“During two trips from his native Canada to the heart of these sounds (Memphis and Clarksdale , Mississippi) Sunday he recorded a disc extremely addictive and brilliant, produced and arranged with taste and wisdom by Gary Vincent and proposed a persuasive tone thanks to a voice harsh but also heartfelt and a pianism that owes much to the tradition.”
"The mix of instruments played on these songs is delightful. Wilde's honky tonk piano is featured prominently and her love of classic blues opens the album"
“Straight out of the gate, she grabs the attention of the listener with, “Show Me a Man.” Its highly descriptive lyrics come across as a woman’s prayer for the perfect man. Her classic, sultry voice moves from a purr to a growl, reminiscent of the great female blues singers of the 20s and 30s. This is Sunday’s style and it suits her right down to the ground. In just a few seconds, we were transported back in time, to the days of the southern minstrel shows or the back room of a New Orleans brothel.”
“She’s won awards up the yazoo, media from NPR to Walleye praise her strutting, casual blues voice. and her songs, oh-her songs melt, like butter on toast. The gal’s got it all, excepting a major record deal. Come to think of it, a record deal of any sort would be some kind of recognition for a singer, songwriter, and performer with more talent than a brothel of Mileys”
"Right from the first number, what direction roots pop tilting title track, Wildeons had firmly with us scruff. That voice! Wow! A large madammen as a Bessie Smith, Billie Holiday and an Earth Kitt spontaneously jumps us just for the spirit.And that was just the beginning! The plaintive, its salvation in jazzywateren seeking more "Sunday's Midnight Blues", the saxwerkvan Jimmy Wallace pulsated "including by mighty dirty blues" from "Handle Me", the quaatmosfeer us quite what to the classic "St. James Infirmary" reminiscent "Show Me Mercy", the handsome slow "Nobodies Fault" (never knew, that you zoschreef ...), the schuifelaar even though extremely atmospheric "Destitution Blues", the rockabilly-blues disturbance "I Can't Believe" and other tasty songs followed, piece by piece, just no fifty-three minutes long"
“Sunday Wilde has a raw soul voice that completely blows your socks off within seconds. For a moment it seems that Amy Winehouse is risen.......He Digs Me is therefore an extremely fascinating roller-coaster ride with nothing but highlights.”
“Sunday's (known) Preference is given to themes such as sadness, addiction, love and the torment caused by dysfunction. In 2 "Sunday's Midnight Blues" Bobby J Marks puts his muted trumpet jazzy blues accents, a plaintive interpretation of the melancholic atmosphere that hangs during midnight. 3 "Handle Me" is a sexy raw blues on a demanding woman who know that there is a man who can handle her. Sunday's voice and the sax of Jimmy Wallace worries here for jazzy illusions. The track 12 "Crying Shame" has been stripped of all frills. The acoustic guitar of Little Bobby, the upright bass Reno Jack and dry shuffles drummer Dan Dahlin accompany Sunday, when her sorrow about the love of a man, who in her eyes can do no good ... Sunday Wilde puts her fifth album "Hey Digs Me 're the traditions. In her we recognize the style and passion of the pre-war 'blues woman. With its distinctive and emotional voice Sunday Wilde brings her lyrics very moved and deep within her soul.”
“she has absolutely no problem delivering her music with a Smoky Old Jazzy Blues Room feel, courtesy of Vocals that I described in my last review as "to die for", as she sinks her teeth into a variety of relationship related subjects, such as, Love, Anger, Loneliness, Depression, Blame and more. And she does it all in a way that truly has no problem striking a cord in all of us. One thing is an absolute certainty with Sunday Wilde's music and that is the feeling of true authenticity in all of her songs, regardless of the genre. She brings it all to the forefront with truly outstanding and unique Vocal and Lyrical delivery, and she doesn't let up for one second on any of the Tracks. With the great Vocal and Lyrical delivery also comes the amazing musical texture from all the other performers, topped off with seasoned work on Piano. A rare and thrilling combination, for sure.”
