Amazon.co.uk Review
Slow-core minstrel Chan Marshall--a.k.a. Cat Power--will only take on someone else's tune if she thinks there's something she can add to it. Or, as in the case of
The Covers Record, if there's something that can be subtracted. Indeed, Chan Marshall's fifth outing is perhaps her most stripped-down yet--an approach which, ironically, leads to some quite radical reworkings. Take, for example "(I Can't Get No) Satisfaction", which replaces the
Rolling Stones' rollercoaster angst with a sepulchral but quietly graceful acoustic strum. Shorn of its chorus, it's barely recognisable as the same song, and it's all the more affecting for it. Elsewhere,
Bob Dylan and the
Velvet Underground sidle up against
Nina Simone and
Smog. It's of some credit to Marshall's starkly beautiful vision that
The Covers Record hangs together so perfectly.
--Louis Pattison
CD Description
Cat Power's (Chan Marshall) disarmingly naive music hits you in the gut with its bare simplicity. Her hurt, vibrato-less tone is pure, velvety, and completely understated. In its simplicity, it seems to convey all the sadness of the world--like a leafless tree silhouetted against slate-gray sky heavy with rain clouds. Marshall accompanies herself on guitar,piano, or autoharp. Her arrangements are minimal--hypnotic,repetitive riffs with chords that barely change. When she hits a bass note, the impact is jarring. Cat Power's music issleep with all its troubled dreams.
On THE COVERS RECORD, Marshall explores the work of other songwriters. She deconstructs each song then reconstructs it as her own. Anyone familiar with Cat Power will be hard-pressed to tell the difference between these COVERS and Marshall's originals. "Satisfaction" is barely recognisable in its new, slowed-down version--the chorus is missing, and the lyrics take on Dylan-esque/surrealist proportions. Other covers include Velvet Underground's "I Found a Reason" and an autoharp setting of "Sea of Love". COVERS' retro/vintage, bare-boned, 21st century folk music puts you in mind of how such music must have been before the advent of recording, with songs changing form from one singer to the next.