Customer Reviews

20th Century Blues

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Although it's commonly known as Faithfull's Weill tribute, it's not comprised totally of Kurt Weill compositions. Its oft-quoted subtite "An Evening In The Weimar Republic" is probably a more accurate way to describe this compelling recording.

Recorded live with just a pianist, this could have been a dreadful affair - others have tried similar concepts and failed. Yet this works marvelously. Why? Partially because Marianne Faithfull has lived about five normal lifetimes and this shows up in her (fantastic) voice - it's full of the gravelly world-weariness that these songs need to work their magic. She may sound more hoarse than your granny, but Faithfull hits all the notes, her voice occasionally allowing just a wee little quiver to act as a foil for her fine phrasing. In fact, she's never sounded better.

Yet another reason for the success of this project is that Faithfull really understands this music. Her decision to include a Harry Nilsson song was magical - it's one of few "rock era" tunes to have the same sort of melodicism and brutal cynicism as the Weimar-era songs, expressed in a similar manner without at all coming across as derivative. "20th Century Blues" is another great choice (technically) outside the scope of this CD. Faithfull explains its inclusion as a sort of nod to her "Englishness", but it works just the same.

The Weimar period was a brief 15 years, yet it contributed much to world culture - not just these songwriters but many fine artists and writers, and movements like Dadaism. Many of the great writers, artists and performers of the era were Jewish (and many who were not were so heavily involved in left-leaning ideologies that their lives were similarly imperiled by the rise of Hitler). So when the Nazis crushed Weimar culture, forced people into exile (or concentration camps) and exerted its brutal force over all aspects of life for more than a decade, most traces of this abundantly rich artistic culture were forever extnguished. We all know that history is written by those in power - that a short-lived period of culture in a doomed historical epoch continues to captivate us roughly three-fourths of a century later . . . well, that's a testament to its greatness.

Highly recommended.

This CD was my first introduction to Marianne Faithfull's music, and I must say that after hearing this masterpiece I quickly collected the rest of her works, because she is an artist of true integrity and ambition. On "20th Century Blues," Marianne's voice is so expressive that that it will guide you through triumph and tragedy, through faith and despair. This is not music for those who want something anti-intellectual that they can simply throw onto the decaying scrap heap of popular music within a few months. The music on "20th Century Blues" will last far into the future, because Marianne delves deeply into the past to conjure timeless themes that resonated not only in Brecht and Weill's time, but also resonate in the present and will continue to resonate far into the future. These themes are the ingredients that bind and break us as humans, regardless of time period, ethnicity, or culture.

Marianne Faithfull challenges us with this album, and I highly recommend it to the "baby boomers" who listened to her music in the 60s as well as younger people who have an affinity for alternative music (and may not know her music), because there is something for everyone on this album. The strong thematic choices and literary disposition of the album may frighten some buyers, but don't be afraid. "20th Century Blues" is a rare opportunity to experience an album that just may make your life a little more meaningful after hearing it. That in itself is very rare in the recording industry these days.

Marianne Faithfull's voice in this performance is, if possible, better than ever... Faithfull singing Marlene Dietrich... Faithfull singing Brecht/Weill... Faithfull singing Coward... a great choice of songs sung by one of the most fascinating artists of our time.

This is a wonderful cd. I am a big fan of Kurt Weil and I was amazed what a good recording this was. I should perhaps point out this is the first Mariann Faithfull recording I have ever bought and it's really really good. I love he voice in Solomon Song, and in Alabama Song (yeah, it's Kurt Weil) she's actually as..... what, world weary as Lotte Lenya? Don't Forget me is fantastic. It's actually, dare I say it, as enjoyable as Ute Lemper.

Weill's collaborations with Bertolt Brecht redefined the potential of the popular music retaking this twilight taste of dark poetry, of infinite hopeless

I have always been convinced about Mariane Faithful's impressive talent, but I never imagined she could be able to reproduce with such integrity and conviction this overwhelming album. Indeed she was absorbed and engaged inside the dramatic universe and decadent environment.