“There is a good chance that Sunday Wilde has taken the Delta Blues that informs her style, songwriting, performance and recording further than any other artist. Before you start letter writing about who deserves more credit than Ms. Wilde for keeping the blues alive in 2014, it is her geographical location. Sunday Wilde calls home the wilds of Northern Ontario, right in the edge of the Arctic Circle, that transports blues found out in the fields and taken electric in to juke joints, chicken shacks and red-light lit alleyways across the southern U.S. Sunday Wilde is on album number four with the recent release of He Digs Me. Consistency in sound has followed her through the album cycle and He Digs Me sports the same blends of blues….dirty blues, country blues, acoustic and electric blues, contained on her previous output.”
“It is one of the most fascinating singers and songwriters in the blues of the present: Also Sunday Wilde's new album "Hey Digs Me" lives of her incomparable voice and songs between blues, jazz and heartbreaking loneliness. If Sunday Wilde wants, she can rip a alone with her voice the heart: your "Sunday's Midnight Blues" about exudes such longing, such torments and such pain, that it is hardly bearable. Quite reduced are piano and drums, only support the singer. Only the lines of a stuffed trumpet bring into something hopeful ment full lights. Even this song and the unexpected pop-happy opener / title track make it clear that Sunday Wilde is far from reaching the end of their artistic development.Here is a musician to hear that recognize entirely in their songs are and it creates so to speak directly to our hearts and at a level which is far away from the profane pubs Blues. Sunday Wilde is one of Blue musicians who this old music believable and fascinating to the 21st Can transport”
“The spare arrangements hark back to the early days of recorded music when the focus was on the song and the singer. There are few instrumental solos and when they occur, they are brief statements that quickly shift your attention back Wilde’s delivery of her original material. She lays down a solid rhythm on the piano for “He Thrills Me Up”, her tribute to a good loving man. The mood is a bit more somber when West adds some eerie guitar fills on “Down the Road Alone”. On the contemplative ballad “No Matter How Far”, Wilde expresses the depth of her feelings and yearnings for her man when he is not around. The sassy side of Wilde’s nature comes through loud and clear on “Sunday’s Loverman” as she makes it clear that she tired of doing all of the giving and getting nothing in return. “There was a Time” finds the singer reminiscing on an old love affair. The backwoods sound is sparked by Denmark’s old-timey violin.”
"Sunday wilde is spice not nice, and not afraid to rub your nose in it. She's like camp coffee gritty strong full bodied eye lid peeling. One belted twangy note and you know its her"
“I just received the newest release, He Gave Me A Blue Nightgown, by Sunday Wilde and it's pretty hot! Opening with Down The Road Alone, Wilde plys her captivating vocal style over piano and the equally haunting slide work of David West. Captured Me is a piano boogie under the vocal strength of Wilde. Again West adds a nice touch on guitar. No Matter How Far is a strong vocal track with traces of American Roots. Love Bender is a heartfelt ballad that is appealing on another level. Also adding accordion by Janice Matichuk in an unusual manner adds significant interest on this track. Virgil Denmark also adds texture with violin on this track. There Was A Time is another refreshing track with light accompaniment by Denmark as well Dawson Paulson on percussion. Tell Me To Hush has a distinct period sound that is enchanting. Again the instrumental backing remains light and interesting. I Guess I Didn't Hear You Right is another strong entry. A ballad showing strong melody and creative guitar”
“What works so well for Sunday Wilde is that she doesn’t just sing the Blues; she lives and breathes the essence of the art. Surrounded with primarily acoustic instrumentation, you could easily imagine Sunday Wilde in the early days of the blues in Chicago, Memphis, or anywhere else that heartbreak and hard times reign supreme. Wilde shines on songs such as “Captured Me”, “Sunday’s Loverman”, “Tell Me To Hush?” and “I Guess I Didn’t Hear You Right”. She shines, yes, but there are moments where Wilde exceeds a simple shine in an elemental explosion. One such moment is “Shaken Down”, where Wilde laments getting taken in by something of a con man. He Gave Me A Blue Nightgown is worthy of attention. Don’t be surprised if Sunday Wilde breaks out bigger than she has thus far with her latest work. He Gave Me A Blue Nightgown shouldn’t surprise anyone with a Juno, or perhaps even a GRAMMY nomination. Sunday wilde is the Queen of the Blues.”
