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Covers Record


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Product Details

  • Audio CD (March 3 2003)
  • Number of Discs: 1
  • Label: Matador Records
  • ASIN: B00004NHDY
  • Other Editions: Audio CD  |  LP Record
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (43 customer reviews)
  • Amazon Bestsellers Rank: #11,534 in Music (See Top 100 in Music)

1. (I Can't Get No) Satisfaction
2. Kingsport Town
3. Troubled Waters
4. Naked If I Want To
5. Sweedeedee
6. In This Hole
7. I Found A Reason
8. Wild Is The Wind
9. Red Apples
10. Paths Of Victory
11. Salty Dog
12. Sea Of Love

Product Description

Product Description

A mid-priced collection of covers. Intense and lovely renditions of classics and obscurities from the Rolling Stones, Bob Dylan, Michael Hurley, Nina Simone, traditional numbers and more.

Amazon.ca

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

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Customer Reviews

4.3 out of 5 stars
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Most helpful customer reviews

Format: Audio CD
In 1995 I saw Cat Power at Town Hall. She opened for Liz Phair. Timidly walking out on to stage, with shaking hands placing her set list on the microphone stand she played her set. She wasn't able to capture the audience that night, a low murmer of talking pervaded. She didn't finish he songs right, they just sort of ended mid strum. She walked off stage defeated.
In 2000 I saw the Matador Records 10th Anniversary Party, three nights at Irvin Plaza. Cat Power played on the second night and captivated me. I couldn't take my eyes off of her. The sound still echoes in my ears and memory. I was instantly transformed, converted into a Cat Power fan.
Her voice is simply beautiful. Hypnotic, Enveloping. Her guitar playing is similarly hypnotic. A vulnerable truth unencumbered by a need to hide itself from the world. All art and all artists should aspire to this level of vulnerability.
I bought The Covers Record on the strength of her cover of Satisfaction by the Rolling Stones. A song I didn't recognize until it was 2/3 done. Out of all her albums this is the most accessible, and I would consider this a great starting point, a great introduction to Chan Marshall a-k-a Cat Power.
Melancholy, slow, airy. Great art has the ability to transport you into a different world. This album transports you. If I close my eyes, I can see the studio with Chan at the piano, a single light so she can see the keys. If I keep them closed I'm drawn into the drama, the heartbreak, loss, and sorrow.
I saw Cat Power in 2001 at the Bowery Ballroom. She wasn't nearly as captivating. It was her crowd. She was confident on stage, almost brash. She played random songs she knew a few chords to and didn't finish them. She quipped with the audience. I don't know if this is typical of her performances now.
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By wte-nyc on March 14 2001
Format: Audio CD
I skipped Moon Pix (which I now regret) and only recently bought the Covers Album -- What Would the Community Think? was almost too intense for me... it made me uneasy in a way that was more disturbing than those other singer-songwriting chanteuses, because it was so painfully agonized and naked. It seemed shockingly unbalanced -- unlike, say, Liz Phair's detached coolness -- it was like watching a person fall apart. Chan's singing at points on WWTCT? rises up forcefully and cacophonously, then breaks up and disperses like a firework -- it is a remarkable sight, but I found afterwards that my face was pulled back in a sort of cringe.
On the Covers Album, however, that impulse is turned inward. Rather than that self-destructive explosion, more often we hear an almost whispering voice that waxes to a sharp but restrained point then wanes into a soft breath. Her voice still disperses, but here it's more like seeing smoke, wisping and curling gracefully in its death throes, before it disappears.
Quiet, tender, simple, thoughtful, often intense and often playful. I adore this album, find myself moving from song to song like an infatuated teenager -- Naked If I Want To, Sweedeedee, Wild is the Wind, Paths of Victory, Salty Dog and Sea of Love.
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Format: Audio CD
Alongside Kathleen Hanna, PJ Harvey and Liz Phair on her first album, Cat Power was one of the 90s most distinctive female voices, and, for all her 'minimalist' cred, incapable of duplication. Her quietly suicidal songs arise so obviously from her own inner being, a scream for attention while shrugging off demons.
Which makes her decision to produce a covers album a little odd. The best quality of Chan has always been her wilful individuality, yet by covering the songs of her peers (Smog) and idols (Lou Reed, Bob Dylan), much of this uniqueness is masked. Only on the first four songs, beginning with 'Satisfaction', does Chan successfully twist the melodies to fit her own brand of song writing, deservedly perverting Jagger's sexist romp into a cry for attention not originally envisaged by Jagger when he penned the line "Can't you see I'm on a losing streak..." The rest is just simply Chan breaking down the work of other's into one-chord mumbles, and it drags unnecessarily.
For Chan's haunting, cold breeze voice, this album is worth the money. But she has written better, mostly because it's her own.
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Format: Audio CD
In many ways this doesn't feel like a covers record at all. Normally the cover song is substandard and pathetic (think Sheryl Crow's dismal and ill-advised "Sweet Child O'Mine" from last summer. So totally out of her element... she lost a lot of credibility with me for that misstep). I listened to this and found most of the songs to be unrecognisable as cover of the originals which is exactly why this has turned out to be such a superior work. Chan Marshall has carefully selected a range of songs (some well known, some not so well known), and her interpretations are definitely her own-- quiet, understated, but still powerful works. By making them her own, she brings not only her unique musical style to the songs included her, but also reflects her respect for the original artists without coming off as being a fauning fan or a fake. This is a deep and genuine collection of well executed songs. Most recognisable and lovely is "Sea of Love", but everything on this record is relentlessly listenable!
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