SPOKEN ENGLISH a conversation with Marianne Faithfull

Rip It Up, Issue 71, 1 June 1983, Page 18

SPOKEN ENGLISH a conversation with Marianne Faithfull

by Peter Thomson

It could be that Marianne Faithfull is unreliable. Then again it could simply be confusions in the communication channels. Whatever the reason, Rip It Up had been unsuccessfully trying for three weeks to phone her in New York for an interview. We did actually get through on the initial appointment but Ms Faithfull only had time to say: "I can't talk now. I'm going to have a bath. I'm doing a television show in an hour." A couple of weeks later we did finally make contact. She seemed neither surprised nor annoyed that someone on the other side of the world should be ringing her at home. Her voice was as husky as you would expect. "Listen, before we talk, can you just let me go and get a drink? I'm really dry (minutes later) —here's to you in New Zealand.'' Cheers What've you been doing recently? "I went to Canada for a few days, to get a platinum record and do some promotion." What was the platinum for? "Urn... I think it was Broken English. Maybe they've both gone gold." Did you have a good time there?

"Time? About seven o'clock. Wait ... oh, almost nine o'clock." I didn't think my diction was that poor. Maybe her connection wasn't too clear. 1 could hear her very clearly. Either way, I proceeded on what she thought I'd said. There's a dateline difference too I think. What day is it? "Aah ... I'm not the right person to ask that. "Hey, have you seen the interview with Dennis Hopper in Rolling Stonel Great inter-

view. Well I haven't read it. I just read the first line where his daughter says to him that at least he'll go down in history as the guy who said man' on screen more times than anyone else. I'm obsessed with that 'cause I really musn't say

any dated hipster slang or anything. I'm determined not to say 'man'. Not that I ever do." Do you still feel some identification with the sixties then? "I guess for some people I am. Not for me of course." Can we talk about the new album? I'm rather intrigued with the packaging, the implications of innocence, the childlike daubs of paint and the title which then turns out to be ironic. "It is ironic. You saw it. Well done. I chose the title. I didn't do the cover, man. It's not my painting. A bit too pastel huh?" No it's OK. In a way the lighter colours go well with the music which seems to be a bit brighter this time. "In some ways it's almost too pretty, too pushy in places. But I like it. It's fun layering things. I've gone right off synthesizers actually. I prefer things not so elaborate myself. On the other hand I realize it's a clever sort of way of putting certain kinds of words against pretty textures. Yuh ... it's nice to listen to. 'Running For Our Lives' I like best." Well it's the single here in New Zealand. I also find 'Morning Come' ... .... .. "D'you like 'Morning Come'? Some people

really like it and some don't think it's me." I find it very gentle and floating. "Ah, that's because I wrote it in Jamaica." She momentarily affects a Jamaican accent. "Morning com' you know mon." Much of Marianne Faithfull's current success has, of course, been constructed upon the notoriety of her less-than-private life. On Broken

English, for example, the non-original songs were carefully chosen to imply credibility by personal association. Even on the new album another cover version suggests much. Cowritten by her (ex?) husband and another woman, its narrator seems about to drink her-

self into oblivion after a broken relationship. Of her own writing, Faithfull publicly stated after Dangerous Acquaintances that it was autobiographical. I asked whether she still stands by that statement. "I'm really getting hammered by that quote now aren't I? Everything I do is taken like that but, like, 'Morning Come' is about Frances Farmer." Did you write it after reading her book or seeing Jessica Lange in the movie? "Oh the book. It's been one of my favourite books for years. In fact it's awful to say this but the lyrics are almost a paraphrase of the Emily Dickenson poem at the beginning of the book." Well, if you want to rectify the idea that all your lyrics are autobiographical, should we talk about some of the other lyrics on the album? "Well, you know, the most awful thing for a songwriter to have to do is discuss one's own lyrics in detail. Unfortunately a lot of them are autobiographical. Well, you know, they're just about whatever's going on at the time." The album has reiterated images of pain and despair. She groans, almost pleadingly. "Oh ... no." There are, surely. And what about the feelings of being pursued? She groans again.

"It's not ... Oh well ... Y'know. Like'Running For Our Lives' is actually about celebrating the joy of running away. So ... oh if you see it that way..." A large sigh. I ask whether she thinks it fair that people should also associate the non-original songs she records with her personal life. "In a way I suppose so. I have said that, yes, but I think it's gone too far now. I'm going to have to change that. "I'm not promoting my album very well am I? I do think I've been a little self-indulgent. But ... oh ... I don't know. What about 'lreland'?

