trombone. This is a beautifully assembled piece of work. It keeps a contemporary, DJ-culture edge without ever cutting out Morris's soul and R&B roots. A jazzy soul-sax arrangement gleams under the singer's lighter side on Nothing Comes from Nothing, and the acoustic simplicity of Mad Woman Blues is subtly enriched by an understated Hammond organ and equally spare electronics. The closing valediction, Field of Wheat, is one of her most haunting pieces of disclosed intimacy.’

Time Out, New York

‘The gutsy opener, Mad Woman Blues offers a first-person warning from behind bars; It's Jesus I Love fuses an evangelical intro to a bodice-ripping confession of lust. To accommodate the diverse cast of characters and ever changing moods, the singer and her collaborators have crafted a dozen distinct arrangements, incorporating everything from electronic break-beats to a musical saw.
But it is the voice that propels this well-sequenced set... and echoes of Billie Holliday's cracking timbre surface frequently here. But Morris can also purr a simmering blues, vault into a sunny upper register and cram as many words into one rapid-fire line as possible… this is a remarkably satisfying disc from a performer worthy of a wider renown.’