This album is so extraordinary, so expressive and fabulous than even the most appropriate words seem to be useless to intend qualify the overall intensity, passion and artistic honesty in this record that literally will make us to make a enraptured, febrile and evocative musical flight throughout this diamantine album, recorded live at the New Morning in Paris.

Addittionally, you will find abundant information in the inside book pocket.

Everything about this CD is superb Marianne . . . recorded live at a concert entitled "A Night in the Weimar Republic", it is made up of songs by Brecht & Weill and a couple of songs that are "fellow travellers". It plays to Marianne's broken side, the woman who has failed in love and still tries to crawl back up (listen to "Falling in Love Again"). She channels Marlene Deitrich's spirit but adds her own layers to this classic so closely identified with Dietrich. Her renditions of familiar Brecht/Weill numbers hold up admirably to the original versions introduced, for the most part, by Lotte Lenya (admittedly an acquired taste, but well worth looking for). There are also some interesting new translations, particularly of "Mac the Knife", which will NOT remind you of Bobby Darin. This belongs next to "Broken English" as one of the essential Marianne Faithful works.

Recorded live at the New Morning in Paris. This Cd is remarkable! It tis' my first Cd I bought of Faithfull and her whiskey cigarette dretched sexy voice impressed me. I plan to buy up all her Cd's because of this Cd. It really takes an open view of a bygone era revued on one Cd,a good buy!

Oh Marianne, what sheer genius. A woman best known for rant and elegy has found beauty in the works of Brecht/Weill. Her version of "Don't Forget Me" is better than Nilsson's original because her whiskey-worn voice really explores the longing in the powerful lyrics. While I prefer Marianne's rock 'n' roll side, 20th Century Blues is a testament to the pure talent of rock 'n' roll's ultimate fallen angel.

"Oh,but it's my birthday today!" I cried on the ticket office when they told me that evening concert performance of Marianne Faithfull ("An Evening in Weimar Republic") was sold out - "Almeida Theatre", Islington, London, circa 1996 - and I wasn't lying either,birthday it was and it got me in,one and only time I saw Faithfull live in concert.
A decade earlier I got as a present my very first Marianne Faithfull album - my mother bought me "Dangerous Acquintances" not knowing anything about Faithfull but she happened to like album cover - I remember thinking "what an awful voice" at that time but I was just a kid back than,what did I know.
Finally I had chance to see Faithfull live, performing songs recorded on this CD (also live recording): Kurt Weill, Bertold Brecht and some odd choices (Harry Nilsson).
I still remember everything about that concert: how radiant Faithfull was, backed only by piano player (whom she forgot to introduce and later corrected herself,saying "I hope he is still my friend"), her jokes and anecdotes (Harry Nilsson funeral in the middle of earthquake), how much audience loved her, whiskey and cigarette in her hand.
Absolutely magical evening.
The album is live recording and audience hold its breath while Faithfull dugs into "Alabama Song", "Surabaya Johnny" and "Pirate Jenny".
She carefully introduces songs and easily combines older and newer material, the way Noel Coward mixes with Marlene Dietrich and than Harry Nilsson is really interesting as they all sound just right,like a set of songs that were composed at the same time.
Also note excellent english translations of Kurt Weill/Bertold Brecht material.

Kurt Weill tells stories - dirty, gritty, underworld stuff - and Marianne Faithful makes these stories come to life. This is a "live recording" (oxy-moron, but you understand) in what is I think a cabaret setting. At least that's what image is projected in my mind when I hear this album. This recording sounds like an intimate, darkened room lit only by the spotlight and candles on cafe tables; smoke filling in the crevices between the pockets of light; people gathered to hear stories, told by the down-trodden, interpreted by a master. It's glorious and if you like the extremes of dark and light, the sound of a whiskey-flavored voice accompanied by a lone pianist, then you will love this piece of work.