Marsha Hunt - Woman Child 1971

Although Hunt indicates that she had no great musical talent, she worked as a singer for 18 months after arriving in England. In February 1967 Hunt took a singing job with Alexis Korner's trio Free at Last so that she could earn her fare back home. She didn't use it, but remained, and in 1968 joined the group Ferris Wheel. That same year, Hunt achieved national fame in England when she appeared as "Dionne" in the rock musical Hair, a box office smash on The London Stage. Hunt only had two lines of dialog in Hair, but she attracted a lot of media attention and her photo appeared in many newspapers and magazines. Her photograph was used on the poster and playbill of the original London production, photographed by Justin de Villeneuve.[10] Hunt says that the role was a perfect fit for her, expressing who she actually was. Hunt was one of three Americans featured in the London show, and when the show began she had no contract to perform. When the show opened she was featured in so many stories that she was offered a contract right away.

Hunt played at the Isle of Wight music festival in 1969 with her backup band White Trash. Hunt's first single, a cover of Dr John's "Walk on Gilded Splinters" was released on Track Records in 1969; it became a minor hit. An album, Woman Child (in Germany released unter the title "Desdemona"), followed in 1971. In May 1977 an album with disco songs was released in Germany with the title "Marsha". It was recorded at Musicland Studios in Munich and produced by Pete Belotte (coproducer with Giorgio Moroder of many Donna Summer albums)

Hunt met Marc Bolan in 1969 when she went to the studio where Bolan's group was recording "Unicorn". Tony Visconti said that when Bolan and Hunt met, "[y]ou could see the shafts of light pouring out of their eyes into each other.... We finished the session unusually early, and Marc and Marsha walked out into the night hand in hand." According to Hunt, the relationship between the two was based on more than physical attraction, though she also recalled that her commercial visibility put her at opposition to Bolan's philosophy that "the serious art of music...was validated by obscurity."

In 1973, as a member of a panel organized by British magazine Melody Maker to discuss women in music and options open to black women, Hunt suggested that black women needed to make use of the "side-door" in the industry, entering as "the statuary representative" before they could make music under their own terms.

In addition to her husband, Korner and Bolan, Hunt was professionally associated with such musicians as Long John Baldry, John Mayall and Elton John.

listen here