Alicia Bay Laurel performs her prize-winning song, “Floozy Tune” at Yukotopia night club in Umejima, Tokyo, in 2010.
December 12, 2008
“Floozy Tune,” the opening cut of my blues/jazz CD, What Living’s All About, has garnered a runner-up position in yet a THIRD songwriting contest, this time as a Finalist in the 100% Music Songwriting Contest.
In summer 2008, “Floozy Tune” received Honorable Mention (7th place) in the World division (which includes jazz), in the Indie International Songwriting Contest.
The first award for “Floozy Tune” was in the Top 20 Finalists in the Jazz Division of the Unisong International Songwriting Contest, in 2007.
Alicia onstage in Tamagusuku, Okinawa, October 31, 2010
Dear girlgroup,
In thinking about my year-end list, it occurred to me that there’s something on it that you folks may not have heard but would be quite interested in. And in hopes of getting it onto more year-end lists than just mine…
Alicia Bay Laurel is best known for her 1971 handwritten and drawn commune guide “Living on the Earth” (later picked up by Random House, and an international bestseller). Alicia became a friend and mentor when I was 15, and I’ve returned the favor by helping to build her website, http://www.aliciabaylaurel.com, and teaching her how to blog.
Her new album, What Living’s All About (available from her online store) includes an astonishingly powerful protest tune, “America The Blues,” featuring wild guitar work by Nels Cline and Alicia sounding more like the Queen of the Punks than the Queen of the Hippies. I made her promise to make it available for free, because this song needs to be heard. Please give it a spin if you’re inclined, and think of it when listing your singles for your year end list.
Alicia says: “This is a song about speaking truth to power—not only to despots, but to our own collective power. The operative lyric here is VOTE. If everyone who could vote actually did vote, we could elect representatives who would work with us to reverse the vast environmental, public health, diplomatic, and human rights problems we earth-dwellers face, and make this a sustainable, joyful world for all who live in it, now and in the future.”
Tonight at Yukotopia, we blissed out to four acts, including mine. Doing the What Living’s All About show two nights in a row freed me to take new risks, especially with my choreography. I am having the time of my life.
In an ultimate act of courtesy, the club posted signs requesting that patrons not smoke until after I had finished my set. I didn’t ask for this; it’s a perk from Sandy Rothman’s residence, since he requested this on the nights he played.
First up: Catch and Release, a very large group (nine people this time, but Yuko says the personnel varies from show to show, as the group has an open policy about friends sitting in. Yes, that’s a digiridoo player on the left.) The overriding feeling was Family; the woman singing up front also works at Yukotopia tending bar, and her parents play in the group. They played trance music, that is to say, mostly, instead of songs, they improvised over one and two chord drones, although they also performed the Grateful Dead classic Uncle John’s Band.
I was next. With a sizeable contingent of the audience comprised of the members of the other three bands, the support, if possible, was even more enthusiastic than the night before. God bless the deadheads of Tokyo; they do enjoy their musicians, and the musicians appreciate each other’s work.
After me came Strange Taste, which, like me, is a singer/songwriter driven act whose songs sizzle with political outrage, humor, sex and love. Wonderful blues, reggae, singing, instrumental solos. Good fun, altogether.
Last up was Pineapple Tom, another large trance band (seven players), but this group is all about focus and sophistication, with lots of cleverly arranged musical figures, at the same time as an almost free jazz quality to the improvisation. I say “almost” because the rhythm section churned forth danceable beats, of which the audience took advantage. Good free jazz will blow your brains, but only a modern dance troupe would dance to it.
On both nights some of the deadheads brought their kids, who danced, played, and generally enjoyed themselves in the night bar scene. These two kids danced plenty, and the baby came up to me and held my hand and laughed. Yuko and Roku have three kids, and I could tell they enjoy having little ones in the club. I sure did.
Tonight and tomorrow I perform at Yukotopia. I’m singing and playing guitar to a CD of ten of the twelve cuts from What Living’s All About, minus my voice and guitar tracks, prepared for me by Scott Fraser at the time he mixed and mastered the CD last spring.
What’s different about the What Living’s All About show from the shows I created for my first two CDs is that I perform them standing up, and on some of the songs I don’t play guitar. That leaves a space for a new performance realm for me: dance. I don’t leap about, but I definitely use my whole body and face to convey the song.
