Every so often a new voice appears that one can't help but notice. Welcome Charlotte Morris. Too often, albums are described as "most personal yet," but singer-songwriter Morris sings every note on "Wild Child" with deep conviction, with the kind of reflections and emotions that we can all relate to in some way. By turns confessional, vulnerable and stoic, we find ourselves immersed in her emotional songs.
While these are all Morris originals, she taps some terrific musicians in her adopted town of Music City, having relocated there from just outside Philadelphia. Morris sings and plays violin accompanied by David Flint (acoustic and electric guitar, mandolin), Dow Tomlin (bass guitar), Dave Francis (bass guitar), Dane Bryant (keyboard), and Wayne Killius (drums). The production quality is just right - spare enough and never excessive with credit to producer William Gawley.
The journey begins with "Tennessee," a warm ballad imbued with her violin that suggests she's more than comfortable in her new home, demonstrating an impressive vocal range that never wavers in the upper registers. The bouncy "Your Number One" follows where she expresses freedom having escaped from a bad relationship ("I hope she was worth it because I'm never coming back to you"), the lyrics sung straightforwardly, but without any subtlety. "Good Kind of Hurt" is a contemplative piano ballad with the album's most poignant message – the pull of addiction and PTSD, to spread more awareness about mental illness.
There is not a weak track amidst the 10. The title track is autobiographical as she sings about how music helped temper her rebellious nature. "Time Will Tell" is another 'must hear,' a pensive ode to resilience that may evoke such artists as Nanci Griffith and Gretchen Peters as Morris bears similar classy qualities with a voice that takes the edge off the pain and hurt, she often sings about. Morris has a natural gift for melody, and beyond that pretty voice are some heartfelt lyrics.