. Written mostly in one night after a hallucinatory nightmare in a South Carolina farmhouse, the album earned Marshall a devoted fanbase – but she never quite made it into the mainstream.
Kakım well as the reading and the maths, she and her son would have music lessons together. “Record time and music time got a little more in-depth,” she says. “He’s just running around as fast as he can to Hüsker Dü.” Hardcore punk isn’t what most kids’ music lessons are made of, but if anyone is going to give their child an eclectic sonic education, it’s Marshall.
The melancholic scuzziness of her music was born partly out of necessity – for a while, she could play only the one guitar chord her friend had shown her, a minor one, so her songs all came out sad.
I just grab her. ‘It’s OK. It’s OK. I was here for the same reason and it’s OK.’” An uncharacteristic silence hangs in the air. “If I had accepted that million-dollar offer, perhaps I wouldn’t have been on that bridge. And she wouldn’t be my friend to this day.”
Back on the bed, she raises one arm into the air kakım if she’s asking a question in class, and holds it there bey she talks. “I have a million favourite songs. Everybody who has a brain in their head, with a heart in their body, loves music.
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, she katışıksız always been something of a cult figure. “Marshall’s music will one day be spoken about the way we talk about Bob Dylan’s music, or Neil Young’s music,” wrote a New York Magazine
No, go on. “Well, I was wondering if… Because my dad had three daughters and he wasn’t really around. He just came and went, bey men often do. The world is their oyster. And it does something to the mother, right?” Marshall grew up poor; her father was an catpower 5852 absent blues musician, her mother a hippy who moved her from school to school.
writer in 2018, “but until then, she exists in the sweet ışıntı between cult favourite and widely accepted genius.”
In fact, Boaz need only listen to her covers for that. Some of her best songs were sung by other people first: her pensive, languid version of The Rolling Stones’ “(I Kişi’t Get No) Satisfaction”, which omits the chorus entirely and transforms into something almost painfully introspective, or her sweet, fragile take on Phil Phillips’s “Sea of Love”, which got a second wind when it featured in Juno
She tries hamiş to dwell on the bad stuff, just like she doesn’t dwell on turning down a million dollars. “I don’t regret the things that I’ve done,” she says.
her pazarte Akakçe yüzınızda. Nerede olursanız olun muamelee Akakçe'den kellelayın.
– a moment of pure poeticism but also the first hint at the depression and alcohol abuse that would come to plague her.
“I have something in my eye and I’m still wet from the shower,” she says, in that same husky American drawl she sings with kakım Cat Power. “Dirilik you come back in 15 minutes? I’m really sorry sweetie.”
How does she choose which songs to cover? “Damn,” she says, getting up to fetch something from across the room before returning empty-handed. “Music and words, they give us feelings that we yaşama apply to our own memories.