Cat Power "Covers" (2022)

Covers

release date: Jan. 14, 2022

format: cd (BRC687, Japan)

[album rate: 3,5 / 5] [3,56]

producer: Chan Marshall

label: Domino / Beat - nationality:

Track highlights: 1. "Bad Religion" (live) - 3. "Pa Pa Power" - 6. "Against the Wind" - 8. "These Days" - 10. "I Had a Dream Joe" - 12. "I'll Be Seeing You" (4 / 5)

11th studio album by Cat Power following nearly 3½ years after Wanderer (Oct. 2018) is Power's first with Domino after leaving Matador. Cat Power has previously made covers and made it one of her strongest assets. And as the title suggests, this one appears as a sequel to her The Covers Record from 2000. This new selection more or less copies the idea of covering songs from a large variety of styles and periods. The diversity in the original material is extremely wide, as she covers songs of neo-soul (Frank Ocean), vocal jazz (Billie Holiday), country rock (Bob Seger), celtic rock (The Pogues), folk pop (Jackson Browne), and punk blues (Nick Cave), just to mention one half of the songs. It's an extreme span, although, yes, Cat Power ensures stylistic connection in these new arrangements. I'm just not entirely convinced about the idea to grab songs from any musical shelf to see if it will work in your own setting. Yes, it's possible, but is it always that original? This makes me think of how we're completely accustomed to listen to jazz standards interpreted in new ways, which is not only fully accepted but also a way to become an original artist. It's different when speaking of the world of pop music - but why is that 'cause obviously there are songs that could be labelled as pop standards. This is something you face when listening to artist perform live and then include covers, and some songs are more likely to turn up at concerts, right?! Anyway, Cat Power even challenges the idea of having a mutual foundation in the arrangements 'cause there's no common foundation here. "I Had a Dream Joe" comes so close to the original that it somehow sticks out, which isn't my dream of a cover, and several other songs do just that - so there goes coherency like it did on her 2000 album. In that regard it's a bit like repeating what could have been an obvious mistake from her first covers album, although, this new collection slightly betters the former. Chan Marshall is a gifted arranger, and she could possibly have done better when chosing original songs. What on the other hand work really well, is her intense emmotional contribution to well-known songs. She seems capable of covering whatever song and still make it hers. She's an absolute wonderful interpretor and performer - just love that vocal.

Recommendation: perhaps mostly for fans.

[ allmusic.com 3,5 / 5, Pitchfork 7,7 / 10, 👍The Guardian 3 / 5 stars ]

Cat Power "The Greatest" (2006)

The Greatest
release date: Jan. 9, 2006
format: digital
[album rate: 3,5 / 5] [3,65]
producer: Stuart Sikes
label: Matador / P-Vine Records - nationality: USA

Track highlights: 1. "The Greatest" (4 / 5) (live on Later) - 2. "Living Proof" (live on Letterman) - 3. "Lived in Bars" (officiel video) (live on Later) - 5. "Empty Shell" - 6. "Willie" - 7. "Where Is My Love" (officiel video) - 12. "Love & Communication"

7th studio album by Cat Power (aka Chan Marshall) following a full three years after You Are Free (Feb. 2003). Like all Power's other albums, The Greatest is in the quieter end of folk rock and singer / songwriter genre with elements from alt. country and traditional blues. What's new here is especially a far more indie pop-tinged series of songs in larger-than-usual arrangements, which by that don't have 'the usual' clear lo-fi touch. The album therefore seems more airy, varied and lighter than most of her other albums, which have often carried an excessive heavy melancholic mood. The songs here appear brighter and lighter, even though Power's vocals are not that different and without ever displaying the big register, but which nevertheless has its own qualities, which are mainly rooted in a charismatic hoarse and occasionally almost whispering intonation, which can lead thoughts to Lana Del Rey and Hope Sandoval with a common starting point in Laura Nyro.

The Greatest is Cat Power's highest-charting album to date on the US Billboard 200 peaking at number #34, but it reached number #20 in Australia and at number #45 in the UK. The album won the Alternative Shortlist Music Prize (an award running from 2001 to 2007) ahead of names such as Band of Horses, Joanna Newsom, and Tom Waits - an award for which her 2003 album was also nominated without running with the award.

Imho, The Greatest is Powers best album to date and therefore also a recommended place to delve into the special universe of Cat Power.

[ allmusic.com, The Guardian, NME, Q 3 / 5, 👍Rolling Stone 3,5 / 5, Pitchfork 7,9 / 10 stars ]

Cat Power "The Covers Record" (2000)

The Covers Record

release date: Mar. 21, 2000

format: digital (12 x File, MP3)

[album rate: 3 / 5] [3,18]

producer: non-produced

label: Matador - nationality: USA

Track highlights: 1. "(I Can't Get No) Satisfaction" - 7. "I Found a Reason" - 12. "Sea of Love"

5th studio album by Cat Power (aka Chan Marshall [pronounced 'shawn], aka Charlyn Marie Marshall) following 1½ years after the album Moon Pix (1998), which is cited by many as her first significant studio album.

The Covers Records is, to no surprise, a collection of covers by many diverse artists. You'll find tracks by famous artists such as the Rolling Stones, Bob Dylan, and the Velvet Underground, tracks made famous by Nina Simone and Mae West, and there are tracks by (to most) more unknown names such as Phil Phillips, Papa Charlie Jackson, and Michael Hurley. There's also room for a reinterpretation of Cat Power's own track "In This Hole", previously released on What Would the Community Think, Power's third album and Marshall's first on Matador released in '96 while Power was still associated with the name of Chan Marshall's band, although in practice she had already gone solo here.

The album is entirely acoustic and stripped down to a minimal of instrumentation and most probably also recorded on a single recording track with only Chan Marshall singing and playing guitar. On some tracks, it's her piano that is only accompaniment, and only on "Salty Dog" the participation of guitarist Matt Sweeney is heard. Typically, for Cat Power, no producer is indicated on the album, and in this case it's probably only sound engineers who have set up microphones and then started and finished the recording.

It's restrained to lo-fi regardless the original arrangements and therefore most tracks fall quite far from their original expression. It's Chan Marshall solo, and it's heartfelt, but maybe also a bit one-sided - at least for my liking. The album garnered some good reviews, but it's not among my favourites. Admittedly, Marshall has an insistent melodic vocal and sings with great emotion, making all the songs her own. For me, the problem is that the tracks slide (too much) into each other and end up sounding one-stringed, and she's just not an instrumentalist virtouso or (for that matter) a singer with a big register. If you're not familiar with Cat Power, I will recommend listening to her predecessor, Moon Pix or the successor You Are Free (2003), which may be regarded as her commercial breakthrough.

[ allmusic.com, NME, Spin 3,5 / 5, The Guardian 4 / 5, 👍Rolling Stone 3 / 5 stars ]