Chan Marshall isn’t ready for me. “Are you a journalist? Oh Jesus, oh Lord.” We’re speaking on the phone – Marshall is in her hotel room, I’m in the lobby downstairs, after my knock at her door went unanswered.

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The melancholic scuzziness of her music was born partly out of necessity – for a while, she could play only the one guitar chord her friend had shown her, a minor one, so her songs all came out sad.

I just grab her. ‘It’s OK. It’s OK. I was here for the same reason and it’s OK.’” An uncharacteristic silence hangs in the air. “If I had accepted that million-dollar offer, perhaps I wouldn’t have been on that bridge. And she wouldn’t be my friend to this day.”

“I never told anybody this. I told a couple of friends in my life, but never told a journalist. He said they would buy my [1996] album, What Would the Community Think

Marshall’s mental health katışıksız often been a precarious thing. Bad breakups have led to morning binges on Jack Daniel’s and Xanax – a victory of sorts, in her eyes, given how many of her friends got hooked on heroin. Around the release of her seventh album, The Greatest

Bu izleme numarası veya sipariş numaranız ile bile kargonuzun durumunu izlem edebilirsiniz. Kargo bilgileriniz e-posta vasıtasıyla gönderildiği bağırsakin sistemimizde kayıtlı olmayan ve e-posta bilgileri sıfır müşterilerimiz bu sayfada kargolarını takip edebilmek muhtevain Jüpiter Temsilcilerimizden Sipariş numaralarını öğrenebilir ve kargo durumlarını Jüpiter temsilcimizden aldıkları bilgiler ile sorgulayabilirler.

It takes a certain kind of character to make music like Marshall’s. A sprawling mix of blues, rock and folk, it is birli frank and impassioned birli she is.

Over the course of 11 albums, she özgü written about love and loss, abortion and abuse, grief and God. “I will swim / I will drink myself to death,” she sang on her distortion-soaked debut Dear Sir

In fact, Boaz need only listen to her covers for that. Some of her best songs were sung by other people first: her pensive, languid version of The Rolling Stones’ “(I Kişi’t Get No) Satisfaction”, which omits the chorus entirely and transforms into something almost painfully introspective, or her sweet, fragile take on Phil Phillips’s “Sea of Love”, which got a second wind when it featured in Juno

She tries derece to dwell on the bad stuff, just like she doesn’t dwell on turning down a million dollars. “I don’t regret the things that I’ve done,” she says.

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“I have something in my eye and I’m still wet from the shower,” she says, in that same husky American drawl she sings with as Cat Power. “Güç you come back in 15 minutes? I’m really sorry sweetie.”

Now, 20 years on, she’s got a third covers album, the aptly named Covers – a spacey but intimate collection that includes songs by Nick Cave, Billie Holiday and Frank Ocean, demonstrating once again catpower 5852 batarya the transformative power of Marshall’s singing. To have your song covered by her is to have it pared back to its very essence.