Though there is no musical resemblance, the title track of
Marianne Faithfull
's
Give My Love to London
looks back at her brilliant reading of
Kurt Weill
's and
Bertolt Brecht
's "Pirate Jenny" on her
20th Century Blues
album from 1997, and even mentions her by name. Co-written with
Steve Earle
, who frames her lyrics in an acoustic, Celtic, country stomp, it's a conqueror's last laugh: she's survived the best attempts at securing her demise. (Bouts with cancer and a fall that broke her sacrum in four places among them.)
Faithfull
's previous four albums in the 21st century have all been strong, but this one tops them. Her writing collaborators here include
Nick Cave
,
Anna Calvi
Ed Harcourt
Patrick Leonard
, and
Tom McRae
. Her bandmates are an all-star unit too, and include
Harcourt
Adrian Utley
Dimitri Tikovoi
Rob
and
Warren Ellis
, and strings.
Cave
co-wrote one song with her (the tender "Deep Water") and one for her: the glorious "Late Victorian Holocaust," the album's hinge piece, a frank, poignant, ballad-cum-theatrical chamber work of junkie camaraderie that draws on their separate experiences of drug addiction and establishes a shared intimate language.
Roger Waters
, who contributed "Incarceration of a Flower Child" to her 1999 album
Vagabond Ways
, gives her "Sparrows Will Sing," a swirling, angry anthemic rocker. "Falling Back," co-written with
Calvi
, is among the most directly autobiographical love songs in
's catalog. "Mother Wolf" competes with "Late Victorian Holocaust" for the finest track on the set. Co-written with
Leonard
, its pulse-pounding piano, squalling electric guitars, rumbling tom-toms, viola, and layered backing vocals underscore the snarling militancy in
's words, delivered with feral intensity in a simple verse/chorus/repeat structure: "We are the free people/We do not kill for pleasure/We are like a starry night/We gaze at the world/Through a thousand eyesâ?¦."). The reading of
Leonard Cohen
's "Going Home" recalls the half-spoken/half-sung delivery (with
Brian Eno
on backing vocals no less) and places the singer in the place of the subject's muse, observing him without pity or condemnation.
Hoagy Carmichael
's "I Get Along Without You Very Well" is reinterpreted through the Weimar Republic's cabaret musical vocabulary, too: She's backed by chamber strings, piano, a harp played like a bouzouki, and bass.
's not only comfortable in this setting (
/
Weill: The Seven Deadly Sins
, etc), she's an authority in interpreting it. The intimate yet dramatic sadness in this reading completes a series of bridge constructions from the eras in
's musical past to her present. Thus,
is as complete a portrait of the artist -- at least from the late '70s on -- as we've ever had. In total, it reveals no abatement in her creative renaissance. ~ Thom Jurek