PERFORMING SONGWRITER MAGAZINE, MAY 2007
|TOP 12 DIY PICKS by Mare Wakefield, Indie Music Editor|
What Living’s All About—a title that’s appropriate for a woman who has lived her life with such gusto. A Bohemian artist, Alicia Bay Laurel lived on a houseboat off Sausalito and a commune in Sonoma before spending 25 years on Maui. In addition to her music, she’s worked as a cook, collage artist, yoga instructor, wedding planner, underwater photographer and she’s the author of a New York Times bestseller, the whimsical Living on the Earth, first published in 1971.
The rich tapestry of her life translates to her music. In the Billie Holiday-esque “Floozy Tune,” Laurel plays the role of the Sunday School teacher turned barfly. In “America the Blues” she dishes out scathing political commentary to the tune of “America the Beautiful” (“America, America, greed sheds disgrace on thee / You don’t need nukes, you don’t need slaves, you don’t need gasoline”). She has fun with the smart “Aquarian Age Liberated Woman Blues” (“Seaweed for breakfast is good for you”) and the gospel-imbued “Doctor Sun and Nurse Water.” Laurel’s jazzy Earth-mother sound will seduce and inspire.
Review by John Stevenson of Ejazz News in London, June 2006
Just a quick note from London. I have reviewed your last CD at ejazznews.com. It is excellent. As I wrote in the review, by far one of the best for 2006.
I get close to 200 CDs a week sent to me, but yours stood out because of its transparently high level of musicianship and sincerity – qualities which are very rarely found combined these days.
Alicia Bay Laurel: What Living’s All About, Jazz Blues & Other Moist Situations (IWS)
With a provocative title like this one, Ms. Laurel will certainly catch the attention of any reviewer! This is most certainly one of the most audacious, heartfelt and honest discs I’ve put in my CD player for the year. Alicia (who sounds like the artistic love child of Joan Baez and Tom Waits) brings a folk-singer’s sensibility to bear on jazz and pulls no punches: On America The Blues, she declaims: America, the beautiful/you’re thorny as a rose:/Radiation, global warming/Poisoned food from GMOs./ She also sings a delightful version of Eden Ahbez’s Nature Boy. The accompaniment from guitarist Nels Cline, bass player John B. Williams and pianist Rick Olson is divine.
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BLUES REVUE MAGAZINE January 2008
Blues Bites: Reviews in Brief
Alicia Bay Laurel conveys life’s sudden shifts and jarring juxtapositions on What Living’s All About (Indigo With Stars 003). Sandwiched between the opener, “Floozy Tune,” and “Aquarian Age Liberated Woman Blues,” two formally classic blues that could have come from Ma Rainey if not for the namechecks (belly dancing, astral projection, The I. Ching, bee pollen candy and natty dread), comes “America the Blues,” with strident references to economic inequality, environmental rapine, corporate greed, and political corruption. Laurel moves from girlish singing on the Twenties-style songs to this doomy incantation, the arrangement taking full advantage of the jaw-dropping talent of avant-guitarist Nels Cline (best known as Wilco’s secret weapon). With cuts such as “Doctor Sun and Nurse Water” (a gospel-drenched number with oddly matched lyrics), and the Fever tribute of the title track, Living will strike some as too California in its outlook. But lovely touches abound, such as the stately, quietly anthemic “Love, Understanding and Peace,” and Doug Webb’s beautiful alto work on “Zero Gravity.”
All would-be writers who have studied how to write know the rule: “show me don’t tell me.” Visual artists find this advice easy to do and musicians are, perhaps, the same way. When the creative instrument does not rely solely on words, showing is not too difficult.
Alicia Bay Laurel wrote Living on the Earth, a cult classic and the first paperback on the New York Times Bestseller List (spring 1971), which has sold over 350,000 copies. She has also written five other books. Laurel is a talented, trained musician. She grew up playing classical piano, switched to guitar in her teens and learned open tunings from legendary guitarist John Fahey, a family member. On this latest album, What Living’s All About, she works with some of the best musicians in the field, including avant garde guitar hero Nels Cline.
“Zero Gravity” is a haunting song about a city at night, reminiscent of Ground Zero in New York City where the Twin Towers used to be. Laurel talks about sex in this CD and does it with class, sometimes with gentle humor, like “Floozy Tune.” However, you won’t know what she’s talking about unless you listen closely. This blend of jazz, blues and gospel is a powerful feminist statement. It’s fantastic!
Review by Patricia Ethelwyn Lang
“Floozy Tune” Wins Song Contest
7/9/2007 4:38:10 PM
Congratulations, you have been selected as a Top 20 Finalist in the Jazz Category of the 11th Annual Unisong International Song contest. Results are at http://www.unisong.com/Winners11.aspx.
This year featured the highest overall quality of songs, lyrics, and writers ever submitted by far, with the most diverse and varied entries from a multitude of countries representing every continent on Earth except Antarctica (and songwriting penguins out there).
The judging therefore was extremely competitive and to be singled out anywhere in the top 15% of all songs submitted was no easy feat.