The first act onstage: Here’s to Theres, a bluegrass/rock/folk band celebrating its twentieth anniversary this year, and no wonder; each player astounds with virtuosity. Aki, the vocalist, has loads of personality and energy.
I played second, and the third and final act was Sandy Rothman’s Anniversary Band, with Ken and Tak on vocals and guitars. Sandy invited up the violinist from Here’s to Theres. Everyone fell into bliss listening to the string and vocal harmonies cascading from these prodigious players.
Mike Miller, brother of Tim Miller, who chaired the Communal Studies Conference, and his wife Val, live in Tokyo, where they write for Reuters News Service. At Tim’s recommendation, they atttended my show at Yukotopia. Sweet people! Val’s a folkie multi-instrumentalist, and Sandy’s band reminded her of old times when she played in a band of like mind.
Taxi, a service I recently joined that sells music to record, film and TV producers, offers their songwriter members paid critiques of the songs from anonymous big time music business professionals. Taxi says they hide the names of their music biz consultants because there have been death threats! Somehow I don’t think of songwriters as a particularly violent group, but, hey, all groups, including spiritual teachers, include a small percentage of assholes.
I sent in the ten original songs from What Living’s All About, and got some comments from four of these unnamed (but numbered) industry powerhouses, which I will share with you here. A fifth listener (#211) identifies the overall style of the CD as Jazz Cabaret, a type of music that is recently having a resurgence in New York City.
Floozy Tune: Very cool song – really good performance – I like the imagery and the approach. Vocal has a lot of feel and there seems to be a sense of knowing in the delivery – not just reading a lyric off the page. At times it has sort of a Billie Holiday-esque tease-y thing that is very fun. Music arrangement feels quite authentic and very well done – very strong playing, but mostly a real good sense of what would work for a track like this – professional. Overall, it has the feel of a jazz standard with sort of a more contemporary look at the situation than would probably be found in an older song – pretty cool. (#53)
America the Blues: Hard to place a definitive pitchable stylistic label on this one. Well played and arranged. Placement would necessitate a sympathetic political setting. Perhaps a film? (#53)
Aquarian Age Liberated Woman Blues: The title is really cool – pretty much tells the whole story right there. Nice blend of classic jazz pop and a more or less contemporary point of view. Strong vocal delivery. Good structural elements – the form is cool and natural for the vibe of the song – the musical arrangement is good – dobro guitar and more acoustic instrumentation gives it the vibe of an era. The imagery is sharp and well-defined – the continuity is really good – imagery that only someone who knows the subject could describe (“bee pollen candy” indeed). Film or TV might be a viable place to find a situational place where the blend of influences would be part of the narrative for instance. Very cool imagery and fun to listen to. (#53)
Zero Gravity: Moody jazz noir, with saxophone and vocal lines in counterpoint. Languid and hypnotic; a slow burn, as it is. The wide interval in the first line raises interest immediately. The octave lift at the end of the chorus also maintains tension and drama that the sax solo sustains. Verse two is very picturesque and vivid. The image of the corsage being tossed into the “museum fountain” and the unusual word play of “limousine muse” are probably the strongest imagery in the lyrics: very well done and unusual. (#238)
Doctor Sun and Nurse Water: You have a very interesting sense of lyricism as demonstrated through this song, Alicia. I can’t recall having ever heard this combination of words before, and that’s a plus for the song. Personalizing the central images of nature and relating them to healing results in an upbeat and positive message that the power of the gospel arrangement brings to the forefront. The authenticity of the overall presentation is impressive: the use of the gospel choir, in particular, really adds an intensity that raises the bar considerably. “You give me rhythm and take away my blues” is a nice piece of word play as well that reformulates the conventions of the music it reflects and spins it into another positive cycle of hope and renewal. (#238)
What Living’s All About: A nice homage to the Peggy Lee-era song stylists of the fifties – you could perform this one stretched out in a single spotlight across the top of a white grand piano in a slinky gown. The jazz diva persona is inseparable from the song and supports the overall gestalt and vision that certainly illuminates a singular sense of artistry. From the downbeat, the listener is propelled directly into the center of the vibe; setting the mood is something you do extremely well in this song (as well as the other two songs reviewed with this submission.) The motion of the second verse is palpable: the electricity is well demonstrated and described in the litany of lyrical lines. The final verse is equally compelling with the images of “hips will roll the rhythms of mountains” a particular earthy delight. (#238)
