As I listened, I found myself thinking about Beyonce's similarly themed single and then going off on a tangent, wishing that more contemporary singers would pay their respects to pop music's rich history and be less predictable when doing it. A perfect example: Celine Dion and her version of Heart's "Alone" from her 2007 CD, Taking Chances. Carrie Underwood had already unexpectedly and successfully gone there in front of millions of TV viewers during the fourth season of American Idol, so why play follow the leader? I'd pay good money to download Celine renditions of Linda Ronstadt's "Long Long Time" or Phoebe Snow's "Poetry Man" or some other undercharted covers territory. In Beyonce's case, time will tell whether the soundtrack to the upcoming Etta James biopic, in which Beyonce portrays the R&B/blues legend, will mix relatively unsung Etta classics ("Losers, Weepers, Part I," "I'd Rather Go Blind") with the tried and truly done-to-death ("At Last," "Tell Mama").
But back to Cat Power and "A Woman Left Lonely." The song details the emotional burden of the fairer sex, emphasizing resignation over recrimination with a fairness that makes it interpretable by both male and female singers: "And the fevers of the night/The can burn an unloved woman/And oh, the red hot flames/Try to push old love aside/Oh, yes it does." Does Cat Power outdo the Silver Fox? I think she falls somewhat short, but it probably has more to do with the haunted early '70s piano-and-strings production values that elevate Rich's version than anything either did vocally. You be the judge.
LISTEN Cat Power: "A Woman Left Lonely"
LISTEN Charlie Rich: "A Woman Left Lonely"
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