Eight years is a long time in almost any artist's career, but in
Cat Power
's case, it's an even more sizable gulf, as
Chan Marshall
's collections of other people's songs reflect. Released in 2000,
The Covers Record
found her becoming an ever more nuanced performer, tempering the rawness and intensity of her earlier albums with a lighter approach. Arriving in 2008,
Jukebox
reaffirms what a polished artist she's become, especially since her
Memphis soul
homage
The Greatest
. But where
sometimes bordered on slick,
's blend of
country
,
soul
blues
, and
jazz
feels lived-in and natural.
Marshall
recorded this set with her touring act,
the Dirty Delta Blues Band
, featuring some of
indie rock
's finest players, including her longtime drummer,
the Dirty Three
's
Jim White
-- who gives even the quietest moments vitality -- as well as
Jon Spencer Blues Explosion
Judah Bauer
and
Chavez
Matt Sweeney
, so it's not surprising that the album often plays like an especially well-recorded concert. However, some of the session legends she worked with on
make guest appearances, including
Teenie Hodges
Spooner Oldham
.
Oldham
's song for
Janis Joplin
"A Woman Left Lonely,"
appears here, and the original's sophisticated yet earthy sound is one of the album's biggest influences.
As on
makes bold choices. She citifies
Hank Williams
'
"Ramblin' Man"
(switched to
"Ramblin' [Wo]Man"
here), turning it slinky and smoky with spacious drums and rippling Rhodes; despite the very different surroundings, the song's desperate loneliness remains.
Joni Mitchell
's icily beautiful
"Blue"
gets a thaw and a late-night feel that are completely different but just as compelling. Not all of
's transformations are this successful:
's penchant for turning formerly brash songs brooding (like
"Satisfaction"
) sounds too predictable on
Frank Sinatra
"New York."
And, while the choice to change
James Brown
"I Lost Someone"
from searing and pleading to languid was brave, the results fall flat. One of the most drastic remakes is
's own
Moon Pix
track
"Metal Heart,"
which adds more drama and dynamics to one of her prettiest melodies. While the way this version swings from aching verses to cathartic choruses works, the subtlety and simplicity of the original are missed. Indeed, many of
's best moments are the simplest.
's reworking of
the Highwaymen
's 1990 hit
"Silver Stallion"
frees the song from its dated production, replacing it with acoustic guitar and pedal steel that impart a timeless, restless beauty. She pays
Bob Dylan
homage with a gritty, defiant, yet reverent take on
"I Believe in You"
from his 1978 Christian album
Slow Train Coming
"Song to Bobby,"
's lone new track, dedicated to and inspired by
Dylan
so thoroughly that she borrows his trademark cadences without sounding like an impersonation. Uneven as it may be,
is still a worthwhile portrait of
's artistry. ~ Heather Phares