The Definitive 1000 Songs Of All Time 1955 to 2005: Number 696

Number 696

Marianne Faithfull

"Ballad Of Lucy Jordan"

(1979)

Genre:Alternative

I always imagined Marianne Faithfull must have smoked 30 packet of fags before she recorded this song! I use to own a T shirt in me teen years with her image on it, it was my favourite shirt, unfortunately it ended up with more holes than actual cotton. (Go on, you can work it out)

Few stars of the '60s have reinvented themselves as successfully as Marianne Faithfull. Coaxed into a singing career by Rolling Stones manager Andrew Loog Oldham in 1964, she had a big hit in both Britain and the U.S. with her debut single, the Jagger/Richards composition "As Tears Go By" (which prefaced the Stones' own version by a full year). Considerably more successful in her native land than the States, she had a series of hits in the mid-'60s that set her high, fragile voice against delicate orchestral pop arrangements: "Summer Night," "This Little Bird," and Jackie De Shannon's "Come and Stay with Me." Not a songwriter at the outset of her career, she owes more of her fame as a '60s icon to her extraordinary beauty and her long-running romance with Mick Jagger, although she offered a taste of things to come with her compelling 1969 single "Sister Morphine," which she co-wrote (and which the Stones released themselves on Sticky Fingers later).

In the '70s, Faithfull split up with Jagger, developed a serious drug habit, and recorded rarely, with generally dismal results. This occurred until late 1979, when she pulled off an astonishing comeback with Broken English. Displaying a croaking, cutting voice that had lowered a good octave since the mid-'60s, Faithfull had also begun to write much of her own material, and addressed sex and despair with wrenching realism.

After allowing herself to be framed as a demure chanteuse by songwriters and arrangers throughout most of her career, Faithfull had found her own voice, and suddenly sounded more relevant and contemporary than most of the stars she had rubbed shoulders with in the '60s. Faithfull's recordings in the '80s and '90s were sporadic and erratic, but generally quite interesting; Strange Weather, a Hal Willner-produced 1987 collection of standards and contemporary compositions that spanned several decades for its sources, was her greatest triumph of the decade. In 1994, she published her self-titled autobiography; the biography -As Tears Go By by Mark Hodkinson is an objective and thorough account of her life and times.

Faithfull returned to recording in 2002 with Kissin' Time, an eclectic collection of songwriting collaborations with Beck, Damon Albarn, Billy Corgan, Jon Brion, and Jarvis Cocker among others. In 2004, Before the Poison was released in the U.K., making its entrance into the U.S. market in early 2005. This album continued in the vein of its predecessor, with songwriting and production contributions from PJ Harvey, Nick Cave & the Bad Seeds, Brion, and Albarn, but with far more consistent results.~ [Richie Unterberger & Thom Jurek]

For Rolling Stones see Numbers 689 & 767

For Nick Cave see Number 701

For Billy Corgan see Numbers 811 & 864

What does Rolling Stone think of Marianne Faithfull?

I may have made Broken English sound like some sort of accident: a surprisingly listenable case study of a hapless neurotic. That's not what it is at all. It is a perfectly intentional, controlled, unique statement about fury, defeat and rancor: the other side of Christine McVie's lovely out-of-reach romances. It isn't anything we've heard before, from anyone. As far as Faithfull goes, there's a guttiness here, a sense of craft and a disruptive intelligence that nothing in her old records remotely suggested. Broken English is a kind of triumph: fifteen years after making her first single, Marianne Faithfull has made her first real album. (RS 309)