Sometimes It Takes a Long Time: The track has a nice late 60’s/early 70’s folk/blues/singer songwriter vibe. The playing is impressive in that regard; great piano and cool vintage feel in the rhythm section. The gospel vocalist sounds excellent; that’s a good arrangement touch, btw. I like the way her part builds up at the end. The lyric paints in broad anthemic strokes, as if it’s summing up something that’s been going on, as if it’s the finale of a multi-part piece of some type. (#53)
Best of the Rest of You: This track sounds excellent. The slide guitar playing is tremendous, and the rhythm section sounds right on time for the style. The vocal sounds good and the lyric is fun. As a potential cover, perhaps this could be pitchable to artists in the vein of Bonnie Raitt, Diana Krall, Norah Jones, Madeleine Peyroux. Since the track itself sounds so good, I advise considering potential soundtrack pitches that specify material in this vein. (#53)
It’s Not Fair: Good song crafting, fluid feel, and some creative choices. Sounds like you have a good time with this one… “her topography, choreography”…echoes of Cole Porter in your sensibility, laid back and sophisticated approach. Melody, chord progressions, and walking bass line establish the groove and support kind of a jazz/hipster vocal delivery. The verse melody works with the lyric. This tune is in the genre of trad jazz to smooth jazz radio, cabaret, lounge. Appeal of the ensemble arrangement and phrasing draws from artists like Peggy Lee to Diana Krall. (#27)
Love, Understanding and Peace: These are very moving melodies; feel very natural and flowing. It’s adult contemporary from another era, bordering almost on gospel, at times, with a hint of a jazz feel. However, overall, this song reminds me of a lot of contemporary songs I’ve heard in church. This is a story of…redemption perhaps? I can’t quite tell if you’re singing to/about Jesus or about a relationship with a man – or both. The first sense I have of this song is it’s classic and retro, expecially considering your vocal approach, the spoken word portion and the musical arrangement. (#111)
ABL notes: #111 appears to be a specialist in Christian pop. #238 writes like a poet. #53 is from from a generation that uses “cool” as its superlative. I am honored!
I decided to have a CD release party for my third CD, What Living’s All About while I am here on the Big Island. I called artist Tomas Belsky, whose Kahuina Gallery in downtown Hilo is a favorite bohemian haunt, the scene of poetry readings, left wing political gatherings, and small dances and concerts. I got to know Tomas when I was organizing for Kucinich in 2004; he hosted our meetups at the gallery. Tomas was more than gracious in offering the space for my event on Friday, September 1, at 8 PM, right after the poetry reading.
Next I called Peter Serafin, the editor of the Hawaii Island Journal, which is the alternative paper in these parts. I met him through Sachiho Kojima, the leader of the three-woman trance band, Amana, when she and her band came here to the Big Island to do a memorial for Sachiho’s husband, and, afterwards, do a tour I set up for them. Peter has worked many years as a journalist in Japan, and generously provided me with a list of media contacts in Tokyo. He bent the rules at the Journal to get my event into the calendar even though I called a couple of days after the deadline. He also requested a copy of the CD for a review.
The Hawaii Tribune-Herald’s calendar has a more leniant deadline since it’s a daily instead of a bi-monthly paper. I listed the event in their calendar through their online robot. They don’t review CDs.
I have emailed all of my friends on the Big Island for whom I have current email addresses. I’ve posted to my blog. Next I will design and print a flyer and post it on bulletin boards.
I contacted a couple of local radio stations for airplay. KAPA Radio has already featured my second CD, Living in Hawaii Style, in its rotation in 2002 and 2003. I don’t know that they play jazz and blues. The other station, KHBC, certainly does; they are so eclectic that I will bring all three of my CDs when I stop in to meet Brad (who has a great radio voice) on Monday.
All that being done, it’s all about rehearsing, gathering up my sound equipment and making sure it all works well, and making sure there are enough chairs. I love performing, and this will be very casual, with lots of friends and not too much pomp and circumstance.
Follow up: It’s the next day after the show. Kahuina Gallery is not a large room, but it was ‘way overflowing with friends and fans for my show. I was ecstatic to be performing for them, and they cheered me roundly and bought CDs.
