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In the spring of 2020, reports emerged that Marianne Faithfull had become critically ill due to Covid. At the time, the virus was widespread and had a devastating impact on her, leading to her losing consciousness and requiring urgent treatment in the intensive care unit. She was intubated and her chances of survival seemed slim. In an interview with the Guardian a year later, Faithfull shared that she felt she was in a bleak state and likely facing death.
Despite surviving, Faithfull’s lungs were greatly damaged by the virus and her preexisting emphysema, possibly hindering her ability to sing in the future. This left her facing two challenges: a potential loss of income and expensive recovery from long-term effects of Covid. Although fans have been worried about her, one of them took action to help.
Tanya Pearson, the leader of the Women of Rock Oral History Project, explained that her goal was to generate the most profit for Marianne. She initially thought about arranging a fundraiser concert, but due to the ongoing pandemic, it was not feasible at the time.
Instead, she chose to attempt the creation of a tribute and benefit album that would include popular artists covering songs that Faithfull is known for. Pearson, who started the project over two years ago, stated that the process of finding musicians willing to contribute their time and effort was simple. However, finding a label that would forego any profit was a more challenging task.
Initially, she attempted to work with prominent record companies such as BMG and Island. Faithfull’s most famous pieces were produced under these labels. Pearson, reflecting on the experience, mentioned, “They all expressed admiration for Marianne, but claimed they were unable to proceed.” Pearson countered, “Well, the potential is there. You simply choose not to pursue it.”
After an extensive search, Pearson finally discovered a small label known as In the Q. This week, they will be collaborating with Bandbox to release a double vinyl set titled The Faithfull. The album includes 19 tracks from popular artists such as Shirley Manson, Cat Power, Iggy Pop, Peaches, and the Bush Tetras. The album will also be available on streaming services. Pearson clarified that most of the artists featured are women because of her connections through the Women of Rock Oral History Project. However, this had a positive outcome as it showcases Marianne Faithfull’s influence and inspiration on many female artists. Pearson stated, “The album serves as a testament to Marianne Faithfull’s impact as a pioneer and role model for countless women.”
One of the individuals featured on the album is Shirley Manson, who collaborates with Peaches on a duet covering one of Faithfull’s most well-known songs, “Why D’Ya Do It?” Manson shared that when she first heard the song at 15 years old, it deeply resonated with her. She had recently been betrayed by a lover and found solace in the lyrics of the song. Manson also appreciated the boldness of the lyrics, which openly addressed themes of sex and betrayal from a female perspective.
Peaches expressed her admiration for Marianne’s song, which included themes of hash, pussy, and revenge. She particularly enjoyed Marianne’s bold and intense vocals, which had a significant impact on her own music style.
Tanya Donelly, a key member of bands such as Throwing Muses, the Breeders, and Belly, first encountered Faithfull’s music from a unique perspective. As she grew up, her parents would often play Faithfull’s music from the 1960s, when her voice had a gentle tremor and her sound had a folk influence. For the tribute, Donelly collaborated with the harmonious trio Parkington Sisters on a rendition of “This Little Bird,” one of Faithfull’s major hits in 1965. “Her voice on that song was a big part of my childhood,” Donelly shared. “I even used to sing it to my children as a lullaby.”
Despite the delicacy of Faithfull’s original recording, Donelly detected a tug of sadness in it. “Her singing in that song has that sweetness and that darkness,” she said. “She’s a master at balancing the two.”
Pearson encouraged the participants in creating the tribute to carefully choose pieces that would accurately depict the entirety of Faithfull’s career. This includes her 22 solo albums released over a span of six decades. The selections made by the participants cover a wide range, starting with her 1964 hit “As Tears Go By” (covered by Tracy Bonham) and extending to more recent songs like “Before the Poison” (performed by Feminine Aggression) and “Sex With Strangers” (sung by Miss Guy of the Toilet Boys with a seductive charm). The album’s tracklist showcases the diversity of Faithfull’s repertoire, which was a major attraction for Tammy Faye Starlite. Starlite, who covers “The Ballad of Lucy Jordan” on the album, has also created a successful cabaret show centered around Faithfull’s album “Broken English”. “Marianne’s career is incredibly diverse,” said Starlite. “She has recorded 60s pop songs, country songs from the 70s, and then her iconic rasp in “Broken English”. She has also sung Brecht-Weill songs and so much more. With some singers, every song sounds the same, but with Marianne, each one is unique and different.”
