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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.