Uncirculated Waz From Oz DAT Master ----- Repost for those who may have missed it first time around
Marianne FaithfullRIP
2003 Australian Tour
Enmore Theatre, Sydney, NSW, Australia
5th February 2003

01. Falling From Grace
02. Where Ever I Go
03. Guilt
04. No Regrets
05. Kissing Time
06. I’m On Fire
07. Band Introductions
08. Like Being Born
09. Times Square
10. Ballad Of Lucy Jordan
11. Nobody’s Fault But Mine
12. The King At Night
13. Broken English
14. Sliding Through Life On Charm
15. Strange Weather

Enmore Photos By Phuck Nose
2021 Remaster By Audiowhore
Tape & Artwork By Waz From Oz

The Band
Marianne Faithfull - Vocals
Andy May - Keyboards & Musical Director
Gary John Caine - Bass Guitar
Johnny Vaughn - Drums
Bryan “The Flame” McFee - Guitar

2003 Australian Tour dates
Perth's International Arts Festival The Watershed, Perth WA - 27th January
Apparently she played more Perth shows on the 24th, 25th & 26th
Her Majesty's Theatre, Adelaide, SA - 29th January
Athenaeum Theatre, Melbourne, VIC February - 1st & 2nd February
The Enmore Theatre, Sydney NSW 4th & 5th February - 5th Taped
The Tivoli, Brisbane QLD - 6th February

-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

RIP Marianne, thanks for the many decades of enjoyment / pleasure you've provided me with from your music, your acting & the live gigs I attended plus the two one on one chats we had in October 1996, one included her
asking me to score some grass for her, her making fun of the stupid clueless Brashs Record Shop sheilas who'd been at the meet & greet which I heartily joined in on, plus informing me about the photographs in her autobiography.
She pointed out the dark apricot colour of the inside front/inside back pages of the book was the colour of the dress her mother wears in the black & white photo of her, it was on the front inside page she autographed for me.
Its included in the torrent.

During our 2nd meeting Marianne after the 2nd Seymour Centre Sydney 5th October 1996 show i asked her if she'd be kind enough at the 3rd & final Sydney Seymour show on the 9th October to sing "She Moved Through The Fair"
for me which wasn't a song she was performing on the tour, she replied she would. I was disappointed as the song didn't appear in the set, nor in the first two encores, so I was thinking she'd forgotten,but she came back
for a third encore which was "She Moved Through The Fair" so she hadn't forgotten!

-----------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------------

I saw Marianne 4 times in Sydney February 2003.The first two occasions were the two Enmore Theatre concerts on the 4th & 5th February, the 3rd time was when I spotted her standing alongside Mick Jagger in the wings
watching Dylan at his Sydney Entertainment Centre gig on the 17th February, the 4th time was at the Stones Enmore Theatre gig on the 18th February as I entered the foyer I spied to the left of me Marianne going up the
stairs to the balcony section. And to enquiring minds, yes I taped the Dylan show plus I’m also the taper of the Stones Enmore recording that did the rounds that year, the latter received a DIME upgrade thanks to mjk5510.
The Australian tour was an extension of her world tour to promote her latest album Kissin’ Time, one of my favourite latter day Marianne albums & IMHO one of her last really consistent albums, sorry Marianne.

For the Marianne 4th February Enmore concert Ruby & myself had front row seats with a stage monitor in front of us plus speakers on the right. The sound during the support act was crystal clear like listening
to your home stereo, to test it I taped 10 minutes of the support act, during the interval I went outside the venue & listened to that 10 minutes, twas like listening to a studio track.
Went back inside back, getting ready to hear & record Marianne.

Imagine dear readers my sheer horror when I went to listen the show on the walk home only to hear the 10 minutes of the support act then some other act I’d taped previously.
in the dark I must have pushed play instead of record, I’d check the DAT display panel during the show, saw that it was running, the levels were perfect, but what I was actually seeing was the DAT playing the previous recording. Sometimes I’d use previously used DAT tapes again because they were expensive. I was so pissed off at missing what would have been a superb recording that I could have done myself a mischief before reaching Waz headquarters.

