Array of Diversified Co-Singers/Musicians Help To Shape An Inventive Sound
Some of the newer crop of singer-songwriters that have emerged from the glut of releases I have received and randomly heard struck me as accomplished, but lacking in soul and inspiration. It seems many go for the clichés and effects faster, the slick production values and the easy path that has been laid out before them by so many others before them.
In the beginning of this listening process I started to believe that New York’s Cheryl B. Engelhardt – despite her degree in music – which can offer a musician technical expertise, book knowledge of the forms, but stifle the natural progression of ingenuity, originality and a voice of one’s own — may be the playbook she would base her career on. Let’s be patient.
Cheryl does not explore anything new on her eleven track collection entitled “Inevitably,” but she does successfully produce and provide some refreshing tunes that are, at times, clever and do exemplify that there are indeed younger singers who have something to say.
Cheryl’s talent here? I find her songs commercially on target. Not in a cheap, saccharine manner either. She has some rich vein of fascination that runs through many of her songs. Thankfully also, is her ability to personify each song, sing with different tonal inflections and combine both her commercial talent for a memorable song with her graceful institution to fertilize each with a fancy approach that even a more mature listener can appreciate. Point: she doesn’t sound like those millennial whiney singer-songwriters who have simply lost their direction toward a refined, powerful presentation and have settled for valium induced melodies and singing styles.
The first track is the title track. It came out of my speakers as if it were a Vanessa Carlton retread from a decade ago. Melody-wise, I have heard this all before, the structure, the approach, and the dreaded drum programming. The singing, however, is sincere, The melody is not bad – just a bit similar to hundreds of other songs. The lyrics are simplistic — ok, not everyone is Joni Mitchell.
Am I doomed to another performer who is just using a flashlight on a map that was sold at a tourist trap? I hope not.
The voice is compelling, and the song “suggests” lots of possibilities. But, a career of this kind lasts about as long as a worm after a rain storm and the sun comes out to dry it up.
Redeemable?
Well…well…well… “Build This Town,” is absolutely stunning.
Cheryl’s found her ideal voice on this track. It’s a typical ballad, but she embellishes it with so many musical flavors: “…dreamers didn’t build this town…” Nice.
Ears are perked up now: “…you gave up wishing when you turned eighteen.” More…more…more…this is tenderized stuff. Everything on this effort is restrained, but it’s brilliant. There’s a touch of Lucinda Williams grit and yet, there’s an old world Loretta Lynn quality to it.
Then there’s the steady clean drums, the overlapping vocals with Toby Lightman, the sincerity, the wonderfully compelling melody and arrangement. This is a keeper. I could even hear someone like the late Frank Sinatra sing this and that’s a compliment. Well done.
The majority of the co-singers on each song have also contributed to the writing of the respective songs.
Changing lanes now…a little funkier…and while I am not a big fan of this kind of song, this one is sewn together with a sensibility. Cheryl sings with male vocalist Joe Jin and their duet has strength. This is more on the fringe of the new pop-country that is so popular today. It’s not corny, it’s actually clever. “Know Yes,” is a pop-country confection and it’s pumped full of commercial potential. Nice brass touch adds muscle where needed and it’s the kind of hook-filled song that will have a listener humming long after it’s over. This should be a single.
Track four and the set is gaining momentum: “Bring the Rain,” with Kristin Hoffmann is a captivating tune that hovers in Cheryl’s pop-country territory, but this is serious stuff. Material that a legendary singer like Emmylou Harris would shine on. The vocal production is perfect. J. Chris Griffin is credited with vocal production – whatever it is that was done it’s obvious this was a classy vocal showcase. Cheryl’s piano toward the conclusion is also exciting and adds personality to the song. Cheryl’s voice has a blues quality on this track — rich and expressive. Not hard blues, just that thick commanding confident projection.
“Declaration,” features Ari Herstand on vocals with Cheryl. I am beginning to see – the addition of different co-singers shapes an inventive sound on each song and keeps each in its place, separate, astute and lucid. Drum-wise this is more of a rocker even though the reins on this coach are kept tight to keep it from getting away. But, it rolls at a nice clip and the brass that’s added is for decoration. Nice Spanish-style trumpet blasts and the vocals always appealing. Ari also plays the trumpet and guitars on this track.
Cyndi Harvell shares vocals with Cheryl on “Dissolve,” a heavier ballad with Kristine Kruta on cello that adds a dynamic wall of sound that doesn’t intrude on the passionate singing by the two ladies. This is a little more dramatic than the other songs yet, it’s a very impressive piece of work. It’s like a lullaby on steroids. Excellently recorded. Shawn Pelton plays the skins and adds many colorful fills. This is the Cheryl B. Engelhardt who took her technical musical knowledge and added character and personality to it – and the magic is hers — and it’s evident.
