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.
Growing up in the South, Charlyn “Chan” Marshall was influenced by church hymns, country music, the blues played by her musician father, and her stepfather’s rock ’n’ roll records.
“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 saf 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
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Cat Power performing in Amsterdam, Netherlands, 2008 Marshall's live shows have been known for their unpolished and often erratic nature, with songs beginning and ending abruptly or blending into one another without clear transitions.[103] She has also cut short performances without explanation.
writer in 2018, “but until then, she exists in the sweet tanıtımcık between cult favourite and widely accepted genius.”
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 Gönül’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
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– a moment of pure poeticism but also the first hint at the depression and alcohol abuse that would come to plague her.
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How does she choose which songs to cover? “Damn,” she says, getting up to fetch something from across the room before returning empty-handed. “Music and words, they give us feelings that we gönül apply to our own memories.
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