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Reviews "Lakeville" (Nettwerk, 2004)
"Amy Correia doesn't pretty up her voice on "Lakeville". It's shaky and scratchy; it misses notes and sometimes catches or cracks. At first her songwriting can sound just as unpolished, with melodies that are reveries on old blues, folk or gospel. But like Michelle Shocked and Tom Waits, Ms. Correia turns imperfections into intimacies."
-New York Times, Critic's Pick (Jon Pareles)
"Correia's waifish voice is both vulnerable and fierce, and it lends credibilitiy to the emotional contradictions she sings about... Recorded in roughly a week by producer Mark Howard (Lucinda Williams), "Lakeville" seduces with a bedroom intimacy––where torch songs, blues, roots and pop are bedmates, enjoying the bacchanal."
-American Songwriter (Robin Aigner)
"Amy Correia's voice is a weird thing, full of old blues, '20s jazz and hipster dawdling. Snaking through her knowing tunes like some ancient perfume, it slowly draws you into her world. Her songs are equally unusual, gentle and glowing one moment ("On Second Thought"), smoldering and sad the next ("Beautiful/Ugly")...Every song is a jewel, and you know instantly that here is a fresh perspective, free of cliché, bold enough to trust her considerable instincts."
-Harp Magazine, Rants & Faves (Ken Micaleff)
"Four years removed from the release of her acclaimed major label debut, "Carnival Love", singer/songwriter Amy Correia returns with "Lakeville". The album is a quiet little gem co-produced by Correia with Mark Howard (Lucinda Williams, Bob Dylan) on her own dime. Her melodies stick in your gourd, while her fanciful word play keeps you guessing."
-Paste Magazine (Holly George Warren)
"An outstanding piece of work which refuses to be categorised...Pinning down Correia to a style is kind of like nailing jelly to the proverbial wall, and maybe that’s it. The song writing is exceptional...Her voice, sometimes beautifully pitched, versatile, sometimes broken, never impersonal, is up there with Michelle Shocked and Susanne Vega for simply forcing you to listen. Maybe that’s it. And here’s the rub – put all this together and you have an album which is both steadfastly original and non-conformist and yet familiar and enticing at the same time.
-Americana UK (James Clark)
Reviews from "Carnival Love" (Capitol 2000)
"An astute songwriter who avoids cliches.....Ms. Correia is not just another quirky girl, the label often affixed to women who use their heads as aggressively as their hearts. She must face the fact that the music industry isn't very good at promoting women who are more like the cat that eats the canary than the fragile bird itself. This singular talent warrants a chance to disprove easy expectations...Ms. Correia deserves to be embraced by a loyal audience."
-The New York Times, Ann Powers
"Sculpts gorgeous melodies with poetic flair...her songs are often feathery gems that combine cinematic imagery with her multi-instrumental skills on guitar piano, mandolin, banjo and baritone ukulele. ..a wonderful new album"
-The Boston Globe, Steve Morse
"The love child of Patsy Cline and Jeff Buckley"
-San Francisco Examiner
"Correia creates hypnotic, homespun songs that draw from such influences as folk, pop, blues and french-style cabaret. Add to that her mesmerizing voice and a lyrical dexterity akin to Bob Dylan's, and you come up with one great find."
-Guitar World, Acoustic
"An accomplished songwriter...during her short set, she channeled an alcoholic Korean war veteran whose apartment she acquired in New York ("Chinatown"), previewed the [girl's room] tour's most catchy song ("Daydream Car," which might do for her what "Fast Car" did for Tracy Chapman), and then concluded with a stunning re-creation of Edith Piaf, in what sounded to be spotless French.
-No Depression
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