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Filesize: 1.8 MB Length: 120 seconds

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Could We?
Released: Jan 1, 2020
Label: N\A

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The Greatest - SPECIAL
Released: Sep 12, 2006
Label: N\A

{^The Greatest} (no, it's not a hits collection) makes it clear just how much {$Chan Marshall} grows with each album she releases. Three years on from {^You Are Free}, she sounds reinvented yet... Continue[+]

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{^The Greatest} (no, it's not a hits collection) makes it clear just how much {$Chan Marshall} grows with each album she releases. Three years on from {^You Are Free}, she sounds reinvented yet again: {$Marshall} returned to Memphis, TN -- where she recorded {^What Would the Community Think} nearly a decade earlier -- to make an homage to the Southern {\soul} and {\pop} she listened to as a young girl. Working with great {\Memphis soul} musicians such as {$Mabon "Teenie" Hodges}, {$Leroy "Flick" Hodges}, and {$Dave Smith}, she crafted an album that is even more focused and accessible than {^You Are Free} was, and pushes her even closer toward straightforward {\singer/songwriter} territory. The title track is a subtle but powerful statement of purpose: with its lush, {&"Moon River"} strings and lyrics about a young boy who wanted to become a boxer, the song is as moving as her earlier work but also a big step away from the angst-ridden diary-{\rock} that her music is sometimes categorized as. Likewise, on the {\gospel}-tinged {&"Living Proof"} and the charming {&"Could We,"} {$Marshall} is sexy, strong, and playful, and far from the stereotype of her as a frail, howling waif. But the truth is, sweet Southern songs like these have been in her repertoire since {^What Would the Community Think}'s {&"They Tell Me"} and {&"Taking People"} ({^You Are Free}'s {&"Good Woman"} and {&"Half of You"} are also touchstones for this album); {^The Greatest} is just a more polished, palatable version of this side of her music. This is the most listenable {$Cat Power} album {$Marshall} has made, and one that could easily win her lots of new fans. It's also far from a sell-out -- {^The Greatest} sounds like the album {$Marshall} wanted to make, without any specific (or larger) audience in mind. And yet, the very things about {^The Greatest} that make it appealing to a larger audience also make it less singular and sublime than, say, {^Moon Pix} or {^You Are Free}. The productions and arrangements on songs like {&"Lived in Bars"} and {&"Empty Shell"} are so immaculate and intricate that they threaten to overwhelm {$Marshall}'s gorgeous voice. And, occasionally, the album's warm, soulful, laid-back vibe goes from mellow to sleepy, particularly on {&"Willie"} and {&"The Moon."} Two of {^The Greatest}'s best songs show that she doesn't need to be edgy and tortured or gussied up with elaborate productions to sound amazing: {&"Where Is My Love"} reaffirms that all {$Marshall} needs is a piano and that voice to make absolutely spellbinding music. On the other hand, {&"Love & Communication"}'s modern, complicated take on love gains a quiet intensity with judiciously used strings and keyboards. For what it is, {^The Greatest} is exceedingly well done, and people who have never heard of {$Cat Power} before could very well love this album immediately. However, it might take a little more work for those who have loved her music from the beginning. ~ Heather Phares, All Music Guide

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The Greatest
Released: Jan 24, 2006
Label: N\A

{^The Greatest} (no, it's not a hits collection) makes it clear just how much {$Chan Marshall} grows with each album she releases. Three years on from {^You Are Free}, she sounds reinvented yet... Continue[+]

