I went to see Marianne Faithful last night which gives me an excuse to run the above photos, two of my favorites, and some clips, including the only watchable parts of the otherwise awful flick Girl On A Motorcycle (1968).
The show was great. Hal Wilner has put together an excellent band for her, including a small string section that allowed her to do "As Tears Go By" in its original arrangement.
She did lots of material from her new LP, one of those superstar duet jobs that I've only heard a few tunes from, I really liked her version of Merle Haggard's "Sing Me Back Home" (which she sings with Keith Richards on the record). Anyway, the live show included a great version of Sister Morphine that allowed guitarist Marc Ribot to really shine. I kept thinking how great it would sound if Quine was up there with him (Quine played on her Strange Weather LP). Anyhoo, here's the original version of Sister Morphine if you never heard it (with Ry Cooder on guitar), the Stones' covered it note for note on Sticky Fingers, even giving themselves the songwriting credit on the original pressings of the LP. I've always loved this tune which appeared as a single on Decca (U.K. only) around 1970 when she was living out the lyrics. I might as well throw in a couple of other early Decca era tunes that I like and you might have missed--here's her version of Leadbelly's Black Girl (later a hit for Nirvana), and here's Is This What I Get For Loving You, a record I've owned since I was seven years old and drooling over her on Hullabaloo (clip below) and Shindig. If you're not totally burned out on Rolling Stones related reading (I was going to to an entire posting on Stones' books since I buy and read 'em all, but does anyone actually care at this point?), her
1994 autobiography Faithful (with David Dalton, Little Brown) is a classic, right up there with Anita O'Day's High Times Hard Times (with George Eells, Putnam, 1981) in the she-junkie literary canon. Anyway, Marianne Faithful may not look like she did in the sixties but as a performer she's actually stronger than ever, her voice, originally a breathy, clear, alto, emerged at the end of some hard mileage so fragile and cracked that it used to sound like it her vocal chords would snap mid song. These days her voice is a surprisingly strong and flexible instrument. It still sounds like she gargles with broken glass and whiskey, but it's a voice that has served her well through four decades and four million cigarettes. By the end of a 90 minutes set her pipes was still strong enough for her to deliver her final encore acappella. Marianne Faithful, from her Ye-Ye girl roots to today's weathered pro, reinvented herself the hard way, ya got to love her for that.
Thanks to Mary Lee Kortes, Eric Ambel and Hal Wilner for getting me to leave the house on a Saturday night in NYC, I can't even remember the last time I went out to see music in this city on a Saturday night.
James "The Hound" Marshall is a former WFMU deejay (1985-97), music writer and bar owner (Lakeside Lounge NYC, Circle Bar, New Orleans). He has contributed articles to dozens of mags and newspapers including the Village Voice, NY Times, LA Weekly, Spin, Penthouse Forum, New York Rocker, Newark Star-Ledger, East Village Eye, High Times (columnist for ten years), Kicks, and worse.
He also wrote liner notes to CD re-issues by Larry Williams and Johnny Guitar Watson, Ray Price, Eric Ambel, Challenge Records,The Okeh R&B Box, and others as well as compiling three volumes of the early rock'n'roll compilations Jook Block Busters (Valmor). At age 17 he edited two issues of the punk fanzine New Order (1977) He was born in Paterson, N.J. and raised mostly in Broward County, Florida, moving to New York City at age 18 in 1977 and has resided there ever since except for 1998-2002 when he split his time between New York and New Orleans. He has been acclaimed in print in the New York Times, Village Voice, Time Out New York, New York Magazine,The Manhattan Catalogue, and other publications you wouldn't be caught dead reading.