Cat Power – The Greatest Review
Posted by Morgan Marx on 02.02.2006
Remember this album come December...
For 10 years, Chan Marshall has cemented her reputation as one of the most enchanting and enigmatic performers in the Indie community. Performing under the name Cat Power, Marshall captivated audiences with her smoky voice, deeply personal lyrics, and her bruised, fragile persona. Her erratic live appearances, which often involved bouts of severe stage freight, often ended abruptly, which only furthered her notoriety. 1998's Moon Pix established her as one of music's most vital female voices. Marshall next released an unconventional album of covers, before returning in 2003 with You Are Free, one of the top albums of the year. Aided by friends such as Dave Grohl and Eddie Vedder, Free was an astonishing achievement, from the Kurt Cobain elegy "I Don't Blame You," to the haunting "Names." Marshall was the saddest of the sad, able to break both your back and your heart with a simply plucked melody and her voice.
Now, in 2006, Cat Power is back with The Greatest, a reinvention of sorts. Inspired for the second time by both the sounds and people of Memphis, Marshall has released an album of vibrant songs that sound…almost positive. Flanked by legendary musicians with names like "Teenie" and "Flick," Marshall has expanded her sound while retaining its delicate heart. The title track opens with a few piano notes, familiar to any Cat Power aficionado. But soon a swirling string section begins conjuring up a melody reminiscent of "Moon River," and backing vocals come out of nowhere to support Marshall's husky coo. While not a complete departure from her previous efforts, The Greatest is definitely a new Cat Power.
"Living Proof" follows, propelled by a funky bass line and organ trills. Marshall's deliver is at times reminiscent of Dylan, as her words rush together and then pause, leaving little gaps for the music to take center stage. "Will you terrorize this/With your perfect lips," asks Marshall, invigorating the traditional "scorned love song" with her own imagery. "Lived In Bars" is a staggering account of all the sights and events that go along with touring the world as a musician. The slow song, marked by a sweet horn section, takes a sudden turn about 2/3 of the way through, becoming an up-tempo, swinging stomper, befitting its title. "Willie" is a much-condensed version of a track Marshall did with M. Ward for the Speaking For Trees CD/DVD.
The most interesting tracks off of The Greatest are the two closing songs, "Hate" and "Love & Communication." The former, centering on a sparse piano and guitar riff, is more reminiscent of the Free Cat Power. Marshall's voice is at its best as she details the depressing reasons the narrator loathes herself. "Do you believe she said that/I hate myself and I want to die," is a couplet so stark and up front, especially in comparison to the album's earlier songs, that it will stop a listener cold. It's as though Marshall is playing with her own persona, toying with the listener as to her true feelings of herself. "Love & Communication" finds Marshall again backed by multiple instruments, including a repeating string section that becomes more and more unsettling as the song progresses. A lush track, "Love" deals with Marshall's favorite subjects and her reactions to them. "Can you tell me can you tell/If there is something better/Cuz you know there always is," sees Marshall again at were most vulnerable and suspicious. As the Psycho-like strings peak, the tables are turned, and Marshall admits that she isn't the one who is hunted in the end. A truly standout track.
The album closes (or at least this version does) with an untitled bonus track that sounds timeless, as does much of the album. The Greatest could exist in a number of genres and at a number of different times, with Marshall finding herself right at home in any of them. At times coy, at times overtly sexy, Marshall is a woman both in control of herself and her music. She has made the record she wanted to, and it just so happens it's the record listeners didn't quite know they needed.
The 411: Marshall’s stunning looks are only surpassed by her voice, and the chantruese’s latest offering should garner a wider fan base. Fixed somewhere between neo-soul and indie/easy listening, The Greatest offers up something for listeners of all ages and types. Each year there is an album released early that finds itself on the year end Top Ten lists, and The Greatest may very well be that album.
