Press

"...Courtney Collins, whose sultry and expressive voice would sound great
singing just about anything."
-The Onion

" An amazing, sultry voice."
-Saara Myrene Raappana, Actionman Magazine

"Courtney Collins’s seductive vocal style meshes with a surprising range of musical genres from lounge to tear-in-your-beer to Blondie-ish punk."
-Mel Goldsipe, Go Girls Music
*type in Courtney Collins in the "search bar"

"The eclectic ability of Courtney Collins to adapt to a style is uncanny.
Violet Night is an excellent recording that should be sought out by all musical thrill-seekers and by those who appreciate the injection of some mystery into their rock."
-Rick Tvedt, Rick's Cafe

"[Collins and Ylvisaker] added a subtle percussion track and a lonely, watery guitar line reminiscent of The Handsome Family and Andrew Bird. Wait, it is Andrew Bird: Ylvisaker plays guitar and bass in his band. Combined with Collins’ voice -- part lounge singer, part Marianne Faithfull -- it sounds like an old country ballad drifting through Elvis Costello’s dreams."
-Jessica Steinhoff, Isthmus

"Sultry chanteuse Collins covers Idlewild's 100 Broken Windows' hotfoot "Roseability." Credit: does anyone else cover Idlewild?! More credit: Collins has no intention of xeroxing songs she digs. "Roseability"'s dirty, slamming guitars are traded wholesale for weightless keyboard bloops, yet its magic melody is refreshed by her husky Debbie Harry meets Lulu croon. Ditto Cheap Trick's warhorse "I Want You to Want Me," delightfully reborn as a whisper-C&W song for Patsy Cline, young Willie Nelson, or Ray Price to warble. She similarly rethinks Julie London's "Cry Me a River" and songs associated with Madonna, OMD, Emilio Pericoli, and Ann Margaret. Perhaps she's all over the map on seven covers and five originals, but like iPod shuffle buttons, that isn't so "off" these days, and Violet is tempting."
-Jack Rabid, The Big Takeover

"All in all, a pretty remarkable solo debut."
-Tom Laskin, Isthmus

"Courtney Collins makes it work with the sheer power of her low sensuous voice."
-Chris Jorgensen, Billings Gazette

"'Thirteen Men' is a vampish-sounding bass-heavy delight. Collins’ temptress tones are at their best. 'Used To' an original, resembles Blondie in their punk pop glory. Collins is both a gifted interpreter and a good songwriter in her own right."
- Anna Maria Stjarnell, Collected Sounds

"Courtney creates music that crosses genres and demonstrates her singular character and style. She is a perceptive observer whose dreamy voice creates a playful mood..."
-Amandagaze, Rick's Cafe

"Collins' sultry voice steals the show. She occupies the lower registers with sensual flair, sometimes exuding a jazzy, torch singer approach, and other times presenting a more mellow, low-key sensibility."
-Carol Swanson, Christmas Reviews

"...Courtney Collins' silky voice, which sounds especially good when she is singing a cappella..."
-Kenneth Burns, Isthmus

"Collins' dreamy legato voice glides smoothly..."
-Mike Huberty, Maximum Ink

"Courtney Collins' brassy, sultry voice is perfectly suited to classics..."
-Rob Thomas, The Capital Times

"Collins’ vocals, sweltering in the jazzy prolongation of her notes, will get her just about anything she wants underneath the tree."
-(Review of "Yuletide Swank") Christine Holm, the Badger Herald

"Courtney Collins is Madison's Marianne Faithfull"
-Rick Tvedt, Rick's Cafe