Martha Wainwright

Yes, it’s another Wainwright! Martha Wainwright is the younger sister of Rufus, who might have had the odd mention or two around here. Martha’s music is quite different from her brother’s however – in place of Rufus’s wildly over the top operatic stylings, Martha just gets down to business with an acoustic guitar and some conventional backing. Both approaches have their merits, but Martha’s simpler style lays the songs out for inspection without any frills. If the songs aren’t up to the job, then I always think that this simple style is going to make that much more obvious. But hey. Would I bother reviewing the CD if I didn’t like it?

Martha’s voice vaguely reminds me of someone else, but I can’t quite recall who. It’s probably someone good though. :grin:

Highlight tracks include Factory

These are not my people, I should never have come here
I know a place, I’ve seen a face
And I’ll take the coast from factory to factory

the quite lovely When the day is short

And I don’t care if you
If you love me tomorrow just
Love me tonight and I
I will be all right
I’ll be all right
I’ll be all right
Until tomorrow night

And on the jukebox is your
Is your only song
I have never remembered the words
Now I’ve waited, waited too long
I’ve waited too long
Our love is gone

Then there’s Martha’s equivalent of Rufus’s Dinner at Eight. Both the younger Wainwrights have had a, err, difficult relationship with their father Loudon Wainwright III, and they’ve both written songs about it. Rufus’s was moderately confrontational, with lines such as

But ’til then no, Daddy, don’t be surprised
If I wanna see the tears in your eyes
Then I know it had to be long ago
Actually in the drifting white snow
You loved me

No matter how strong
I’m gonna take you down
With one little stone
I’m gonna break you down
And see what you’re worth
What you’re really worth to me

Martha is a wee bit more direct. For a start, the song is called Bloody Mother F***ing A**hole. Well, that’s how it appears on the CD case. :tongue:

I will not pretend
I will not put on a smile
I will not say I’m all right for you
When all I wanted was to be good
To do everything in truth
You bloody mother f***ing a**hole
You bloody mother f***ing a**hole
You bloody mother f***ing a**hole

An excellent example of swearing used in appropriate context. It came across very well last week on Later.. With Jools Holland, too.Coming towards the end of the song, things build to the point, where that most certainly is the right thing to say. I can’t recall a better example since ‘Til Tuesday‘s Believed you were lucky, where right at the end Aimee Mann sings “life could be f***ing great”, and again, it’s perfect in the context.

All good stuff – listen out for her.

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