(an original) That's pretty 'up'." It's the only one on the album though. "I know. There was another one which should've gone on which was also pretty up'.'' Was it 'lrony "No. Have you heard that? D'you like it?" Yes. On Barry Reynolds' album. 1 was looking forward to you doing it. ;"I wish I'd thought of that. Oh faaaark.". How long ago did you give it to him then? "Ages ago. When 1 was doing Dangerous Acquaintances. It actually fitted more into that. Aah ... 'Truth, Bitter Truth' and ... I can't remember now. Never mind. Also Barry's own album had just come out when I was recording A Child's Adventure. 1 did cover one song from that Times Square'. 1 think we do that great." You mentioned Ireland' a minute ago. Both you and Barry have a track on your albums celebrating Ireland. "That's because we both toured there in our band before Broken English. Some awful tour

of Eire. Though I have been going there for years. But that tour nearly broke up the band. It was booked by one of those shady agents who book one night on one side of the country and the next night on the other side." Faithfull, in fact, had scored a number one hit in Ireland in the late seventies with a C&W style song called Dreaming' My Dreams'. It was virtually the only chart success of any sort she had in the decade and a half prior to Broken English. "Yeah," she continued, "Before Broken English became such a success and all that sort of stuff, Ireland was one place I could go and make a bit of bread. But we also toured Germany in a transit van." Her laugh is followed by a gulp and the clink of ice cubes against glass. Are there any intended political overtones to your 'lreland' lyric? "No. The song's not a political statement. It's just an observation, that's all. I had an awful

time with that song actually. They released it as a single in Germany and they did the most awful thing to me. I was amazed. 'Running For Our Lives' was the single everywhere else but each licensee in each country can choose. They released 'lreland'. That was their big hope. I did this television thing in Germany Cologne I think and they did this thing which 1 didn't know about. 1 do now! They say, 'Stand here in front of this blue background so we can fill it in later' right. Then I had to split. In fact I was hustled off. Obviously. 'Cause if I'd seen it I would've freaked. They put flames behind it! Flames!" German state television did this to you? "Yes! Yes! I wouldn't go back. They wanted me to go back. I wouldn't go and they couldn't think why not. I mean, you know, really, that's terrible." Distorting your work. "It is isn't it? I'm not just being funny am I? That's the most dirty, underhand thing to do. I won’t fall for that one again. Ever. I do believe in allowing people the freedom to interpret things. "I don't know anymore. I'm getting a bit fed up now. Like I read songs as 1 want y'know. Y'do. In fact sometimes you find you've heard lyrics completely wrong. Right? Everybody has their own versions of certain songs, especially if the lyrics go on and on like some of Dylan's songs or something. 8ut..." There is a long pause while I expect the conclusion to her comment, but apparently she has finished as there is the sound of ice cubes again. Are you making any of your own videos then? "Yes, haven't you got it? Why not? It's perfectly respectable. I'm not even smoking a cigarette." What's it for? "Well it's to sell the bleeding record innit?" No, sorry. I meant what song? She chuckles. "Sorry man. It's Running For Our Lives'. It's charming. It was done in Paris." And are you touring for the album? "No, not this time." When we spoke briefly a couple of weeks back, you mentioned that you were off to do a TV show. What did you perform then? "Oh no, that was a chat show, so people could see how natural, charming, witty and amusing I can be. Hah, hah." I decide it is time to ask her about a subject that I've been putting off for fear of her reaction. In 1979 a certain Tony Sanchez, once Keith

Richards' personal drug producer, published a show-and-tell account of his years with the Stones. Not only did it graphically depict their extraordinary lifestyle but many of the chapters deal closely with Marianne Faithfull's relationship to the band when she was Jagger's official 'old lady'. It also chronicles her relationship with Sanchez' own girlfriend who died of a drug overdose. Faithfull's haunting song 'Lady Madeleine' is about this death. Um, how did you feel when Tony Sanchez' book came out? "Oh in a way I thought it was perfect that the dealer wrote the story. Like a bird's eye view. It was ... let me think of the right word ... it was destiny. No. Well it was funny anyway." Did you resent him at all? "No, I don't care what he does, man. It doesn't bother me. In a way I don't see it as being anything to do with me. Anyway I came out of it like a little angel. Well some of it was a bit embarrassing. Actually I enjoy books like that. I

love them. As long as I don't have to write one, which I never will." But it does all add ... "Yeah," she interrupts, "fuel to the bloody fire. But I can't do anything about that. And I used to think well I still think it's a great rock'n'roll image really. I'm gonna get back more into rock'n'roll I think. "Y'know all this sort'v deep agony, pain, despair sort'v shit is no good. Oh I like it but I've just got terribly self-conscious about it. It's just songs. I know it's valid criticism about all this pain and agony. But you know what it is. It's just the fact that it's me so people see it in a funny way. It's this funny person Marianne Faithfull the legend. Whoever she is." She laughs. Is it hard to live with the legend? "I don't know. I don't think about it most of the time. I suppose it's hard to live up to, yeah." Would you sometimes prefer to be anonymous then? "I am actually. No ..."