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{^The Greatest} (no, it's not a hits collection) makes it clear just how much {$Chan Marshall} grows with each album she releases. Three years on from {^You Are Free}, she sounds reinvented yet again: {$Marshall} returned to Memphis, TN -- where she recorded {^What Would the Community Think} nearly a decade earlier -- to make an homage to the Southern {\soul} and {\pop} she listened to as a young girl. Working with great {\Memphis soul} musicians such as {$Mabon "Teenie" Hodges}, {$Leroy "Flick" Hodges}, and {$Dave Smith}, she crafted an album that is even more focused and accessible than {^You Are Free} was, and pushes her even closer toward straightforward {\singer/songwriter} territory. The title track is a subtle but powerful statement of purpose: with its lush, {&"Moon River"} strings and lyrics about a young boy who wanted to become a boxer, the song is as moving as her earlier work but also a big step away from the angst-ridden diary-{\rock} that her music is sometimes categorized as. Likewise, on the {\gospel}-tinged {&"Living Proof"} and the charming {&"Could We,"} {$Marshall} is sexy, strong, and playful, and far from the stereotype of her as a frail, howling waif. But the truth is, sweet Southern songs like these have been in her repertoire since {^What Would the Community Think}'s {&"They Tell Me"} and {&"Taking People"} ({^You Are Free}'s {&"Good Woman"} and {&"Half of You"} are also touchstones for this album); {^The Greatest} is just a more polished, palatable version of this side of her music. This is the most listenable {$Cat Power} album {$Marshall} has made, and one that could easily win her lots of new fans. It's also far from a sell-out -- {^The Greatest} sounds like the album {$Marshall} wanted to make, without any specific (or larger) audience in mind. And yet, the very things about {^The Greatest} that make it appealing to a larger audience also make it less singular and sublime than, say, {^Moon Pix} or {^You Are Free}. The productions and arrangements on songs like {&"Lived in Bars"} and {&"Empty Shell"} are so immaculate and intricate that they threaten to overwhelm {$Marshall}'s gorgeous voice. And, occasionally, the album's warm, soulful, laid-back vibe goes from mellow to sleepy, particularly on {&"Willie"} and {&"The Moon."} Two of {^The Greatest}'s best songs show that she doesn't need to be edgy and tortured or gussied up with elaborate productions to sound amazing: {&"Where Is My Love"} reaffirms that all {$Marshall} needs is a piano and that voice to make absolutely spellbinding music. On the other hand, {&"Love & Communication"}'s modern, complicated take on love gains a quiet intensity with judiciously used strings and keyboards. For what it is, {^The Greatest} is exceedingly well done, and people who have never heard of {$Cat Power} before could very well love this album immediately. However, it might take a little more work for those who have loved her music from the beginning. ~ Heather Phares, All Music Guide

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Speaking for Trees: A Film by Mark Borthwick
Released: Oct 26, 2004
Label: N\A

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You Are Free
Released: Feb 18, 2003
Label: N\A

{^You Are Free} arrives nearly five years from her last album of original material, and everything, yet nothing, has changed about {$Chan Marshall}'s music. The album's title is as much a statement... Continue[+]

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{^You Are Free} arrives nearly five years from her last album of original material, and everything, yet nothing, has changed about {$Chan Marshall}'s music. The album's title is as much a statement as it is a challenge, a command to free one's self from the hurt and pain of the past, or to at least find a way of making peace with it. {$Marshall} seems to do both on {^You Are Free}, a collection of songs about finding freedom and peace wherever she can. Initially, the album seems more diffuse than {^Moon Pix}, as it spans tense rockers, {\blues}, {\folk}, and {\singer/songwritery} piano {\ballads}, but it gradually reveals itself as {$Marshall}'s most mature and thematically focused work yet. {^You Are Free} opens with a stunning trio of songs that encompass most of the moods and sounds she explores later in the album. On {&"I Don't Blame You,"} the first of {^You Are Free}'s many spare, piano-driven moments, {$Marshall} paints a portrait of a tormented musician, her voice so full of sympathy that she may well be singing a reconciliation to a previous incarnation of herself. The brisk, buzzing intensity of {&"Free,"} however, offers liberation in the form of {\rock & roll}'s immediate, poetic nonsense: "Don't be in love with the autograph/Just be in love when you love that song all night long." {^You Are Free}'s first two songs address musicians and making music directly; {$Marshall} is a famously willful, volatile artist, and the increasing gaps between her albums (not to mention her unpredictable live performances) suggest that being a musician isn't the easiest thing for her to do, even if it's a necessary one. She addresses the struggle to do the right, but difficult, thing on {&"Good Woman,"} a near-spiritual breakup song where, backed by a children's choir and fiddles, {$Marshall} explains that she needs to be a good woman with -- or more likely, without -- her bad man. Aside from being a lovely song, it's also a departure; earlier in her career the song might have just focused on the conflict instead of {$Marshall}'s gently strong resolution to it. This gentle but resolute strength runs through most of {^You Are Free}'s best moments, such as {&"He War"} and especially {&"Names,"} a terrifyingly matter-of-fact recollection of child abuse and lost friends that says more in its resigned sorrow than a histrionic tirade would. As the album progresses, it moves toward the spare, affecting {\ballads} that give her later work a strange timelessness; listening to {^You Are Free} gives the impression of stripping away layers to get to the essence of {$Marshall}'s music. In some ways, the quiet last half of this album is more demanding than the angsty noise of {^Dear Sir} or {^Myra Lee}, but hearing her find continually creative interpretations of minor keys, plaintive pianos, and folky guitars is well worth the attention it takes, whether it's the dead-of-night eroticism of her cover of {$Michael Hurley}'s {&"Werewolf,"} the pretty yet eerie longing of {&"Fool,"} or the prairie romance of {&"Half of You."} Every {$Cat Power} album takes at least a few listens to fully reveal itself; {^You Are Free} may take awhile longer than expected to unfold, but once it does, its excellence is undeniable. ~ Heather Phares, All Music Guide

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The Covers Record
Released: Mar 21, 2000
Label: N\A

