to her years of substance addiction and it makes sense now why my 13-year-old self was so struck by how she seemed. She is still alive, though, and hopefully, she's okay. I never like to see anyone suffer. In this album, I hear a talent that can cut across an interesting variety of music. Synth-dance-y at times, dark edgy bluesy and rock-sounding, and a bit of punk and new wave sound. Really cool stuff.
Not bad. Reminiscent of grace Jones Dub in parts
Classic.
C'est ok, très prévisible, musique intéressante mais un peu répétitive
Y'a des petits bangers en vrai !
album qui fait partie des oublis instantanés
great transitional album with a couple electronica nods. keeps it punk though overall. working class hero cover is fantastic
Hated it
Better than I expected
Few different sounds mixed well in here. Who knew that county could sound good with a little electronic backing.
better than expected for early 80s new wave
Цельный альбом с парой неплохих песен, которые под настроение очень даже могут зайти.
Very good album - surprisingly engaging.
I picked this up on vinyl when I was a teenager, specifically for the title track. The album as a whole is actually nothing like the title track, which is probably why teenage me never really listened to it. That's really too bad, because that's actually one of the weaker tracks on the album. Musically, it turns out the album is quite good. Lyrically and musically mature, the songs mix acidic social commentary with pointed sexual politics. Fave Songs: What's the Hurry, Witches' Song, Working Class Hero, Broken English 3 4 3 3 3 5 4
Still like the title song; rest of album pretty good
Love the new wave/post punk production, it's in the vein of Dylan's "Infidels" or "Empire Burlesque." I wasn't super familiar with much by Faithfull before listening to this, at least outside of her version of "As Tears Go By," which is gorgeous. This is a whole different animal, her alto has lost the honey sweet smoothness of the British Invasion days but it's beautiful in a more complex, adult way. The more I think about this, the more I'm in love with it and I want more.
Inte riktigt min musik.
You ever feed your dog meatloaf and afterwards wonder if perhaps that wasn't your best idea? My dog ate two pounds of Manwich and spent the next two days shitting. Her stomach could be heard across the room churning and gurgling. The first song on this album reminds me of those two days. The album isn't terrible, some of it reminds me of a remedial Cindi Lauper or some polished Slits. The 80's vibe, though it's outdated, brings some enviable and unique nostalgia. What's the Hurry? and The Ballad of Lucy Jordan along with Why'd Ya Do It are good. The Working Class Heroes cover is terribly awful. I'm convinced the person who made the decision to include it is the same one that suggested the flatulating synthesizer be used on the title track. RIP Juno
This came out in November of 1979, and I'm pretty sure the intro to the first track created the 80s. Then Faithfull started singing, and let's just say it doesn't improve things. Some questions and observations: What the hell is "Broken English" even trying to say?? The thought of new wave witches is funny. The synthy new-waviness fades away after "Broken English," but I don't exactly care for what replaces it. "Guilt" is a bunch of lies, right? I thought we were veering back into the tolerable music zone there, and then the sax comes in at the end, again heralding the 80s. "What's the Hurry?" The hurry is to get this album over with. Yes, I am running for cover. I didn't think a song about a "Working Class Hero" fit here, and apparently that's because it's a cover of a John Lennon song. And then it finally ends, with the bizarrely crude reggae punk "Why'd Ya Do It." Musically, it almost got interesting there. Lyrically... I don't know but finally it's over.
The voice is a huge turnoff and I could not hate that broken English song any more than I do.
4…5…4?…5?…4…5… There is real grit here. Grit from the streets of London. I like the music more than the vocals, and I don’t like the music all that much. The electronica bits are intriguing. The cigarette induced laryngital raspy voice is bad. I know Why d’Ya Do It? Is autobiographical, but the lyrics are not very appealing. 4…5…LOL…Just trolling the Jeff Buckley fan club…
dark, fractious, bohemian, a glass of wine and a Gitane. then another.
weirdly catchy low key post punk electro vibes. some startlingly crass lyrics to spice things up
Not bad but not amazing
An interesting, up and down album for me. Some songs were really great, while others didn't resonate. Maybe it was just how I was feeling when I was listening, but even though I enjoyed the rough gravel of her voice, I couldn't get lost in her songs the way I wanted to.
Great album
Boring, derivative, annoying voice.
I guess I never really got onto Marianne Faithfull’s post-70s career. I don’t know what I was expecting but it wasn’t this. Not exactly for me but I’ll give it an extramarital point for some ahead of their times raw nasty lyrics
2.5 stars. I’m not a big fan of her voice but the songs are ok
I enjoyed this and admire her place as a cultural icon. Not a stand out album for me.
Not bad, not great. The backstory on the album and Marianne's career is interesting . Would listen to it again but not anytime soon.
girlboss laying down some good shit. English Joni Mitchell not messing around I liked a lot
Broken Music
would never have listened without this list. Probably not going to listen to much more Marianne Faithful although I wouldn't count it out either, why'd ya do it is a great way to finish off the album.
It's a good album. She only had a very few hits back in the days that I can remember. Her style is unmatched. She is unique and I can listen to it w/out the urge to skip to the next song quickly. I call that success.
Great album by the late but one and only Marianne Faithful. Very 80s sound, but ir was actually released few months before 1980. Just discovered that Steve Winwood provided keyboards on this album. This rocker and new wave style suited her in a great way. She even wrote on her memories that this was her masterpiece. Highly recommended.