With “Solid Gold,” Cheryl is joined by Oscar Albis Rodriguez who also provides guitars. This is another powerful song with highly polished singing and a steady glimmer of a melody. With a title like that you would assume it would be cliché ridden and over-wrought with sugar for commercial appeal. No. Cheryl is not that gullible. This is an appealing tune, constructed with class. Cheryl has her own singing style and I am trying to figure out who she may sound like – here in the late tracks – but, she doesn’t sound like anyone. She is simply Cheryl B. Engelhardt, for now — and it’s good.
I won’t pidgeon hole her like other writers. Cheryl could be a very compelling chanteuse – her voice seems to be able to wrap itself around pop-country, jazz and a little blues. Her voice is not honey thick like Norah Jones. It’s not twangy, not whiney like many of todays young female singers. Her voice is not shrill, or untrained, not as smokey as Tanita Tikaram or as commanding as Joan Armatrading. But it’s also not a showboat voice or performance. Actually, Cheryl’s showboat is in her ability to utilize many “voices” the way Heather Nova, Kit Hain, Judy Tzuke and Emm Gryner have done in their careers. Cheryl should multi-track herself and sing a duet with her own voice – that may be quite an excursion.
Track eight, “It’s Nothing,” has guest vocalist Jourdan Myers – and the song has some of Cheryl’s finest lyrics. In the vocals, Cheryl manages to utilize a wide range of over-lapping, tones, and enriches the “unified” voice of the two singers in a way that it almost sounds like one voice. Interesting. “Sleep Through the Night,” with Joey Auch finds Cheryl with an entirely different “voice” and it’s one of her best. This is a song that Linda Ronstadt could have appreciated.
The female singer Charlie Dore (who had the hit “Pilot of the Airwaves” in the 1980’s) had a similar type Americana song called “Sleep All Day” (on YouTube). But, I mention this only because these songs, these women — are good companions and not copies. Each possess their own value. Cheryl’s has breathy vocals sewn together with finely polished intonation – the song is a little masterpiece. Probably would have been more commanding with a grand piano or upright. A more acoustic sound would have made the song “richer” in presentation. Next album, I would like to hear some diversification in the instruments. Nevertheless, the song does have merit. I found it enjoyable.
“Pandora” is a stunning and beautiful closing tune. Female backing vocals are ghostly and Cheryl’s vocals are crystal clear and radiate. This is a great place for Cheryl to be.
These are the songs she should further develop. She sounds best with a little underlining drama in each song. The piano playing provides the appropriate current that makes it refreshing. This “voice” and piano approach is similar to the late, brilliant Judee Sill who wrote the legendary folk-rock songs “Jesus Was a Crossmaker,” (1973) – covered by many major artists including the late Warren Zevon who seldom sang other people’s songs. This song has an unforgettable melody, and has been a showstopper for anyone who performs it. Some of today’s artists such as: Rachael Yamagata covered the song, but it was not as spirited as Judee’s original. As well, Laura Michele Kelly has an excellent, thrilling cover. And, Judee’s “The Kiss,” (on YouTube – live version at the piano is wonderful because it clearly shows and exemplifies Judee’s singing style) is also so much like today’s Cheryl.
(Compliment of the highest order Cheryl. Few artists are compared to the likes of Judee Sill who could also conduct an orchestra).
Cheryl would be in good company with artists like Judee Sill and Charlie Dore. They are musical soul-mates. Cheryl is taking a walk down paths that were walked by artists like these and in the case of Judee: if that’s Cheryl’s eventual intention she is on a great and wondrous path. Judee didn’t make it to the big time because of a difficult life and a premature tragic death. Maybe Cheryl can finish that journey for her. She’s armed with the piano, the voice and I sincerely believe Cheryl has all the potency in her creativeness – master’s degree or not – her personality comes through the music. And that’s what it’s all about.
The CD was produced by Scott Feldman except for two songs by Joey Auch, and one song by Cheryl (“Solid Gold”) and track 11 produced by J. Chris Griffin.
Website: http://www.cbemusic.com/
Facebook: https://www.facebook.com/cbemusic/
Bandcamp: https://cheryl.bandcamp.com/
Disclaimer: The opinions expressed in this review / commentary are those of the author and do not necessarily reflect the official position of No Depression. All photography is owned by the respective photographers and is their copyrighted image; credited where photographer’s name was known & being used here solely as reference and will be removed on request. YouTube images are standard YouTube license.
John Apice / No Depression / September 2016