I attended the next nights show with another mate who'd brought my ticket as an early birthday prezzie, this time we were sitting dead centre in the 4th row. Another great show with some different numbers but sadly
it was marred by the two older fat slags females seated directly in front of us who proceeded to talk loudly to each other from the get-go.

These two middle-aged sheilas looked like real-life versions of the cartoon female characters Fat Slags that featured in the excellent but extremely politically incorrect UK comic Viz, they were even dressed similar to them,
you know 50 plus somethings squeezed into outfits that a 30 years younger streetwalker would wear. For readers unaware of what Viz’s Fat Slags look like I’ve attached a picture of the Fat Slags for your viewing pleasure.

These creatures carried on yapping away to each other as though they were at their hairdressers Mr Nigel’s & not at a concert annoying everyone around them. The people directly in front of this pair turned around giving
them death stares, the folks sitting on either side of them did the same, people seated further away were looking in their direction all to no avail. But no one said anything to them.

By the 5th song Kissin’ Time (one of my faves from the new album) they were still rabbiting on so near the end of that song my mate tapped Fat Slag #1 (the more vocal of the two) on the shoulder & when she turned around
he gave her the shoosh sign, well by the look on her face one would think he’d stuck a digit up her jacksy instead of tapping her lightly on the shoulder. It was that look that did it for me & so I let loose on them with
a verbal attack, telling them to either shut up or if they preferred to talk incessantly to go outside, but if they were to stay to have the manners to shut the fuck up. I received from Fat Slag #1 a barrage of sorry’s,
we didn’t realize we were talking so loud which of course was a bare face lie, they’d seen people’s reactions to their chit-chat, but no one had challenged them until I had a go at them.

After having a go at them they basically stopped talking to each other but reverted to yelling out moronic comments to Marion, yes they called her Marion as in Maid Marion like “Go girl, that’s our Marion” they couldn’t
even get her name right. Just before I’m On Fire you can hear Fat Slag #2 say “Am I allowed to clap?” followed by a “Ugh” from me. To show how desperate these females are when Marianne was introducing members of her
youngish backing band Fat Slag #1 yells out “Is he single?”, “Love ya hair”. In fact, every sheila’s voice that can be heard from here on is one of these drop kicks.

Marianne informs us before the encore that her voice is going, so this will be the last song of the night & that she doesn’t want to sing in pain, Fat slag #1 can be heard saying “Who cares?”
Being in the 4th row & close to the stage Marianne must have heard her because straight way she says she cares, Fat Slag #1 then yells out “Show us your body” followed up by boasting to Fat Slag #2
“She will, she’ll do another song after this” even though the artist has just told the audience this is the last song she’s singing.

My now long departed SONY shotgun mic was great for filtering out talkative audience members to the left, right & behind me, but because I was directly behind them it was pointed between these two cunts it picked up all
their inane chatter BUT due to audiowhores expertise he spent countless hours working on this recording toning down these obnoxious females as much as possible, they’ve been mixed right down plus my verbal exchange
has been removed, no music has been lost, its remains an excellent recording.

During the show Marianne was drinking copious amounts of water as well as wiping / blowing her nose plus the occasional cough, one of which can be heard at 00.21 in Nobody’s Fault But Mine which was my favourite
number of the night. IMHO this song in a live setting is far superior than the studio version on Kissin’ Time. Right after The Ballad Of Lucy Jordan one of the fat slags can be heard saying
“What’s that, it’s a man”, she’s referring to a roadie dressed all in black barely noticeable in the dark who was bringing on stage more bottles of water to replace the ones Ms Faithfull had just polished off.

To sum up this was a highly enjoyable show with a good mix of older & new songs.
The Sydney reviewer thought her band was merely competent, yet the Perth reviewer thought they were excellent, I agree with the Perth reviewer.

I spoke to mate this week telling him that this show was being remastered, the fat slags were mentioned, he reminded me that on the way out in the Enmore’s foyer Fat Slag #1 was near him in the crush & he managed
through someone else’s legs to her kick her in the back of the ankle which emitted a yell from her, but the daft cow had no idea where it came from.