This is a song about speaking truth to power—not only to despots, but to our own collective power. The operative lyric here is VOTE. If everyone who could vote actually did vote, we could elect representatives who would work with us to reverse the vast environmental, public health, diplomatic, and human rights problems we earth-dwellers face, and make this a sustainable, joyful world for all who live in it, now and in the future. To vote well, we need truthful media (for example Truthout.org or Commondreams.org.) Also, we vote daily with our money; we need to support businesses that further sustainability and social justice, and boycott the rest. We need elections with publicly-funded election campaigns and hand-countable paper audits. Thank you.
Katharine Lee Bates wrote the lyrics to American the Beautiful on July 4, 1893; the melody comes from the hymn Materna, composed by Samuel A. Ward in 1882. Ms. Bates, a professor of English literature at Wellesley College, prolific poet and author, and ardent feminist, lived openly as a lesbian with her lifelong partner, Katharine Coman, Dean and professor of economics at Wellesley.
Curiously, the lyrics to America the Blues also revealed themselves on July 4th, 2003, while I was registering voters for the 2004 presidential election.
Arranged by Alicia Bay Laurel and Ron Grant, Singing and Speaking Vocal, Rhythm Guitar: Alicia Bay Laurel, Speaking Vocals: Jody Ashworth and Jessica Williams, Vocal Harmonies: Alicia Bay Laurel, Ron Grant and Jody Ashworth, Electric Guitar: Nels Cline, Electronic Symphony Orchestra: Ron Grant, Upright Bass: John B.Williams, Drums: Enzo Tedesco
America, the beautiful,
You’re thorny as a rose:
Radiation, global warming
Poisoned food from GMOs.
Your poor die sick and hungry,
And your wealthy live tax-free,
While they murder ancient forests
The soil and the sea.
America, America,
Greed sheds disgrace on thee.
Vote corporations out of power;
Revive democracy
For future generations
And human decency.
America, don’t blow it
All to smithereens.
You don’t need nukes; you don’t need slaves,
And you don’t need gasoline.
What you do need is compassion,
And respect for human rights,
Permaculture, sustainable systems,
Mediation instead of fights.
America, don’t wave that flag
To con us with your jive.
If the multi-nationals have their way
Even rich folks won’t survive.
We’re all family here on this planet,
So lay down that smoking gun,
And start sharing with your neighbors;
There’s enough for everyone.
I pledge allegiance to the earth
In the myriad stars of the universe
And to all the beings who upon her stand
One family, indivisible,
With liberty and justice for all.
America, America,
Greed sheds disgrace on thee.
Vote corporations out of power,
Revive democracy
For future generations
And human decency.
Cover painted, lettered and designed by Alicia Bay Laurel
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.
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.
Kind Regards,
John Stevenson
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.
* * * *
BLUES REVUE MAGAZINE January 2008 Tom Hyslop 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.”
FEMINIST REVIEW, Friday, June 1, 2007 Alicia Bay Laurel – What Living’s All About
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.
Alicia Bay Laurel tries to show and tell by weaving feelings, melody and an occasional diatribe word. She celebrates the Earth (nature) and embraces her sensuality. She also loudly laments the destruction of the environment, as in her song “America the Blues,” where the listing of our environmental sins drags a bit. At the same time, the song is strangely effective. The entwining hypnotic music ended with a smashing guitar rift, followed by a spine tingling sound of whale songs and a Native American Chant. This is an excellent protest song. Alicia Bay Laurel and Al Gore should be friends.
“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 “Floozy Tune” Status: Selected 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!) Joe Dolce Melbourne, Australia
Alicia, I love you !!!!!!! You are a wonderful ray of light in my life. Your music, messages, visuals & CD are extraordinary. Bravo – really a fabulous job on the disc. I had something like a religious experience upon hearing it for the first time. A most expertly guided journey. I later played America The Blues on my program, on a show w/ ‘The Dark Blues’ as the theme …I think it is on its way to being a timeless classic…. (unfortunately ?!!)… killer though — love so many things about it… fave maybe the background vocals.
Yours on all planets,
Charles Blass Audio Gumbo 89.9 FM WKCR New York City
* * * * *
Alicia,
I’m a blues/roots programmer and dj for WPFW, 89.3 FM, a 50,000-watt non-commercial station in Washington, D.C. and I report to the Living Blues Radio Chart.
