The Covers Recordby Cat Power
In her cover of "(I Can't Get No) Satisfaction," Cat Power's Chan Marshall never even sings the title's complaint, making the spare acoustic rendition an apt opening track to an album where she doesn't just cover songs by the Velvet Underground, Bob Dylan, Moby Grape, and others/a>/a>/a>… See more details below
In her cover of "(I Can't Get No) Satisfaction," Cat Power's Chan Marshall never even sings the title's complaint, making the spare acoustic rendition an apt opening track to an album where she doesn't just cover songs by the Velvet Underground, Bob Dylan, Moby Grape, and others, she reinvents them. In her inimitable style, Marshall turns each tune into a haunting new being, inhabited only by her quavering voice and either a gently played guitar or piano. She breaks down each melody to its most essential ingredients, often using her accompanying instrument to lay down only guidepost chords while her voice negotiates the territory between. Other songs here were natural choices for Marshall. Smog's "Red Apples" already sounded like a Cat Power tune when Bill Callahan did the original version, and Marshall slips into Nina Simone's somber torch song "Wild Is the Wind" like an old shoe. And then there's "In This Hole," which is originally from Marshall's own WHAT WOULD THE COMMUNITY THINK. As she revisits the tune and turns it even gloomier, Marshall proves that even the subtlest of alterations can make a song sound brand-new. It is those subtleties that make THE COVERS RECORD a joy, and it makes us hope she's got more than covers waiting in the wings.
- Release Date:
- Matador Records
Performance CreditsCat Power Primary Artist
Matt Sweeney Guitar
Technical CreditsAmaurdy Contributor
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Anyone who has seen Cat Power live knows these covers are fantastic. Chan Marshsall makes these songs her own. Her soft, sweet voice mixed with simple guitar or piano accompaniment, makes the songs seem both new and yet hauntingly familar.
If you are looking for soul, then look no further. Chan Marshall scrapes the bottom of her heart to dredge through the darker side of emotion. Crossing the razor blade thin border between obsession and devotion, her vocals resonate like a ghost whispering in a haunted house. Some of the brighter songs sound like Moe Tucker of the Velvets fumbling around in the dark looking for the light switch with a pinata stick. A true work of high art and american folk.
She've done great arrangments to this songs. She made them their own, and they sound great!