National Review 11 June 2018

Accurately dubbed "the Queen of Chicago blues" (and sometimes just the blues in general), Koko Taylor helped keep the tradition of big-voiced, brassy female blues belters alive, recasting the spirits of early legends like Bessie Smith, Ma Rainey, Big Mama Thornton, and Memphis Minnie for the modern age. Taylor's rough, raw vocals were perfect for the swaggering new electrified era of the blues, and her massive hit "Wang Dang Doodle" served notice that male dominance in the blues wasn't as exclusive as it seemed. After a productive initial stint on Chess, Taylor spent several decades on the prominent contemporary blues label Alligator, going on to win more W.C. Handy Awards than any other female performer in history, and establishing herself as far and away the greatest female blues singer of her time. Collection includes: Koko Taylor (1969); South Side Lady (1973); I Got What It Takes (1975); The Earthshaker (1978); From The Heart Of A Woman (1981); Queen of the Blues (1985); Jump For Joy (1990).

Turina's take on Spanish folk idioms is unmatched, and showcased quite nicely on this CD. The "Danzas fantasticas" are the highlight, but the romantic flair of all the works on this recording is not to be missed. The orchestra is brilliant throughout, and the technical aspects of the recording are lacking nothing. Absolutely no complaints, only pure enjoyment. You can't go wrong with this one.

On the follow-up to her landmark debut, Happy Come Home (1987), Victoria Williams' skills as a multi-faceted songwriter become increasingly stronger and more distinct. The lack of aural opulence – such as Van Dyke Parks' string arrangements – reveal a less-forced approach, resulting in a giant leap forward in terms of the development of Williams' own voice. Likewise, her rich Louisiana bayou roots increasingly influence her music and act as a strong motif throughout not only Swing the Statue, but her future releases as well – most notably her contributions to the Original Harmony Ridge Creekdippers. Perhaps drawing upon her own experiences, Swing the Statue has an air of melancholia wafting throughout much of the album. Both "Boogieman" and "I Can't Cry Hard Enough" – while divergent in terms of musical style – speak directly to the feelings of loss and abandonment. These aptly juxtapose against the innocence and youthful awe of "Look at That Moon" and "Wobbling" as well as the spiritual guidance found in "Lift Him Up" and "Weeds." Unlike Happy Come Home, Swing the Statue is exceedingly more reserved and somewhat stark – with an emphasis on acoustic instrumentation. These aptly inhabit Williams' remarkably jazzy arrangements.