Cat Power - The Covers Record
Chan Marshall widmet sich Fremdwerk und, wie kaum anders zu erwarten, tut sie das auf eigene Weise. Mit minimalen Mitteln (Stimme plus wahlweise Gitarre und/oder Klavier) nähert sie sich einfühlsam und doch sperrig einer Titelauswahl, die zumindest eigen ist. Unter den 12 Liedern finden sich Stücke von von Moby Grape, Michael Hurley, Smog, Velvet Underground, Nina Simone, Bob Dylan und den Rolling Stones, deren „Satisfaction“ sie ohne den Refrain singt.
„Her choice of material might be comparatively conservative (there are two songs here derived from Dylan, one of her own, two more by Greenwich Village songwriter Michael Hurley) bute the wounds she inflicts with it are formidable. Quite why Chan Marshall isn´t accorded the reverence Will Oldham or Smog´s Bill Callahan inspire is a mystery. Her own records have become increasingly wondrous and here, backed only by guitar or piano, she inhabits other singer´s material (including Smog´s Silver Apples) with a fierce conviction that´s often startling. Best are Hurley´s Troubled Waters, Moby Grape´s Naked If I Want To, and Wild Is the Wind.“ (Mojo)
„þCoveringþ might be too strong a word to describe how Chan Marshall, a.k.a Cat Power, interprets songs by the likes of Bob Dylan, the Velvet Underground and Nina Simone. The term suggests a kind of conquering, something singer/guitarist Marshall would never presume to do. On The Covers Record, her fifth full-length, she prefers to crawl into the songs, curl up inside them, and feel her way around their possibilities. Her voice cracks, stumbles and flutters before she finds a lighted corner, whereby shefloats out a lush, strong phrase. Even when she strips "(I Canþt Get No) Satisfaction" of its recognizable melody and turns it into a loping, folky ballad, it feels like as much of a surprise to her as it is to the listener, like your kid sister smilingly coming up to you, hand extended, some sparkling sea glass in her palm, saying, "Look what I found.“ (CMJ)
“A minute or so into The Covers Record, the self-explanatorily titled new album by Cat Power (a.k.a. Chan Marshall), itþs easy to conclude that youþve got the album pegged. Opening by reinterpreting The Rolling Stonesþ "(I Canþt Get No) Satisfaction" as an impossibly melancholy dirge, Marshall seems to merely be playing the familiar game of reworking classics in incongruous ways. But Marshall, a singer and arranger so talented she seems incapable of hitting a wrong note, is more daring than that: She reinvents "Satisfaction" by stripping it down to a few verses, leaving out the chorus, and bringing out the sadness and alienation within. That sets the tone for The Covers Record nicely, as the songs that follow are often just as unrecognizably altered, filtered through a rich voice reminiscent of everyone from Beth Orton to Cowboy Junkiesþ Margo Timmins. The unrelenting bleakness that pervades most of Marshallþs music can be oppressive when taken in excess, and The Covers Recordþs gloom is exacerbated by the fact that its instrumental accompaniment seldom entails more than a piano or guitar (or, during the albumþs strangely breezy closing moments, an autoharp on "Sea Of Love"). That barren approach canþt match the stunning elegance of 1998þs Moon Pix, which featured the evocative work of Dirty Three players Mick Turner and Jim White, but it is appropriate: The Covers Record is Marshall laid bare, and it needs no embellishments.” (The Onion)
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