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But like everything here, it documents the unlikely transformation of an emotive indie rocker into a bona fide soul singer.
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Even though these covers are often terrific--and a solid part of Marshall's repertoire by now--they still don't match the majesty of Cat Power performing Cat Power songs.
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The mood once again leans toward languorous bliss, and the singing is casually devastating. And none of the covers ever falls victim to flat contrivance (except maybe John Fogerty’s 'Fortunate Son,' slowed to a dirge).
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Not surprisingly, its revisitations and recombinations are more or less of a piece with the approach of the earlier full-length, and they're far from leftovers.
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For the most part Marshall gets it spot on, but when she doesn't she only serves to highlight the quality of the originals.
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Her vamping can't touch their steamy-windowed originals.
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UncutAnyone still reeling from Chan Marshall's sultry and imperious covers collection, "Jukebox," will find further thrills on this six track mini-album.
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The songs on the Dark End of the Street EP are well-sung and nicely arranged, but they are missing that vital thing that turns a song into a necessary document of feeling and experience.
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On the surface it’s all nicely put together but almost all these covers lack the passion.
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Her voice, at the top of her range, doesn’t have the power to pull off a soul climax, I guess. That’s ultimately why Dark End of the Street is disappointing--not because it’s bad, but because we want this unique performer to demonstrate some of her special sparkle.
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Cat Power fans who aren’t familiar with the originals might be thrilled, but most everyone else will be left wondering, why bother?
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Her own versions aim at some druggily evocative conception of 60s soul, which makes them pale next to the originals.