On the {^The Covers Record}, {$Chan Marshall} continues her evolution into a remarkably expressive interpreter of songs; her earlier covers of {$Pavement}'s {&"We Dance"} and {$Smog}'s... Continue[+]

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On the {^The Covers Record}, {$Chan Marshall} continues her evolution into a remarkably expressive interpreter of songs; her earlier covers of {$Pavement}'s {&"We Dance"} and {$Smog}'s {&"Bathysphere"} are among her most distinctive performances. This collection includes songs originally by {$Bob Dylan}, {$the Rolling Stones}, {$the Velvet Underground}, {$Moby Grape}, {$Michael Hurley}, and Anonymous. {$Marshall}'s sparest album yet, {^The Covers Record} uses guitar and piano as the only foils for her malleable, emotional voice. These tools are more than enough to turn {$the Stones}' anthem {&"(I Can't Get No) Satisfaction"} into a bluesy, slinky version emphasizing the song's tension and frustration as much as its jaded sexiness, and {&"Kingston Town"} from a reggae standard into a hymnal reflection. {$Marshall}'s gentle version of {$Hurley}'s {&"Sweedeedee"} and plaintive reading of {$the Velvets}' {&"I Found a Reason"} recall the quietest, most spiritual moments from {^Moon Pix}. This culminates on the cover of her own {&"In This Hole"} from {^What Would the Community Think}; one of the most drastic revisions, its soft pianos and serene vocals replace the original's turbulent anguish, reflecting her changing musical path. {$Marshall} explores many emotional directions, from her yearning version of {$Moby Grape}'s {&"Naked If I Want To"} to her brooding sensuality on {&"Wild Is the Wind,"} to her down-home optimism on {$Bob Dylan}'s {&"Paths of Victory."} {&"Salty Dog"}'s lilting melody and humorous lyrics bring out {$Marshall}'s Georgia twang, while her version of {$Smog}'s {&"Red Apples"} shows off her voice's sensual lows and keening highs. The joyous cover of {&"Sea of Love"} (originally by {$Phil Phillips}) brings this accomplished, heartfelt {^Covers Record} to a very happy end. ~ Heather Phares, All Music Guide

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Moon Pix
Released: Sep 22, 1998
Label: N\A

{$Cat Power}'s 1998 album {^Moon Pix} continues {$Chan Marshall}'s transformation from an indie rock Cassandra into a reflective, accomplished singer/songwriter. Where her previous works were an... Continue[+]

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What Would the Community Think
Released: Sep 10, 1996
Label: N\A

{^What Would the Community Think} was the second album {$Chan Marshall} released in 1996, but its richness suggests a longer period of evolution. From the first warm notes of {&"In this Hole,"}... Continue[+]

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{^What Would the Community Think} was the second album {$Chan Marshall} released in 1996, but its richness suggests a longer period of evolution. From the first warm notes of {&"In this Hole,"} it's clear that {$Marshall}'s voice -- as a singer and a songwriter -- is not only stronger and more focused, but more empathetic as well. Where her previous works were dense and cathartic, {^What Would the Community Think} gives her voice and lyrics space to unfurl and involve the listener; the title track alone holds an album's worth of eloquence in {$Marshall}'s hushed, clear vocals, backed by guitar, feedback and an eerie, echoing piano. Fortunately, that leaves {$Marshall} 11 other tracks with which to forge a fine balance between angular, angst-ridden punk and her gentler, folk-country tendencies. Different combinations of these extremes make {$Cat Power}'s sound more diverse but also more cohesive. Tense, tight songs like {&"Good Clean Fun"} and {&"Nude as the News"} retain the reflective, thoughtful nature of quieter numbers like {&"King Rides By"} and {&"Water and Air,"} which turn the power of the album's louder moments into slow-building, implosive tension. Two of {^What Would the Community Think}'s finest moments, {&"They Tell Me"} and {&"Taking People,"} are unabashedly blues and country-inflected, revealing {$Marshall} not just as a cathartic vocalist, but as a true soul singer. Similarly, her covers of {$Peter Jefferies}' {&"Fate of the Human Carbine"} and {$Smog}'s {&"Bathysphere"} show off {$Marshall}'s ability to make any song a {$Cat Power} song. An intimate, personal album, {^What Would the Community Think} makes imperfection beautiful and turns vulnerability into musical strength. ~ Heather Phares, All Music Guide

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Myra Lee
Released: March 1996
Label: N\A

The 1996 album {^Myra Lee} presents a more diverse and fully developed version of {$Cat Power}'s music, ranging from the winding, acoustic menace of {&"Enough"} to the sinewy {\rock} of {&"We All... Continue[+]

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Nude as the News
Released: 1996
Label: N\A

One of the most intense moments on {$Chan Marshall}'s 1996 breakthrough LP, {^What Would the Community Think?}, {&"Nude as the News"} rides a starkly incoherent, strangely political bend, with... Continue[+]

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