You Are Free

February 18, 2003 | Format: MP3

$9.49
Song Title
Time
Popularity  
1
3:04
2
3:33
3
3:56
4
3:01
5
4:05
6
3:47
7
3:29
8
4:27
9
3:05
10
4:16
11
4:49
12
2:39
13
3:49
14
4:45

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Product Details

  • Original Release Date: February 18, 2003
  • Label: Matador
  • Copyright: 2003 Matador Records
  • Total Length: 52:45
  • Genres:
  • ASIN: B000S56ZX8
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (88 customer reviews)
  • Amazon Best Sellers Rank: #35,947 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Like they say, things have changed, but you're still the same.
junkmedia
I couldn't recommend this album more strongly for listeners who are patient and comfortable with subtle music that reveals its treasures only slowly.
Robert Moore
As a fan of Chan Marshall, I always find her voice, lyrics, and melodies to be haunting, beautiful, unique, and just brilliant.
Sasha Grenier

Most Helpful Customer Reviews

43 of 43 people found the following review helpful By lady detective on March 19, 2004
Format: Audio CD
Chan Marshall has finally managed to combine the soft coziness of 'Moon Pix' with the raw emotion of 'What Will The Community Think', & the result is unbelievable lovely.
'You Are Free' is crafty, melodic, layered, painful, beautiful & inspired. Its' quiet spaces give way to angry lamentations that manage to flow together seamlessly.
If you're into early PJ Harvey (esp. her demo work) the Cowboy Junkies 'Whites Off Earth Now' album, Edith Frost, or Patty Griffin's first album- then this is an absolute must!
Anyone who can sing, "turn out the lights, set yourself on fire, say goodnight," & make it sound sexy & like a piece of freedom, deserves attention.
Highly, Highly recommended!
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24 of 24 people found the following review helpful By Robert Moore HALL OF FAMETOP 500 REVIEWERVINE VOICE on May 17, 2005
Format: Audio CD
I've really come to love this album, though I'll confess it was slow to grow on me. For once thing, if you are in the mood for something upbeat and energetic, this isn't going to be your album. It is quiet, somber, reflective, minimalistic. There are albums that have gripped me on a first hearing, but more often than not they tend to fade in appeal as time goes by. This is a "difficult" album, but once you penetrate the apparent lack of diversity and instead the come to appreciate the subtle variations from one song to another, it can possess at a far deeper level than more accessible but ultimately more superficial ones.

This is music stripped down to essentials. I have been alternatively listening to this and a superb Teenage Fan Club album, and while I love both, the differences between the two couldn't be starker. Teenage Fan Club hates empty space, to the extent of layering sound upon sound to produce a many layered, astonishingly dense result. Chan Marshall, the artist who is Cat Power, not only is comfortable with silence within the music, she seems to quietly cultivate it. Her songs are filled with spaces, and adds in new strands of sound only hesitatingly. If a piano, a single guitar, and a backing vocal get the job done, why add in drums or bass? Or even get rid of the guitar or piano. The only way for the album to get any sparser would be for Marshall to sing the whole thing a capella. The effect of all this is to focus all the attention on the lyrics and the emotions Marshall is evoking. The result sometimes feels almost more like confessional therapy than music, an attempt to put raw emotional experience into a form in which it can be confronted and absorbed.

I couldn't recommend this album more strongly for listeners who are patient and comfortable with subtle music that reveals its treasures only slowly.
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12 of 12 people found the following review helpful By Andrew Cusack on February 22, 2003
Format: Audio CD
This year in music has been pretty boring so far. Nothing worth getting excited about has come out...and that's why it is all the more relieving that Chan Marshall just released the best work of her career with "You Are Free."
The album's opener, "I Don't Blame You," leads one to believe that Marshall is content with continuing along her same old path: it is a slow, piano-driven number reminiscent of the entire Cat Power back catalogue.
Though the song treads previously explored territory, it is already apparent that Marshall is on top of her songwriting game. The somber mood and the light hooks are executed perfectly.
But when "Free" chimes in after the brief moment of silence in between tracks, you realize Marshall has some new tricks up her sleeve. It makes use of a simple guitar part that is looped throughout its entirety. However, "Free" is so well written that it never gets boring. Different textures and vocals interchange seamlessly to produce a fresh, lively song. It rocks.
Marshall showed she was more than capable of breathing her own life into songs penned by other artists with her 2000 release, "The Covers Record." She chose to include two cover songs on "You Are Free" with country artist Michael Hurley's "Werewolf" and blues legend John Lee Hooker's "Keep on Runnin' (Crawlin' Black Spider)."
The covers work very well within the context of Marshall's own work; they never really feel like they could have been written by anyone but her. "Werewolf" is especially convincing with its string-tinged, haunting persona.
Marshall flexes her songwriting muscle time and time again throughout "You Are Free." The middle section of the album continues to explore new territory.
Read more ›
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7 of 7 people found the following review helpful By E. L. Green on July 27, 2006
Format: Audio CD
It is never entirely certain what Chan Marshall ("Cat Power") is singing about, even on the songs she "covers" (rather, deconstructs entirely, picking and choosing amongst the lyrics until they are some sort of found art almost unrecognizable to the original author). This album is probably her best, where she dumped the last vestiges of her punk-ish early music and went straight minimalist melancholy, without the ornations that hide the bones of The Greatest. She never has drums where a few chords will do. She never has chords where a single note would do. The only constant is her smoky voice, singing enigmatic lyrics that often obscure more than inform.

The result is hauntingly beautiful, like the Southern landscape from which Chan came, with the exception of "Names" which is simply chilling. Is any of it true? Does it really matter? When she sings "we can all be free/maybe not with words/maybe not with a look/but with your mind", does she believe it, or is she being ironic? It's never entirely clear what Chan's up to, but it is an experience that stands repeated listening well.
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