I read a good review of What’s Living All About in Blues Revue magazine a while back; can you send a promo copy for possible airplay?
Thanks and let me know if you need anything else,
Elliott Gross Programmer/DJ The Don’t Forget the Blues Hour www.wpfw.org
* * * *
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 inspired 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!) Joe Dolce Platinum-selling Singer-Songwriter Melbourne, Australia
* * * * *
Dear Alicia:
Thanks so much for your lovely message. I listened to “America the Blues” with great enjoyment. But I must say I was really taken with your rendition of “Floozy Tune.”
I’m sorry to say I never read your book, but one of these days maybe I will.
Best wishes,
Howard Zinn Historian, activist, social critic Newton, Massachusetts
* * * * *
It’s a charming CD. It doesn’t sound like anything else that’s out there. It says important things in an unassuming way. It’s also very personal. I really like it. Nels Cline Avant Garde/Jazz/Rock Guitarist of reknown Los Angeles, California
* * * * *
I wanted to touch base with you on what we’re playing from your new CD.
We have been playing the following tracks on a regular basis in our new music rotation:
Floozy Tune
America The Blues
Best Of The Rest Of You
Dr. Sun & Nurse Water
It’s a great disc and we are getting a nice response to it.
I love your CD. There are several songs we will soon add to the rotation. But I had to start playing Floozy Tune right way. It is SO funny!
Brad Freeman Radio Host KHBC Radio Hilo, Hawaii
* * * * *
I wanted to drop you a line to say I loved “What Living’s All About.” My favorite tunes: “Aquarian Age Liberated Woman Blues,” “Doctor Sun & Nurse Water,” and I really resonated with “Sometimes it Takes a Long Time.”
I don’t listen to KBHC that much, so I was tickled when heard something from your CD on KBHC: Floozy Tune. This was last Saturday, 10:30 a.m. Brad was substituting for Mynah Bird, the regular morning DJ. It was a trip and a treat!
Linda Kane Honomu, Hawaii
* * * * *
I found it last night, Alicia! And was able to listen to several cuts. Really enjoyed it! And so thank you for sending that!
Listened to (and read the lyrics of) America the Blues and really liked that one as well. I love the song and, of course, everything about it is dead on; obviously it has a *very* strong political statement.
It would, of course, be perfect for The BRAD SHOW and I look forward to playing it at the next available opportunity!
Feedback from Jackie Ryan, one of the greatest living jazz vocalists, IMHO:
I heard your CD!! WOW!!! FANTASTIC JOB, ALICIA!! GREAT TUNES!! WOWOWOWOWOW!!! I can tell you put a lot into it. You did an EXCELLENT and very professional job. You should try selling some tunes to some big names!!!
Jackie recently sang in New York City:
Monday, August 28, 2006, 2 Sets: 7:30 & 9:30pm Jazz At Lincoln Center: Dizzy’s Club Coca Cola With Cyrus Chestnut: piano, Ray Drummond: bass, Carl Allen: drums, Eric Alexander: Sax, Jeremy Pelt: Trumpet, Romero Lubambo: guitar Doors open at 6pm for the 7:30pm set
* * * * * *
I’ve been enjoying it and am always amazed when listening to it at how well done the whole CD is! Felicitations! The musical journey goes through some solid jazz (some fabulous players!), blues, swing, gospel, and folk – that’s a lot to cover in one CD! How on earth (or otherwise) did you categorize the album for online sales? Your voice sounds great – sultry at times, silky at times, and gutsy at times! The lyrics are very creative, inventive and out-of-the-box – a far cry from the usual bill of fare for songs you hear these days. It’s an art to make thoughtful, intelligent, clever and funny songs, and I would say all of these tunes are just that type of art. I hope you’re continuing to write songs like these!
Ruthie Ristich Jazz Vocalist and Professor at Berklee School of Music Boston, Massachusetts
* * * * *
Sassy, sexy, sophisticated and smart!
Sophia Songhealer New Age Singing Goddess Carmel Valley, California
* * * * *
Howdy Alicia! I hope this finds you happy, healthy and happy! -L-O-V-E your NEW CD, “What Living’s All About”!!! “Floozy Tune” is one of my favorites! I can’t wait to share your tunes on the air.