She gropes for the right words, starts three or four sentences before continuing. "It'd be nice if there weren't some sort of preconceived, predigested persona and I wasn't expected to do or be all this stuff. But I mean ultimately what does it matter? It’s not a matter of great importance to the well-being of the human race. It doesn't really matter a fuck actually." Would you say you were a romantic? "Well p'raps I was once. Not any more." She gives a deep chuckle then adds, "But then I've changed. Even since doing the album I've changed." Do you prefer living in New York to England? Or Ireland? "I've always wanted to live in Ireland but I never actually have. I've tucked it away in my mind for later. And of course the weather's so awful. I rather like my life at the moment y'see because I go in between Jamaica and New York. And I do get back to England of course to visit my mother, my son and my friends. I do miss Ireland sometimes." What's the focus in Jamaica? "It's great: sun, sea, music, herb, cheap it's just a wonderful place. Does the music there ever make you want to ...? "Actually I'm really into African music now more than reggae. Nigerian. I'm going to go to Lagos soon to see this guy Fela. He's a Nigerian musician. The drum rhythms are so incredible, so hypnotic." Which of your records are you most satisfied with? "Ah, Broken English. But even that I could criticise at length. I'm frightfully hard to please." Do you look towards achieving even better work in the future then? "I'm not trying to. I'm just a working artist trying to make my way like anybody else. I'm looking forward to working with lots of different people in my long life, to create and enjoy and so on. I'm still writing and I'm about to produce my first record for someone else. It's this guy Chris Blackwell (head of Island Records) has signed, a Polish classical composer but I'm not going to talk about it 'cause it’s too precious." Can we look forward to that this year? "Yeah, very soon." Will you be recording in Nassau? "Yeah. As a producer I will accept that. I wouldn't go to Nassau to make my own records y'see. It's too laid back, man." But you used Compass Point musicians on A

Child's Adventure: Barry of course, Mikey Chung, Wally Badarou. I really like some of his keyboard stuff. You used him as co-producer too. "I won't again. 1 write with him but I won't use him ... I don't know how to say that without sounding a bitch. Wally's brilliant." So there was never the temptation for you to use the whole Compass Point crew on your album? "No. 1 think they're great, y'know. I love Sly and Robbie. Maybe one day. We tried something once but it didn't quite come off. It's something I really resist. Chris Blackwell would've liked me to use them and I really had to stick my neck out for using my own rhythm section. Luckily Chris trusted me, I suppose. Big deal. He should do." Your drummer, like Barry, has been with you on all three albums. "Terry Stannard. People come, people go but a singer's drummer is the most important thing in the world. Terry has assort of domination over me, a hold 'cause he's so important and drummers are temperamental creatures." What about Barry? Is there a tension from the fact that he's in two camps, being your guitarist and being in the Compass Point crew? "I don't think it's done that much for him as a musician. But that sounds awfully catty too. All I mean is that it's almost turned him into a session musician." Were you pleased with his album? "Yeees. I hated the version of 'Broken English'. 'Guilt' was, ah, alright." His singing lacks the character of yours.

"Well that will come. That's something people will have to put up with. It's very demanding of someone like me or Barry upon the long suffering public. Barry hasn't quite yet decided on his style. Actually Joe (Cocker) said that one night when we were in Compass Point. He's an old hand. He was really sweet when he said it." I like Joe's album a lot and that was done there with that band. "Oh yeah, I love it. And isn't it great about An Officer And A Gentleman, and that he's had a number one hit!" It also cleaned up about every American award going. "Actually I didn't see all of the Grammy Award show. I saw the bit with Miles Davis. Oh wasn't that just the ultimate!" He was acting a bit strange though, his back to the audience and all. "Oh come on, man. He looked wonderful. He was just incredibly cool and scornful. He looked great! He doesn't take any drugs, man. He's getting on though, pushing sixty. I hear he's just married again, gossip, gossip. He looked like a young dude off the street. Fantastic red jacket, and shades." What about his accepting the award? He just snatched it and ran; didn't say a word. "I know. That's the way to do it. That's what I ... I could never pull that off. But he's Miles Davis, man." Ah, I'm really enjoying this but I guess I better go. The record company's paying for this. They might want my head. "Fuck 'em man. No, no, cancel that. Anyway, my hand is hurting ... I. hope the interview's alright." It's fine. Thank you very much for talking. Are you likely to get down this end of the world by any chance? "I really want to. I have to ... I take it quite carefully. I'm going to do a tour of Canada and America in the fall. I'd like it. I know I could use the money. I'd love to get to New Zealand. I have friends there." Well thanks again. Any last words? "Well, I don't deny anything in my life, or regret anything. I wouldn't change a second. Anyway you can't so it's pointless." Goodbye. Take care. Peter Thomson

as years go by...

