Skip to main content

Hear Marianne Faithfull’s Three Versions of “As Tears Go By,” Each Recorded at a Different Stage of Life (1965, 1987 & 2018)

When a 17-year-old Marianne Faithfull finished the final take of her 1965 hit “As Tears Go By” — penned by a young duo of Mick Jagger and Keith Richards as one of their first original songs — Rolling Stones manager Andrew Loog Oldham “came and gave me a big hug,” she recalled “‘Congratulations darling. You’ve got yourself a number six,’ he said.”

Richards remembered the song in his autobiography as “a terrible piece of tripe” and “money for old rope,” but it actually peaked at number 22 on the Billboard Hot 100, where it stayed for nine weeks, no small thing. So popular was “As Tears Go By” that the Stones themselves recorded a version the following year. Their take also entered the Hot 100, where it peaked at number six.

The story of the song represents in brief the evolution of its original singer. Fated in her early years to be known as little more than Jagger’s muse, an image she grew to hate, Faithfull went from hanger-on in the sixties, “an essential component of the Swinging London scene,” writes reviewer alrockchick; to a homeless heroin addict; to a legend revived, her “whiskey-soaked” croak of a voice the perfect vehicle for delivering smoke-filled tales of weariness and betrayal.

Along the way, there was “As Tears Go By,” a song Faithfull came to embody, though she didn’t think much of it as a teenager. (See Brian Epstein introduce her on Hulabaloo, above, in 1965.)

She was “never that crazy” about it, she said. “God knows how Mick and Keith wrote it or where it came from…. In any case, it’s an absolutely astonishing thing for a boy of 20 to have written a song about a woman looking back nostalgically on her life.”

The “boys” had help — at first they cribbed the title “As Time Goes By” from the famous tearjerker in Casablanca. According to Loog Oldham, he locked the two Stones in a room together and said, “I want a song with brick walls all around it, high windows and no sex.” How that became a Marianne Faithfull signature is something of a mystery. At times she claimed Jagger wrote the song for her; at others, she emphatically denied it. But as the contrast between her voice and the song’s saccharine, maudlin nature changed, so too did the power of her delivery, which is not to say her first recording didn’t warrant the attention.

“The voice on ‘As Tears Go By’ and ‘Summer Nights,’” altrockchick writes, “has an airy, surreal quality; the voice on Broken English,” her 1979 comeback (which does not include “As Tears Go By”), “is as real as it gets” and only got more real with time. In a Nico-esque monotone drone, she revisited the song she made famous in the mid-sixties in the 1987 take above for the album Strange Weather. She had just recently gotten clean and lost a lover to suicide.

The weathered vulnerability she projects is worlds away from the dreamy melancholy of the past, her voice “a far cry from the 60s sweetness,” The Music Aficionado blog notes. “Years of substance abuse and constant smoking dropped her pitch and made it raspy.” These qualities are even more pronounced in a 2018 version of the song from the album Negative Capability. It functions almost as a coda for a career as an interpreter of the songs of others, though she’s written no few of her own (and may yet release another version of “As Time Goes By.”)

She is remembered for much more than her first hit, but Faithfull’s revisitation of “As Tears Go By” over the years seems to speak to an ambivalent acceptance of Mick Jagger’s constant presence in her story — and a graceful, if not exactly uplifting, acceptance of the inevitable ravages of age and fame.

You can hear her very recent interview on the Broken Record podcast below:

Related Content: 

Jean-Luc Godard Shoots Marianne Faithfull Singing “As Tears Go By” (1966)

David Bowie Sings ‘I Got You Babe’ with Marianne Faithfull in His Very Last Performance As Ziggy Stardust (1973)

Watch the Rolling Stones Write “Sympathy for the Devil”: Scenes from Jean-Luc Godard’s ’68 Film One Plus One

Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Hear Marianne Faithfull’s Three Versions of “As Tears Go By,” Each Recorded at a Different Stage of Life (1965, 1987 & 2018) is a post from: Open Culture. Follow us on Facebook, Twitter, and Google Plus, or get our Daily Email. And don't miss our big collections of Free Online Courses, Free Online Movies, Free eBooksFree Audio Books, Free Foreign Language Lessons, and MOOCs.



from Open Culture https://ift.tt/3u0TH1J
via Ilumina

Comments

Popular posts from this blog

Board Game Ideology — Pretty Much Pop: A Culture Podcast #108

https://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/secure/partiallyexaminedlife/PMP_108_10-7-21.mp3 As board games are becoming increasingly popular with adults, we ask: What’s the relationship between a board game’s mechanics and its narrative? Does the “message” of a board game matter? Your host Mark Linsenmayer is joined by game designer Tommy Maranges , educator Michelle Parrinello-Cason , and ex-philosopher Al Baker to talk about re-skinning games, designing player experiences, play styles, game complexity, and more. Some of the games we mention include Puerto Rico, Monopoly, Settlers of Catan, Sorry, Munchkin, Sushi Go, Welcome To…, Codenames, Pandemic, Occam Horror, Terra Mystica, chess, Ticket to Ride, Splendor, Photosynthesis, Spirit Island, Escape from the Dark Castle, and Wingspan. Some articles that fed our discussion included: “ The Board Games That Ask You to Reenact Colonialism ” by Luke Winkie “ Board Games Are Getting Really, Really Popular ” by Darron Cu

How Led Zeppelin Stole Their Way to Fame and Fortune

When Bob Dylan released his 2001 album  Love and Theft , he lifted the title from a  book of the same name by Eric Lott , who studied 19th century American popular music’s musical thefts and contemptuous impersonations. The ambivalence in the title was there, too: musicians of all colors routinely and lovingly stole from each other while developing the jazz and blues traditions that grew into rock and roll. When British invasion bands introduced their version of the blues, it only seemed natural that they would continue the tradition, picking up riffs, licks, and lyrics where they found them, and getting a little slippery about the origins of songs. This was, after all, the music’s history. In truth, most UK blues rockers who picked up other people’s songs changed them completely or credited their authors when it came time to make records. This may not have been tradition but it was ethical business practice. Fans of Led Zeppelin, on the other hand, now listen to their music wi

Moral Philosophy on TV? Pretty Much Pop #32 Judges The Good Place

http://podtrac.com/pts/redirect.mp3/traffic.libsyn.com/partiallyexaminedlife/PMP_032_2-3-20.mp3 Mark Linsenmayer, Erica Spyres, and Brian Hirt discuss Michael Schur's NBC TV show . Is it good? (Yes, or we wouldn't be covering it?) Is it actually a sit-com? Does it effectively teach philosophy? What did having actual philosophers on the staff (after season one) contribute, and was that enough? We talk TV finales, the dramatic impact of the show's convoluted structure, the puzzle of heaven being death, and more. Here are a few articles to get you warmed up: "The Good Place’s Final Twist" by Karthryn VanArendonk "The Good Place Was a Metaphor All Along" by Sophie Gilbert "The Two Philosophers Who Cameoed in the Good Place Finale on What They Made of Its Ending" by Sam Adams "5 Moral Philosophy Concepts Featured on The Good Place" by Ellen Gutoskey If you like the show, you should also check out The Official Good Place Podca