The range of her work also extends to the dreamy orchestral song cycle A Secret Life, which she created with Angelo Badalamenti, and a clutch of albums for which she co-wrote pieces with a subsequent generation of musical mavericks such as Beck, PJ Harvey and Nick Cave. Linking it all is the intentionality of Faithfull’s performances. “She means every word she sings,” Donelly said.
According to Manson, this is what sets her apart as a skilled interpreter. She explained, “I have noticed that many singers cover songs flawlessly, but it seems like they lack a true understanding of the lyrics. However, Marianne brings a wealth of life experience to any song she performs.”
Faithfull’s experience as an actor, in roles from Ophelia to the Three Sisters to the Brecht-Weill pieces, helps greatly in that pursuit. “When Marianne sings The Ballad of Lucy Jordan, she both is Lucy Jordan and she’s the narrator of her story,” Starlite said. “She can embody the character’s plight while also objectively describing it.”
The unique skills and distinct tone of Faithfull’s voice effectively address a potential issue in the tribute album. Although most of the songs are not written by Faithfull, her rendition of them makes her a spiritual co-author. Other artists on the album attempted to emulate this by giving their own interpretations of the songs, such as Joan As Police Woman’s transformation of Broken English from a dark rock song to a reflective piece, and Lydia Lunch’s addition of a Dylan-esque snarl and sharp guitar to the blues track Life, Love and Money.
Despite her unique sound and wide range of original recordings, Marianne Faithfull has often been reduced to sensationalized headlines about her personal life, particularly her relationship with the Rolling Stones and struggles with drug addiction. In response to this, Pearson wrote a book titled “Why Marianne Faithfull Matters” a few years ago, which focuses on her musical contributions. Pearson believes that as documentarians and gatekeepers, they have the power to change the perception of women like Marianne and ensure they are respected for their artistic contributions, rather than being defined by their past struggles.
Singers such as Starlite argue that it is not possible to completely separate Faithfull’s personal life from her artistic work. According to her, the two are intertwined and have a symbiotic relationship, with one influencing the other in a unique way. Her decisions and experiences in life have had an impact on her voice and ultimately, her art.
In the case of Faithfull, the harm to her vocal cords ultimately enhanced her ability to convey emotions. This transformation began with the grit she developed for her 1979 album Broken English and has only gained greater significance over time. In her 2018 album Negative Capability, Faithfull embraced comparisons to her past by including songs she had previously recorded decades earlier, such as “As Tears Go By.” This was her third take on the piece. According to Starlite, “When she last sang that song in 1987 and delivered the line, ‘It is the evening of the day,’ it had a sense of twilight. But this time, it truly feels like the end. And that is incredibly moving.”
In her latest album, “She Walks in Beauty,” Faithfull chose to recite classic Romantic poems rather than sing, following her recovery from Covid. The result was just as captivating as previous works. Donelly sees Faithfull’s vocal changes as an inspiration for those losing their vocal range.
It’s no surprise that those involved in the tribute project feel a strong connection to Faithfull. Starlite’s motivation for creating her cabaret show was her desire to emulate Marianne Faithfull. She even brought in Barry Reynolds, who collaborated with Faithfull for many years and wrote some significant songs for her, such as “Times Square”. Pearson also has a tattoo of the star on her right shoulder, showing her admiration.
Pearson has been in contact with Faithfull while assembling the tribute. Faithfull, who is 76 years old, loves the music that resulted from their collaboration. However, she continues to struggle with respiratory issues and cognitive impairment, which may have influenced her decision not to participate in interviews promoting the tribute. Despite this, Pearson shared that Faithfull is taking singing lessons in hopes of improving her voice. The creators of the tribute also hope that it will not only raise funds for Faithfull, but also introduce her music to new fans. Manson expressed that many listeners may not be familiar with Marianne and he hopes that they will listen to her music after listening to the tribute, keeping her music alive for future generations.
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“The Faithfull will be released on December 8th.”
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On December 22nd, Tammy Faye Starlite will put on a charity performance at Pangea in New York City to honor singer Marianne Faithfull. The show, named She’s a Rainbow, will showcase songs that were influenced by Faithfull.
Source: theguardian.com
