On the follow-up to her landmark debut, Happy Come Home (1987), Victoria Williams' skills as a multi-faceted songwriter become increasingly stronger and more distinct. The lack of aural opulence – such as Van Dyke Parks' string arrangements – reveal a less-forced approach, resulting in a giant leap forward in terms of the development of Williams' own voice. Likewise, her rich Louisiana bayou roots increasingly influence her music and act as a strong motif throughout not only Swing the Statue, but her future releases as well – most notably her contributions to the Original Harmony Ridge Creekdippers. Perhaps drawing upon her own experiences, Swing the Statue has an air of melancholia wafting throughout much of the album. Both "Boogieman" and "I Can't Cry Hard Enough" – while divergent in terms of musical style – speak directly to the feelings of loss and abandonment. These aptly juxtapose against the innocence and youthful awe of "Look at That Moon" and "Wobbling" as well as the spiritual guidance found in "Lift Him Up" and "Weeds." Unlike Happy Come Home, Swing the Statue is exceedingly more reserved and somewhat stark – with an emphasis on acoustic instrumentation. These aptly inhabit Williams' remarkably jazzy arrangements.

The shear breadth and diversity of artists gathered for this benefit project, Sweet Relief: A Benefit for Victoria Williams, is a tribute to the affection Victoria Williams' peers had for her. It conveniently also makes for heady listening for any fan of contemporary music. The hard, brittle edges of Soul Asylum ("Summer of Drugs") and Buffalo Tom ("Merry Go Round") stand shoulder to shoulder with the country-folk of Lucinda Williams ("Main Road") and Maria McKee (an inspired and riveting "Opelousas (Sweet Relief)"). Sweet Relief offers a unique opportunity to introduce yourself to an enduring songwriter while savoring some of the day's most intriguing musicians. How sweet it is!