1964 A seventeen-ycar-oUj convert - schoolgirl, daughter of an English sexologist arid an Austrian baroness, meets Andrew l.oog Oldham, then [manager of the Rolling Stones, at a London party.; He launches her recording career with a Jagger/ ; Richard-penned single ‘As Tears Go By' which makes Britain's Top 10. 1965 She marries John Dunbar, modern-art gallery owner and bears a son. Three more singles make the Top 10: ( ome And Stay With Me'. ‘This Little Bird' and ‘.‘Summer; Nights'. Her first two albums. Marianne ‘Faitbfnll and Come My 4 Way , are surprising!j£rel at the same time. Both chart. At the year's end she toursats support act for the'

Stones. By this stage her marriage * has broken down and she is living whh MickiJagge^^. .4 1966,in a fulltime role as Jagger's * girlfriend, her musical career falters. M Site releases two singles. Both fail to chart An album. North Country Maid, attracts only moderate interest. , s /‘ ' 196" 7 She has v a small role in the'fine A ftp Lnglish film. I'll Sever Forget What’sm is■: Marne, alongside the likes of Oliver r Reed and Harry Andrews. A She is arrested, alongside the likes f. of Mick Jagger and Keith Richard, at , Richard s country home, whereupon she attracts particular notoriety, being found naked on a bearskin A, rug. An album. Love In A Mist: sinks without trace. - , v 1968 She accompanies Jagger on a jf heavily publicised;': Beatles-led trip to India to visit the Mahartshi Yogi. "She appears on the , London stage in * Chekov s Three Sisters alongside / Glenda ; Jackson. She has the title

role in a lack-lustre film, Girl On A Motorcycle, opposite Alain Delon. H a; • 1969 She and Jagger are busted * again. She plays Ophelia to Nicol Williamson's Hamlet in a highly acclaimed London production, if is later filmed with somewhat mixed results. In August <sh e. accompanies f: Jagger to Australia for his title role : in jA T eclJKelly. where, attempting suicide [Ahe' Oil's on sleeping pills } and is in a coma tor six days. Jagger terminates their relationship. X* 1971- She records a scary version of ' the Stones' 'Sister Morphine j/t'KA 1975 In November she releases a r • rendition of Waylon Jennings' j / Dreaming My ■ Dreams . It show's how much life's rigours have trans- ; f formed her voice from a oner -sweet Ayouthful'folksiness into a cracking if huskiness Much later, the single is to become a No I hit in Ireland 19‘ 7 6 She admits 'to having spent ' the previous four years in a heroin recovery , programme /

1978 An attempted comeback via a record deal with NEMS. Two very ri patchy albums. Dreaming My Dreams and Faithless, fail to -sell. 1979 She/-'marries Ben Brier!y. former member of : the Vibrators punk group. She signs a 'three album >“ deal \vith Island, records and releases 4 Broken- English. : ‘Mi£ ~. -1980 The musical strength and rival notoriety of Broken English y make it a world-wide success; its title track is a big hit in several countries. She is arrested in Sweden for marijuana possession 1981 She cons'blidrftes her revitalised career w ith the album Danger on $ Acquaintances on which ■ the 7 great majority of material is selfpenned. 1982 She is conyictcd in London on two small charge s’ Involving possession of heroin and of cannabis. ■ A v : *mG& r 1983 A Child’s Adventure .is’-:re-'**' A" leased in MavffYrY^

What day is it? rim not Jhe tight person to ask that. /

JSOT3 Dated Hipster Slang: I’m determined not to say ‘man . Not that I ever do. ”

Tony ‘UpsAArul?Downs with the Rolling Stones’: little angel. Well some of it was embarrassing,

J/ Broken English’: “Even thdt / could criticise at length. I’m frightfully hard to please. ” s'

J Drummer Terry Stannard: “People come, people go but singer s 'drummer is the most important thing in the world^m^^^^i

■■ Miles Davis on Grammy Awards: " ... wasn't that just the ultimate! ... He looked wonderful He was just incredibly cool and scornful