I’ve listened to this album once before writing this review, and I like what Chan Marshall has done here. Though I may be an omnipotent rock critic, my opinion is not the sole authority in these matters. So before we begin, some preliminary remarks posted on emusic.com’s message board from Cat Power fans on its new release, “The Greatest.”
“My wife and I are die-hard Cat Power fans. We both love all the older records … this latest one disappointed us both.”
“I’ve followed Cat Power’s output since she signed on with Matador … This album is brilliant.”
This kind of polarity is typical among dedicated fans. Popular music is a strong social identifier. Fans develop an identity in relation to an artist and their work. Identification with an artist may grow or dissipate from album to album. A break in an artist’s stylistic consistency is a risky move; it may attract new fans but alienate others. What does this have to do with the lovely yet perturbed Chan Marshall, a.k.a. Cat Power? Perhaps a better question: Who cares?
With “The Greatest,” Marshall has committed indie rock blasphemy of the highest order: She has changed her style. She uses a 1960s blues backup band as a stepping stool from sappy forest folk to something like Norah Jones meets NPR; a bold move for an artist with a college radio fan base.
Marshall moseyed on down to Memphis, Tenn., shared a couple of beers with Al Green’s boys and wound up recording “The Greatest.” The relationship may seem odd, but Chan’s roots are the southern soul of Georgia; this stuff is practically in her blood. Even better, the formula works like a charm. The Hi-records crew (of Al Green fame) sounds unbelievably tight on “The Greatest.”
The tracks, consequently, diverge from the sparse, coarse arrangements of Cat Power’s previous works. In “After it all,” bluesy guitar pickings and whistles relax over a chorus-free vocal line. The groove that opens “Love and Communication” is in the vein of T-Bone Walker; Casio tones follow a rustic guitar distortion. These little touches by the veteran Hi-records rhythm section contribute to a full-bodied, rich sound not found on previous Cat Power records.
Tracks like “Hate” and “The Moon” are more akin to the established Cat Power identity. Lyrically forceful, they are simultaneously inviting and off-putting. “The Moon” is interesting for its use of a recording technique that simulates a physical distance from the listener. The sly percussion and guitar ease her characteristic voice into the foreground. Strong as these tracks are, they take for granted the might of the Hi-Records crew, Marshall’s greatest asset in developing an innovative new sound.
“The Greatest” captures the mood of the album in one exhausted sigh. Marshall plays the part of the boxer hung up against the rungs. She’s soaking wet, shy and a little dazed, but not out. She’s tired of being called a sellout. She just wants to go home and play rock music the way she wants, no matter what everyone else thinks.
Maybe none of this has anything to do with “The Greatest.” However, I applaud Marshall’s bold move and hope to see her in the ring again soon.
Cody Gaspard can be reached at [email protected].
