Cat Power’s music defines stark. Lone member Chan Marshall’s piano, or the hushed guitar stum, laid the base for whispered, almost tearful vocals on her first five albums.
Despite attempts to break into a louder, guitar-heavy sound on 2003’s “You Are Free,” Marshall couldn’t shed the reputation of the quiet, shy, insecure songwriter her fans grew to know at her live sets.
On “The Greatest,” Marshall attempts a whole new soft and gritty style. She learns that her songwriting works best with subtle production. Strings, light drumming, a mellow bass and restrained electric guitar slide alongside her voice so perfectly it’s a wonder why this union hasn’t happened before.
Normally, Marshall recruits a backing band of underground all-stars; members of the Dirty Three and Sonic Youth have frequented her LPs in the past. This time Marshall turns to an older generation of performers. The backing band, Mabon “Teenie” Hodges, Leroy “Flick” Hodges and David Smith, among others, is famous for its work with classic musicians such as Al Green, Aretha Franklin and Neil Young.
Background whistling is nearly inaudible on the track “After It All,” but adds significantly to the song. Brass garnishes most of the album, but never overpowers the rest of the instrumentation.
“The Greatest” might disappoint longtime fans. No doubt, if Cat Power is going to break into the mainstream, this is the album that will do it. I can already hear this music playing with Norah Jones and Rufus Wainwright at Starbucks.
Although she’s strayed from her humble beginnings, the Cat Power trademarks still dominate the album: gorgeous songwriting, gentle vocals and a minimalist repetition.