Originally known for her shy, sullen voice and sparse guitar- and piano-based folk songs, Chan Marshall continues to expand her sound on her latest album. Boasting an impressive variety of veteran Memphis session musicians, The Greatest has a rich country charm that is markedly more upbeat and mainstream than the sound of earlier Cat Power records.
The first line of the beautiful title track wipes away any notions that the title reflects some new-found self-esteem: “Once I wanted to be the greatest/ No wind or waterfall could stop me/ And then came the rush of the flood.” An ebbing swell of strings gives this piano waltz added poignancy.
Marshall’s voice demonstrates an impressive new confidence and range as well, blending seamlessly with soul, R&B and country without sacrificing her haunting vocal power. Whether it be the smooth pedal steel twang of “Islands,” the saloon piano and blues guitar on “After it All,” or the swinging horns of “Could We,” her reflective and mellow tales of melancholy seem to be made for Memphis. What she does seem to sacrifice with her new sound, however, is the profound intimacy of her spare songs, which let the beauty of her lyrics take their rightful place at center stage.
Marshall throws a bone to her cult of devotees on “Hate,” a track whose dour minimalism is reminiscent of her earlier music. Backed by only a few piano chords, the full dramatic power of her voice shines through. On the radio-friendly “Love and Communication,” a sharp staccato of strings, heavy electric guitar, a domineering beat and even a catchy organ riff combine to end the record with a bang.
Like previous Cat Power’s work, The Greatest is simply not an album that the average listener can enjoy the whole way through. Though Marshall convincingly integrates the styles of her ‘70s Tennessee backers, few tracks are compelling enough to merit repeated listening. The Greatest may even be great, but it cannot hold a candle to 2003’s You are Free.