“Sunday Wilde is a blues woman. Her latest album, He Gave Me a Blue Nightgown, paints Country, Americana and Roots music with a Blues brush. That choice gives He Gave Me a Blue Nightgown the sound of an album similar to 1920’s/30’s Blues women such as Bessie Smith and Ma Rainey. Sunday Wilde keeps the power of their delivery in place; the style diversity is a throwback to those women making Blues filtered through the personal music influences, some outside of their chosen form of words and music. Sunday’s decision to stay on home turf for the recording process, away from the sterile safety of previous times recording in Toronto studios. He Gave Me a Blue Nightgown was recorded in hunting lodge cabins near her Northern Ontario home-- the results again, harkening back to the scratchy quality that we hear today from the blues greats of the 20’s and 30’s.”
“Her songs draw from her life experiences: crazy love, human foibles, grief, barroom tussles and the wisdom that only comes from making multiple mistakes. However, there are no mistakes made with the musicians who accompany Ms. Wilde on He Gave Me A Blue Nightgown. Guitarist David West and bassist Rory Slater lay down an insistent rhythm track for Sunday’s percussive boogie-woogie laden piano and plaintive voice. This voice is not studied or forced. Her slides, slurs, moans and wails are as authentic as those of Bessie Smith, Billie Holiday, Buffy Sainte-Marie or June Carter Cash”
“So many blues and country artists boast about recording live off the floor with few overdubs, but rarely do the results make you genuinely feel, as you do here, like you’re witnessing a unique moment in time. The songs focus squarely on Wilde’s rich rockabilly-influenced hollering and honky-tonk piano playing, with only very minimal embellishments. Sure, there’s some guitar, upright bass, accordion, violin and an old metal mailbox that serves as a drum, but they’re used so sparingly that most modern roots music sounds glossy and overproduced by comparison.”
“There is certainly no doubt about Sunday's unbelievably amazing Vocals shining brightly on this album, but they shine brightly not only in and of themselves, but also because of the wonderfully textured mood created with all the other equally brilliant performers dispersing their little bits of musical magic. All in all, I found "He Gave Me A Blue Nightgown" to be yet another amazing musical journey courtesy of the equally amazing Sunday Wilde and friends. With it's unique blend of Roots, Blues, and Jazz, it is, I am sorry to say, the kind of album that there are far to little of. It is an album that simply sparkles because of, well, it's simplicity.”
“So, what we have is a well played album, with generally good sound, an esoteric collection of songs and an amazing singer with a distinctive voice. What can I compare that to? I can’t pigeonhole it in the slightest. I can draw parallels in places, Bessie Smith, Madeline Peyroux and Koko Taylor spring to mind as I’m listening, but not consistently. This is constantly coloring outside the lines it sets for itself and that’s what I like. It starts off as an album with borders and rules, then halfway through the first song all that goes out the window. Brilliant.”
“a woman, almost bursting with emotions, harsh, strong, angry, hurt. She sings about her often frustrating experience with the opposite sex. And she clearly does not mince words. The song could be described as Billie Holiday as a punk - but just as he remembers to Blue Queens as Koko Taylor. So far, so good.”
“Wilde has the vocal power and guts of a modern Bessie Smith. Her voice bursts like dynamite in the air, blasts to the back of the room effortlessly and still lands on the audience with the sweetness of snow. The lady has been blessed with one of the most powerful voices in Northern America and uses it with intelligence and talent. With her delicate songwriting she brings us classic blues tracks about losing the ones she loved and bad men driving her crazy ”
“Sunday Wilde lets loose on her piano and through her voice as if it's the last thing she'll ever do. Wilde opens with "That Man Drives Me Mad", a frenetic blues number driven by Wilde's eclectic voice. Wilde belts, purrs and moans through a song about love-induced madness in her primal, scratchy voice. "Sunday's Midnight Blues" documents the misgivings that can afflict us all in the small hours before dawn, and Wilde blows listeners out of the water with an impassioned vocal that's part confession and part sensual growl.”
