![]() Miller’s country classic “It Wasn’t God Who Made Honky Tonk Angels” (first popularized by Kitty Wells but performed by basically every Nashville legend of the past 50 years) summons visions of Peggy Lee’s “Fever,” and her version of Nick Cave’s urgent, angst-ridden “I Had a Dream Joe” has an easy groove reminiscent of “I Put a Spell on You.” Perhaps most unusual of all, a couple of tracks actually evoke other songs: Marshall’s torchy version of J.D. ![]() ![]() The transformations aren’t limited to musical arrangements: Marshall delivers the Replacements’ “Here Comes a Regular” with a massively treated, relatively deadpan vocal, accompanied by piano and distant acoustic guitar, that brings a ghostly quality to Paul Westerberg’s wistful, unvarnished losers’ anthem. Marshall brings an ironic twist on the second track, a cover of her own “Hate,” which is stark and solo on “The Greatest” but fleshed out with a full band here and retitled “Unhate.” Elsewhere, she returns the favor of Lana Del Rey’s cameo on her last album, 2018’s “Wanderer,” by covering “White Mustang” there’s a woozy, ethereal take on the Pogues’ shanty-esque “A Pair of Brown Eyes” and an unhurried, completely unrecognizable version of Bob Seger’s “Against the Wind” and a spare and appropriately menacing take on Iggy Pop’s 1979 song “Endless Sea” (which is almost comically sandwiched between the Seger song and her lovely, gentle rendition of Jackson Browne’s “These Days”). ![]() That is certainly the case for the album’s first single, a take on Frank Ocean’s “Bad Religion,” which is fathoms away from his vaguely churchy 2012 original and sounds like, well, a great Cat Power song. ![]()
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