With the indie masses worshipping at the whisper-croon altar of Cat Power’s Chan Marshall, I’ve always felt like a bit of an outsider. I just can’t get into her. Not for lack of trying, though — I shelled out for her acoustic solo efforts, as well as The Greatest, her full-band tribute to the Muscle Shoals sound, and everything in between. Almost every time, the idea of Cat Power is better than the real deal.

The exception was her 2000 covers album. With Marshall’s self-deprecating songwriting out of the way, one could focus on her voice — that smoky, haunting, downright intoxicating voice. With stripped-down arrangements that were almost unrecognizable next to the originals, The Covers Record was a surprising tour de force.

That’s why when her latest batch of cover tunes, Jukebox, hit the market, I was ready to give Marshall another shot. Once again, she proves that her singing voice is better than her writing. Still favouring minimal arrangements, Marshall enlists the help of such heavy hitters as guitarist Jim White, Matt Sweeney Blues Explosion drummer Judah Bauer and a raft of special guests. The album opens with “New York,” a brilliant spin through jazzy standard “New York, New York” that is more Memphis soul than Sinatra’s big city swank. That track aside, the song choices prove to be even more eclectic than her last outing. Marshall’s take on Joni Mitchell’s “Blue” offers no surprises, but her gender-bending twist on Hank Williams’s “Ramblin’ Man” is unexpectedly sultry. The greatest shock, though, is that in the context of these covers, Marshall’s two originals, “Metal Heart” and “Song to Bobby,” succeed all on their own, even if they do crib a few lyrics en route.

As a result, Jukebox is a total success. The production and performances are pitch perfect, but best of all, Marshall is able to put her indelible stamp on every track she lays to tape. It’s no easy feat, but she accomplishes it with seeming effortlessness and natural aplomb.