“Wonderful Canadian singer and piano player Sunday Wilde brings us her third album, with an actual mixture of vintage sound. Sunday displays with her particular cosmopolitan hypnotic, an strange combination of raw blues, jazz, rockabilly, crazy gipsy blues or roots styles, together with some world music sounds. Sunday Wilde lives what he does with a religious intensity and she even will gets moved playing this collection of eleven own songs she has written with the same joy like a child with a new to. When you listen to her one cannnot do other thing that smile and participate of her musical language with the same pleasure and vivacity she shows in every song and every note she plays, either on vocals or on piano. She is backed by Ronnie Hayward on acoustic bass and David West on guitar. VERY GOOD. ”
“Her voice resembles that of Sue Foley, and fits wonderfully well with the kind of old time jazzy blues that she makes. Her examples are the singers like Bessie Smith, Ma Rainey, Billie Holiday and Ella Fitzgerald. from those early years who, like she does now, blues and jazz were able to mix up a perfect whole. That they, as in the opening song "That Man Drives Me Mad" and later in "Don't Bother Me" very violently and agitated sings, growls and grauwt, does not alter the fact that they are in a song as "Rest My Weary Heart." and "Time To Say Goodbye" is also her sensitive side. At such times reminds them to the great Billy Holliday. In-depth texts, a voice that drips of emotion and just that perfect dosage between blues and jazz to create "What Man ..." a strong blues plate, extra suitable for listening in the late hours of the morning. ”
“Sunday Wilde’s newest CD is a soulful mix of tormented love, no good men and strong women that survive. A heady concoction of new meets old, Wildes own unique voice mixes sweet innocence with a dusky raspy edge that conjures up images of early Ethel Waters and Sister Rosetta Tharpe. The opening song “That man drives me mad” is a hard driving honkey tonk tune while Sundays Midnight Blues invokes the quintessential metaphor of the dank ,smoke filled bar, last call and a lone piano player while Sunday sings to a friendless room. Time to say Goodbye rounds out this collection with a lilting expressive ballad complemented by David West’s classical guitar accompaniment and Ronnie Howard on Bass. ”
“The emotion that pours out of Sunday Wilde clears a path on every track. She sings pains and pleasures, dreams and decisions.”
“The feline opener "That man drives me mad" is a high-octane opener as Wilde suggestively pants and growls her words out. The more subtle approach in "Sunday's midnight blues" works fine and shows her voice at its deepest and most beguiling. "My baby's dead" is an Eastern European tinged nightmare about a grieving woman that allows Wilde room to roam with her peerless vocal prowess.”
"her new release has some very strong songwriting, and lyrically you'll know by the hairs on the back of your neck that she knows what she's singing about"
"is a mean barrelhouse piano player....a lively disc indeed"
“It is refreshing to hear such a vibrant new sound filled with passion, edge and personality. Truly one of the better CD's we have listened to.”
“the lively work on THAT Man drives me mad and the dirge-like tune in Midnight Blues – with the playful interaction of Heyward’s bass and West’s guitar on the third cut, Show me a man. She’s more than holding her own with these guys. ”
“Beyond her powerful vocal delivery is her equally powerful lyrical delivery which shows us all that she understands the ups and downs one can go through and thoroughly knows how to deliver that message”
“With its blend of modern recording technology and a warm, vintage sound and feel that sweeps the listener back to the heyday of jazzy blues, this new material from Sunday Wilde is the artist's best work to date”
"....the vibe and signature vocals are winning!!"
“she displays on a self-confident way, full of nuances and an extreme acoustic expressiveness that, sometimes, reminds me our beloved and missed Janis Joplin....An original daring passionate album where Sunday Wilde has given all her energies, good spirits and love.”
“Sunday’s vocal delivery often sounds like it was taken right off an old 78 blues record. It’s that authentic and from the gut.”
"she reminds me of Madelaine Peyroux but wilde has her own voice....Trouble - its as blue as blue can be"
“What makes Sunday Wilde especially appealing is the fact that she makes music that carries with it soul, passion, and meaning.”
“Broken String is just Wilde, with all new material. And she takes the same uncompromising approach to songwriting as she does to singing - let it all hang out!Both (Tom)Waits and Wilde sing loosely structured blues with an overriding commitment to passion.”
“That she would have the chops to do that probably doesn’t surprise anyone who has seen her perform. The power of her voice and the passion in her delivery fill any stage she takes to. This is no shrinking violet!”