From pop stardom through the depths of addiction to her punk-rock comeback, Marianne Faithfull's life captures rock 'n' roll at its most decadent and its most destructive. Faithfull's first hit, 1964's "As Tears Go By," opened doors to the hippest circles in London. There she frolicked with the most luminous of the young, rich, and reckless, including Bob Dylan, the Beatle
From pop stardom through the depths of addiction to her punk-rock comeback, Marianne Faithfull's life captures rock 'n' roll at its most decadent and its most destructive. Faithfull's first hit, 1964's "As Tears Go By," opened doors to the hippest circles in London. There she frolicked with the most luminous of the young, rich, and reckless, including Bob Dylan, the Beatles, and the Rolling Stones.
Her legendary affair with Mick Jagger produced one hit single, "Sister Morphine," and countless headlines. Faithfull left the relationship a strung-out junkie. Struggling to kick drugs and revive her musical career, she recorded
Broken English
in 1979, an edgy, hard-hitting, critical triumph. As honest in her autobiography as in her music,
Faithfull
is a searing, intimate portrait of a woman who examines her adventures and misadventures without flinching, without apology.
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Kindle Edition
,
336 pages
Published
June 6th 2000
by Cooper Square Press
(first published January 1st 1997)
"The unmanagable woman has been seen as a very dangerous quantity from the dawn of time, or at least since patriarchal religion clamped down on us."
There's a noticable sexism which tends to manifest itself when it comes to the women of rock n' roll. When others tell their stories, they're either painted as victims or viragos (sometimes both). When the women themselves tell their stories (such as Pamela Des Barres
I'm with the Band: Confessions of a Groupie
) there's an unapologetic and unabashed
"The unmanagable woman has been seen as a very dangerous quantity from the dawn of time, or at least since patriarchal religion clamped down on us."
There's a noticable sexism which tends to manifest itself when it comes to the women of rock n' roll. When others tell their stories, they're either painted as victims or viragos (sometimes both). When the women themselves tell their stories (such as Pamela Des Barres
I'm with the Band: Confessions of a Groupie
) there's an unapologetic and unabashed reveling in a crazy life well-lived on the edge, and most people just can't handle sex, drugs and rock n' roll from an unrepentant woman's perspective.
That's why I LOVED Marianne Faithfull's
Faithfull: An Autobiography
. Her album 'Broken English' is one of my faves, sung with all the raw, gritty power of a punked-out Big Mama Thornton. This is a woman I'd love to sit down and just let her talk and never be bored. She tells an unflinching and totally rock tale complete with all the cliches of excess and insanity, but also of possibilities. The big differences being the sixties pretty much wrote the book and that Faithfull pulls no punches. She doesn't apologize nor agonize. She's as forthcoming with her addictions as she is with her pansexual escapades. There's no blame game or attempts at "getting even". There's a candid maturity to her writing, even as her past behavior sometimes came off as immature. Still, it was the Swinging Sixties, a time of upheaval and hedonism, clashes with the "old guard", where the young and wealthy nobility wanted to be a part of "the scene", acid trips were 'gateways' and gender identity seemed to become more fluid. Of course, all is never right in Wonderland as the exploration turned into slowly turned into destruction.
The most startling aspect of this book was the British government being so terrified of The Rolling Stones, believing that they were ground zero for the societal changes rocking the country (pretty much the same thing was happening here in the U.S. with Civil Rights) and that the band needed to be "brought down", hence the infamous bust of Keith and Mick and the Mars Bar story. Alas, if rock n' roll really had the power to change the world, and back then it seemed to. There was definitely a sense of sorrow at the death of Brian Jones.
Also what stood out was Faithfull's refusal to be a "victim". That initial image of her as the delicate sylph from "As Tears Go By" was an image she hated and tried to get away from. Ha, even before the Cyruses and Lohans, the world of pop music was shaping the image of women. No wonder they had kittens over Janis Joplin. Faithfull is no victim, but a willing participant in her slow destruction then redemption. She's unflinching and honest.
All the luminaries of this era are here and they are quite human: Joan Baez, Bob Dylan, The Beatles, Jimi Hendrix, Anita Pallenberg, Alan Ginsberg--the whole creative and crazy crew of misfits who for awhile were a part of a larger tribe.
An enjoyable read from an incredibly fascinating woman from a time that still resonates.
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Deliciously written from someone who was smack in the eye of the storm of the 1960’s British music scene, who then crashed and survived her own sojourn in the 1970s/1980s. Dishing on everyone from Donovan to Tom Waits, Faithfull’s encounters with Bob Dylan — and oh yeah that boyfriend of hers in the late 60s — all of it makes this a wonderful and often very funny read.
I wish I could say this was a better read but it was poorly edited, incredibly rambling and not at all funny despite the many funny people she knew intimately-Mick & Keith primarily. It even was a little boring and I would have jettisoned it had I not been going to hear her speak in two weeks.
I expected a lot more given she had David Dalton as a co-writer. She must have allowed him to do nothing.
Disappointing.
Rambling tale of a 1960s London singer/actor/drug addict/Stones girlfriend/personality. Took forever for the real Marianne -not just a compilation of things she's done- to come out in that last few pages. Hard to really get a feel for who she is. Certainly a lot harder than the doe-eyed poptart I thought she'd be. Great behind the scene Information of the 1960-1970 music scene (especially from a woman's perspective).
Marianne Faithfull is an English singer, songwriter, actress and diarist whose career spans over four decades. Her early work in pop and rock music in the 1960s was overshadowed by her struggle with drug abuse in the 1970s. During the first two-thirds of that decade, and with little notice, only two studio albums were produced. After a long commercial absence, she returned late in 1979 with the la
Marianne Faithfull is an English singer, songwriter, actress and diarist whose career spans over four decades. Her early work in pop and rock music in the 1960s was overshadowed by her struggle with drug abuse in the 1970s. During the first two-thirds of that decade, and with little notice, only two studio albums were produced. After a long commercial absence, she returned late in 1979 with the landmark album,
Broken English
. Faithfull's subsequent solo work, often critically acclaimed, has at times been overshadowed by her personal history.
With a recording career that spans over four decades, Faithfull has continually reinvented her musical persona, experimenting in different musical genres and collaborating with such varied artists as Beck, David Bowie, Nick Cave, The Chieftains, Jarvis Cocker, Billy Corgan, Lenny Kaye, Daniel Lanois, Emmylou Harris, PJ Harvey, Alex James, Rupert Hine, Metallica, Barry Reynolds, Keith Richards, Sly and Robbie, Tom Waits, Patrick Wolf, Roger Waters, and Steve Winwood.
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