★★★★★
Chely Wright came late to girl power music. In the early 1990's, Riot Grrl bands like Bratmobile and Bikini Kill were redefining punk with a no-holds barred message that sisters were doing it for themselves--by any means necessary. By the mid-1990's, mainstream music had co-opted the message and turned it over to image based bands like the Spice Girls to shill clothes while shouting Girl Power...
- roughstock.com
2010-12-07
★★★★★
Cheryl Wright may have looked
like a lightweight on her previous two efforts, but on Let Me
In, she turns her commanding alto to a fine program of
contemporary country, including the title ballad and ''Emma
Jean's Guitar,'' a left-field song about a pawnshop instrument
and the stories it holds. An unexpected jewel. B+
- ew.com
2009-06-12
★★★★★
On her fourth disc, Single White Female, Chely Wright matures into the kind of woman-to-woman singer who resonates with the restless and underappreciated, all searching for lasting love. Yet in writing and picking songs that mirror her own life, she moves beyond formula to emerge as a major female contender. With Vince Gill, Patty Loveless, Alison Krauss, and Trisha Yearwood on background vocals, Nashville seems to agree.
- ew.com
2009-06-12
★★★★★
Frustratingly inconsistent, Metropolitan Hotel squanders this songbird'sMartina McBride-esque potential. Wright is endearing on such pianoballads as "Between a Mother and a Child," which sets a guilt-trippin'mama straight. But too often, her sincerity crosses over into cloyingearnestness. Even in the metaphor-loving world of country music, therearen't many singers who could redeem lines like "I feel like I did allthe fixin' him up/But you moved into our house of love."
- ew.com
2009-06-12
★★★★★
Since winning the Academy of Country Music's Top New Female Vocalist trophy in 1994, Chely Wright's star has ascended steadily, culminating in her breakthrough album, Single White Female. With its follow-up, Never Love You Enough, Wright seems poised to move to the next level, both commercially and artistically...
- www.rollingstone.com
2009-06-08
★★★★★
For her third album, Chely Wright switched record labels and teamed up with producer Tony Brown, who helmed the boards for records by George Strait and Reba McEntire, among others. Brown stripped Wright's music down to the core -- for much of Let Me In, she's singing over clean acoustic arrangements; only a few cuts are adorned with pop-rock instrumentation. Wright benefits from the spare arrangements, which only emphasize her lovely voice and charisma...
- music.aol.com
2008-08-27
★★★★★
Chely Wright reunited with producer Tony Brown -- the man behind hit records by George Strait and Reba McEntire, as well as Wright's own Let Me In -- for her fourth album, Single White Female. The record picks up where its predecessor left off, offering a selection of ten songs with clean, tasteful arrangments that place Wright in the forefront. If the songs aren't always immediately grabbing, they're all classy, well-written tunes that slowly work their way into memory...
- music.aol.com
2008-08-27
★★★★★
Personable and traditional, Wright is the bland new face of country. On 1999's Single White Female, she struck a feminist pose for all 21st century Dixie chicks, taking the voice of the modern everywoman on a cycle of songs detailing the little parts of working and non-working relationships. This more conservative follow-up finds her back on the farm, still tracking the ins and outs of love, but accompanied by a shrugging indifference...
- music.aol.com
2008-08-27
★★★★★
Chely Wright wasn't the only female country vocalist to straddle the line between neo-traditional country and slick modern country-pop, but she was one of the best of her kind, thanks in large part to her earthy tenor, which gave even the poppiest songs a rooting in real country...
- music.aol.com
2008-08-27
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