Review of What Living’s All About by psychedelic folk radio DJ, Gerald Van Waes. His show, Psyche Van Het Folk, is on Radio Centraal, Antwerp, Belgium.
Like one of my favourite heartfelt singer-songwriter singers (Heather McLeod with ‘Funny Thing’, 1997), also Alicia went to more towards (slightly standard) jazz territories, but as a former hippie, it is clear this is not done as a compromise to please/tease a public. Her interpretations (-most songs are self penned-) are with great feelings, and a certain light happiness beyond each other idea or emotion. She describes the style mix well on the cover as “jazz, blues and other moist situations”. With additionally a a bit of New Orleans influence on “Floozy Tune”, and a bit of gospel on “Doctor Sun and Nurse Water” (about what the environment of Hawaii did to her), she wrote inspired something between jazz and jazz-blues and something else soulful. I like the idea on “America the Blues” saying “America, don’t wave that flag to con us with your jive…”..”we’re all family on this planet”.. (Just imagine how America is built upon so many nationalities and bought talents from everywhere, unfortunately mostly still chosen from what are seen as the trustworthy countries and areas (so practically still excluding preferably the French, Spanish, and several Arab-speaking countries and native Indians for economic concurrence, racist, nowadays partly religious, and a few other reasons).. Potentionally I realize America still has all opportunities and a certain openness to experiment for those who succeed to start to participate in the system. This track, like a few tunes elsewhere has some, for me, rather amusing freaky electric avant-garde guitar by Nels Cline (Wilco,..). Alicia, for having experienced a certain earthbound process, matured, she still has the happiest aspects of the hippie; this sum must having benefited the soul and music of the singer, who on her recent photograph on the back cover still looks 25 or so, so I guess the message of this lies somewhere as a benefit hidden in the music. Rather brilliant as an interpretation I think is “Nature Boy” (originally by Nat King Cole, but also covered by Grace Slick), in an emotionally calm contrapoint-driven moody jazz style, with the help of John B. Williams on upright bass and Enzo Tedesco on other instruments. A really fine and enjoyable album.
Alicia is a self-proclaimed “hippie chick” who I met through (drummer) Joe Gallivan. She had a hit book back in the 60s called [stay tuned for title – forgot it], which she says “was in practically every hippie commune outhouse in the west” (no doubt right next to “Be Here Now”!). This is, I believe, self-released, and is quite an odd but strangely entertaining, original, and disarming recording. It has a some amazing L.A.-based session/jazz players like (saxophonist) Doug Webb, who reaches beyond his Coltrane-esque tenor to turn in some beautiful post-Desmond alto, brilliant drummer Kendall Kay, and bassist John B. Williams, whom many may remember as the Fender player on The Tonight Show With Johnny Carson for many years. There is a choir on here! The songs are sort of 1920s-30s era swing, acoustic swing blues, and… Well anyway, when someone like Alicia asks me to do tons of Hendrix-inspired shrieking and psych looping (“America The Blues”) or fuzzed out adversarial commentary (“It’s Not Fair”), I figure that when the disc comes out that the stuff will, as it usually is, be buried or cut out altogether. I was amazed when I heard this that Alicia REALLY WANTED these sounds and that THEY ARE REALLY LOUD! I don’t know what people who know my music will think of this, but there is something so wry and self-deprecatingly amusing about Alicia’s hippie anthems, protest songs, and tales of failed romance that I find myself grinning. Hmmmm….Oh yes, I also play slide, lap steel, and acoustic guitar on this. I’m on 4 or 5 tracks.
Review by Platinum-selling singer/songwriter Joe Dolce
I think this is a very creative record with a lot of wonderful ideas and performances and some pretty extraordinary playing, and endearing vocals all over the place. I like it a lot!! I liked all the songs much better on the second listen. A keeper. Good work.
The album is eclectic, diverse musical styles. Therefore, I can relate to it! What holds it altogether is Alicia’s musical ‘personae’ – the complex character she is creating, through her voice and ideas. As you get to know this character more and more, as the songs and ideas progress, you trust her more and it allows you to enter more easily into whatever type of musical style is coming next. (Also this trust is a reason to want to go back and listen again.) Also the IDEAS are clear. The lead vocals are strong with a lot of presence. The musicians are all brilliant and the soloing is tasteful and creative – no cliches or stumbling around musically anywhere to be found.
Re: “Nature Boy.” I believe that if you can take the listener to a unique Hilltop, and give them a view that they will never forget, even ONCE in a recording or performance, that is enough. One brilliant moment builds a bridge of trust between you and them that will allow them to be more open to whatever you do from then on, even if they don’t relate or understand it. (You may never be able to take them to that High Point again but it doesn’t matter – it’s like great sex or great playing- you may not be able to LIVE with that person, but you will NEVER forget that encounter.) This track took me to that Hill. I feel different now about the whole recording.
Re: “I Could Write a Book.” This track is the track where I first gasped: genius! What an amazing idea. A track like this makes me have to listen to the whole CD over again to see if I missed anything the first time around on those opening tracks. A totally inspir
ed idea that works. No one else has ever done something like this with a standard. Perfect. I played this one for Lin. She liked it a lot, too. (She didn’t think her publisher would like it though! ha ha!)