This recording goes for 81.30, for those burning to CD-R may I suggest using the overburn function which works for me, if not it will have to be burnt to 2 CD-R’s perhaps from 01 -09 & Tracks 10 to 15.

Thanks to audiowhore for his excellent mastering skills on this recording & thanks also to mjk5510
Enjoy,
Waz

---

Sydney Morning Herald 6th February 2003
Review By John Shand

Marianne Faithfull Enmore Theatre
Unmistakeable edge….Pop stars can be like parents, we feel betrayed when they grow old, because it confronts us both their mortality and our own.

Marianne Faithfull is one of these rare exceptions who, by reinventing herself
half a dozen times since 1964, has always seem relevant to now, rather merely generating a yearning for them.

Of all those changes – demure pop kitten, folk singer, country chanteuse, bad-mouthed, new age, groove queen, bearer of the Weill torch, millennia – arching diva – the biggest was from As Tears Go By kitten to the Broken English predatory pussy, who helped empower a female generation (and made males sit up straight and pay attention). That was when her voiced changed, and the rasping, caustic sound we have known for more than 20 years, the rare sound of a real woman in the debased boyocracy of pop – replaced the sugar’n’spice. Sweetness became bitterness.

Perhaps it was inevitable that in a repertoire drawn mainly from Broken English and her current Kissin’ Time album, the former’s material stood out. The new songs tended to just echo the darkness, depression and wantonness bared earlier.

I Feel Guilt blistered across the stage that previously had seemed quite tame. Faithfull’s voice tore at the words while her hands played daintily with her hair – just as Lucy Jordan might have done had she ever got to drive through Paris in that sports car. The reading of The Ballad Of Lucy Jordan was as strong as ever, the poignancy increasing as her audience ages.

Broken English ratcheted the band up another notch and had Faithfull’s voice cracking amid the vehemence of the lyrics (and A sore throat).

Working Class Hero, the sentiment of which had always sat more easily with John Lennon’s original minimalist treatment had grown more dramatic, and the vague absurdity became all too real when people actually cheered the “we’re all fucking peasants as far as I can see” line.

Like Being Born, a rather desolate waltz about relations with parents, was one of the more successful new songs, while Sliding Away Through Life On Charm showed Faithfull’s lyrics still had an unmistakable edge.

The four-piece band was merely competent, engendering a fantasy about how
Good she could have sounded with James Taylor’s current outfit.
That would spawn another reinvention.




Financial Review 1st Feb 2003
By Chris Boyd
With the jaundiced music of her album-before-last Vagabond Ways and the harsh sound of her subsequent live performance at West 54th still fresh in my memory, I approached this concert with a mix of blind hope and trepidation. Unusually, too, the 56-year-old singer had performed on the previous three nights. But I need not have worried.
In front of hundreds of the grizzled and balding Faithfull faithful and with the Southern Cross rising like a massive clip-art arrow from behind the stage the Diva of Endurance let rip.
If Faithfull isn't exactly in fine voice, she is teamed up with an excellent outfit on keyboards, bass, drums and guitar, and a sound engineer who envelops her voice without hiding her rough edges. Not exposed to the cruel scrutiny of the studio-quality sound of Sony's West 54th studio, Faithfull's vocal flaws her tonelessness and dusty weariness become assets again.
More impressive, though, is the vivacity and quality of her new material. Yes, she does a good selection of her best work from her 1979 album Broken English Why'd Ya Do It?, Working Class Hero, The Ballad of Lucy Jordan and the title song but several of the stand-out songs are among the latest, from 2002's Kissin' Time.
Jarvis Cocker's Sliding Through Life on Charm (Faithfull is responsible for the title, Cocker for everything else) is the New Age Why'd Ya Do It. Ever so wryly Faithfull croons about "suburban shits who want some class" queuing up to "kiss my ass". Dave Stewart's Song for Nico and Beck's Like Being Born are highlights too.
The sound is hardly revolutionary, the keyboard washes are reminiscent as much of early New Order as they are of The Verve circa Urban Hymns, but the effectiveness and the renewal of Faithfull's sound is thrilling. Faithfull is born again.



Images for all shows as well as full size images for this show.

Images for this show: