A Self-Assured and Dependable Collection That Is Anything But Unnatural…

I’ve listened to Charlotte Berg before and it’s always a pleasure to hear an artist mature and develop their already rich style and presentation.

There isn’t much to say about Charlotte that I haven’t expressed before in No Depression. She maintains her a high quality in her repertoire, is never stale, or dependent on a formula and seldom repetitive. She explores many different subject matters in her songwriting and this new album “Unnatural” continues in that tradition. Charlotte sounds even more self-assured in this collection.

As to be expected, Charlotte is in fine voice and she seems to sew together her songs with refreshing originality without ever sounding heavy handed or shallow and balances melody, sharp lyrics and remains a convincing female singer-songwriter in the truest sense.

While her vocal prowess is not necessarily Emmylou Harris, Dar Williams or Mary Chapin Carpenter – this collection does have moments where Charlotte is from the competent school this time out — of Natalie Merchant, Maria McKee and  Aimee Mann. That’s quite a trio of female singer-songwriters to share space with.

As good as her new opening songs are it does take a little time for Charlotte to emerge on this collection into who I am describing. There are ten tracks on this new collection and while the beginning tunes are good it wasn’t until the album started to play that it warmed up and began to really pick up momentum. The songs began to develop into little jewels. But for many, that’s to be expected.

Years ago, record companies would save one of the truly best tunes for track 4. Many reviewers would start their review by listening to track 4 – because that’s where the gold began. I am not certain if they practice this any longer — but, sometimes I do start with track 4.

This album starts with a little rocker “I Walk This Town,” which is catchy and typical in its formula style and dependable to grab ears. Charlotte succeeds in grabbing ears and she is in fine voice and proves she can sing with poignancy even on a song that has some rock credibility. The musicians are reliably tight and back Charlotte with expertise. Very Aimee Mann in style and done with finesse — and that’s not a bad start.

The shuffle drums open on what sounds like a mellotron with processed vocals keeps Charlotte in a rock singer’s psychedelic mode. “I Keep Falling,” has a steady rock beat and Charlotte keeps repeating the title in a “stupor” of either drug or alcohol induced euphoria. I may even be wrong in my interpretation but, I like the showcase of this song intended or not. Charlotte in this song is simply in love again and keeps failing at relationships. The mellotron, in a carnival carousel type, sustained turn, makes the tune a suggested retro King Crimson with a female vocalist excursion. But, because Charlotte’s songwriting and mood-inducing style are effective she provides the listener with exactly what it feels like to be in a doozy mood as the room spins. If singing a song requires acting, Charlotte is a good performer in that realm as well.

Still a little drowsy “Nature,” has a repetitive acoustic guitar and Charlotte’s vocal is strong — as always — and as the tune picks up in tempo Charlotte’s voice rings out with beautiful tones. “How many times have I made the same mistake…”  is a nice hook because we have all asked ourselves that question? The tune swirls around in a Kate Bush-Laurie Anderson way but never gets too strange. Charlotte knows how to keep her tales grounded and in her tradition.

The fourth track – and here it is: “Never Ending Highway,” a dynamic upbeat potent melody that gallops along like a horse free on the open range. Very Maria McKee-Aimee Mann-Natalie Merchant inspired and sung with verve and sparkle. This is delightful as it builds and Charlotte just lets loose with some fine vocalese. It has a little tinge of country-rock and the backup vocals are energetic. It just ends way too early – the melody is wonderful. So, there you go. Track 4 is a winner…as predicted.

Then, ever the perfectionist and professional Charlotte changes gears entirely. “Love’s Insane,” is a multi-vocal approach. I don’t have all the credits so I will assume she is either singing with some backup singers or Charlotte tracked her voice. It’s seamless and beautifully recorded. The pedal steel cries and it holds the tune together in a ghostly fashion. This song is totally different from all the previous Charlotte Berg tunes on this album. It almost comes across like The Roches, Indigo Girls or some McGarrigle Sisters songs. Considering the title of the song and the way the voices mesh probably something The Roche sisters would have done – but instead of the pedal steel, they would have King Crimson’s Robert Fripp provide the Frippertronic guitar. (That’s the second mention of King Crimson in this review – strange considering that Charlotte really doesn’t have any musical relation to that progressive rock band).

