What's it take to make an indie record sound like a big time commercial project while retaining its organic roots and feel? How about getting the A team together to support a talent that knows what she's doing and what it's all about. From Mike Finnigan's smoking B3 choogle to Morvan's searing to-the-point vocals and lyrics, this is a rousing, fist pumping good that's as life affirming as electro blues can be. This white girl might have the blues, but she ain't got nothing to be blue about. Another killer set from one of the genre's leading lights.
MIDWEST RECORD
February 2, 2018

Morvan's latest may be her best. She's in fine voice and her playing is the center of every song, whether a shuffle, a slow blues, or an R&B burner. She's also writing fine tunes and filling them with tasty, yet blistering Strat work that hits all the right notes and overflows with soul.
Vintage Guitar Magazine,
August 2018

Fearless and Fresh. Few standard blues records by non-major artists offer any surprises. But Laurie Morvan adds a bit to the blues genre. Her songs aren’t all that different, but the playing is unique enough to make you take notice. Solos and fills lift this effort above your standard blues fare; Morvan plays with plenty of imagination and doesn’t rely on licks or tricks heard a million times.

Blues-rock songs dominate; “Kickin’ Down Doors” has a great lyric and opens with a lick that grabs. “Where Are the Girls With Guitars” has an extremely clever lyric and playing to match the message. Morvan has a surprising and pleasing grasp of chromatic licks, even on a good ol’ shuffle like “My Baby Says,” where she throws in a unique solo.

“One Little Thing” is a quiet minor-key tune that shows off her lyrical smarts and soulful playing. Lyrically, the same can be said for the piano ballad “Family Line,” while the instrumental “Wiggle Room” opens with wah and offers a relentless solo that show the true strength of her chops.

There’s a lot of talk in guitar circles about how women just don’t seem to cut it when it come to guitar playing. But Morvan’s work is fearless. Check it out, and you’ll see – the debate is over.
Vintage Guitar Magazine,
September '07

“’Cures What Ails Ya’ is the
triumph of one young lady’s
years of work and dedication
to the blues” - Big City Blues

"This is one hard-working, passionate woman giving her all on every track." - Elmore

"Feeling filled vocals and versatile guitar work...equal parts reckless abandon and skilled precision" - OC Weekly