The mellotron or some keyboard effects weave through this song with effective soundscapes as Charlotte sings “Moving Silently.” A low bass runs through as the snare drum snaps. Charlotte’s voice is a mix of Laurie Anderson with her vocal effects and Jane Wiedlin and her dynamic song stylings. This album, so far, is Charlotte really stepping out and exploring effectively many worthy styles that suit her.

Another beautifully written track is “Pirates,” that maintains a strong melody and some of Charlotte’s most convincing vocals. This song has some nice sensitive lead guitar and the mood is engaging – which is all a credit to the fine musicians who perform with Ms. Berg. They flesh out the perceptive songs and the sensitivity in the melodies. This is one of Charlotte’s best. It has potency, mood, and distinction.

“The Ones I Can’t Have,” is one of the best tracks I found on this album. An articulate ballad with lots of aura and presence. This is where Charlotte shines best. She runs the gamut of her vocal range and never showboats – and that’s to be commended. She knows what she can do and does it with dignity, charm, and expertise. Like those other female vocalists, Charlotte possesses a female vocal that has a signature sound and I hope she can take it further. She should be invited to sing backup on other artists’ albums (the way Bonne Raitt, Emmylou Harris do), because she can only help make another artists’ tune shine even brighter.

Coming closer to the conclusion, “Impatient Stone,” is a percussive, echo-laden yet, excellently rendered tune. Inter-weaving guitars and Charlotte sings over thudding drums that are tailor-designed to this type of tune. A steady single beat would not suffice. This is exciting stuff – and while Charlotte’s voice is once again tinged a little with echo and sounds a little distant – that’s probably the desired effect. A nice venture into a rockier Charlotte Berg who proves that she too can touch upon the land of Grace Slick. And she does. 

The final track is an all-out vocal-effected rocker in the tradition of early 60’s Phil Spector female bands like The Crystals, The Dixie-Cups and Shangri-Las. Heavy drums and Lesley Gore – Mary Weiss (The Shangri-Las) stylings. This is glorious because Charlotte pulls it off not as a novelty but as art. The band comes off sounding like The Wrecking Crew at its best. (The Wrecking Crew were the studio musicians who performed on many of these 60’s records). Overall, the effort this time out continues to be competent, entertaining and engaging. Charlotte never treads musical water. She slowly piles on one style after another and tapers it to her own genre and her voice captures the ingenuity of these types of songs. This is where her real talent is. She doesn’t perform the older sounding songs as nostalgia but reinforces their luxury as a music that is dateless.

“Impatient Stone,” has moments of clarity in Charlotte’s vocal that elevates her to a convincing presence on the stage. It seems that except for opera – Charlotte could tackle just about any style vocally and master it. Next time out, I want to hear her dirty it up more musically and sing a down and dirty swampy blues. Don’t tell me Charlotte can’t do it. I have heard enough of her to believe. If Bonnie Raitt, Karen Lawrence, Bonnie Bramlett, Genya Ravan, and Tracy Nelson can do it — I am sure Charlotte can wrap her vocals around a tight blues and stick it into some of our unbelieving ears.

My only criticism is this: Charlotte Berg is a very attractive woman and the cover art does not do her justice nor does it come close to suggesting the fine music that is contained on this new CD. That commentary from a former graphics-advertising-marketing professional in the entertainment business. However, Charlotte’s on tour now…do catch her if you can.

Website: http://charlottebergmusic.com/

SoundCloud:  https://soundcloud.com/charlottebergmusic

FaceBook: https://www.facebook.com/CharlotteBergMusic/

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 / April 2017