Take Care- – – Miss Holley King Radio Host KBSZ-AM Saturdays 8 AM to 12 Noon Radio Free Phoenix Sundays at 2 PM
MY PLAY LIST FOR TODAYS’ SHOW Show No.21 – Sunday, June 25th, 2006 – “Bad To The Bone” – includes: (the funny) – Alicia Bay Laurel – Floozy Tune
* * * * *
Playlist for radioshow in 3 weeks from now :
Radioshow Psyche Van Het Folk 1st week of August : 2006-8-05 (8PM-10 PM), on Radio Centraal, Antwerp Belgium 106,7 FM :
New acoustic releases, often with serious minimalist ideas..
Alicia Bay Laurel : What’s Living’s All About Track 8, “Nature Boy”
My favourite track of this new album of former hippie living in Hawaii. Jazz is a new inspiration. This interpretation is really well done.
from Gerald Van Waes, Radio Host * * * * *
They are playing Dr. Sun and Nurse Water right NOW! on Radio Free Phoenix. I think it is Liz Boyle DJ-ing right now… Cool huh! Hope you are having a good day!
Miss Holley King DJ Radio Free Phoenix
* * * * *
It’s a terrific piece of artistry, and deserves to shine at its brightest! We’ve been enjoying Alicia’s new CD a whole lot. [re: Nels Cline] Wotta guitarist! Whoo-ee!
It is so great!! You reach higher place in mountain of music!
The message is so straight. It came into my heart.
Music are so sophisticated. Your vocal is growing up.
So wonderful!!
We are enjoy it.
Always I can feel connected your spirit.
Goddess blessing you!
Sachiho Kojima Vocalist/Songwriter/Bassist Naha City Okinawa
* * * * *
Got Alicia’s new CD & really do think it’s the best ever. I dearly love jazz & blues anyway & Alicia’s voice is perfect for “Floozy Tune” – the first old timey song. Another of my favorites is “Best of the Rest of You”. I’m tempted to quote lyrics, which are all excellent. Anyway, far as I know, Alicia wrote all the songs except the classic “I Could Write a Book” in which she gives a little talk about the vicissitudes of the publishing business – a subject wherein she knows whereof she speaks. Youse guys are missing out if you don’t check this out. Alicia’s one of our own & she’s done us proud IMO. Pam Hanna Freelance writer, editor and critic (writing on to our commune alumni Yahoo group Mostpost) Thoreau, New Mexico
[Alicia notes: there are TWO jazz standards on WLAA, “I Could Write a Book” and “Nature Boy.” The spoken words on “I Could Write a Book” are from literary agent Michael Larsen’s book How To Write a Book Proposal, Third Edition (Writers Digest Books, 2003) and used with permission.]
* * * * *
i just got my sample of your disc….i must say, it looks AND sounds very good! congrats on an excellent release! we do so many titles, that it’s rare that i actually LIKE one. but, yours is certainly an exception….totally going to get it on my iPod.
please don’t hesitate to contact me, if/when you have another need for CD or DVD manufacturing. same with your friends: send them directly to me and have them drop your name. i’ll certainly take care of them! cheers, Joe Vent Sales AtoZ Media-Midwest Milwaukee, Wisconsin
[Alicia notes: A to Z Media did a wonderful job manufacturing my CD and both Joe Vent (sales) and Sandra Gray (production) were a pleasure to do business with. Very reasonable prices, too.]
* * * * *
Dear Alicia:
The CD certainly arrived. I waited until family left, as I like to listen to a new album with undivided attention (NOT as background music!). I sat with the liner notes, read your commentaries and the lyrics. I LOVE the album. You are the most incredibly creative woman!
Floozy Tune is great fun. I like traditional jazz and blues a lot, but tend to get lost in the current stuff. Your sensibility pleases my ears!
I’m recommending your web site to like-minded colleagues and friends.
Hugs,
Barbara
Barbara Neighbors Deal, Ph.D.,
Literary Associates
* * * * *
Dear Alicia:
It seems new CD is different arrange from ever work. I enjoy many sound, may be your friends. I love illustration of jacket too !
Koki Aso Freelance Journalist Kamakura, Japan
* * * * *
The Hippie Museuem’s most cherished Fairy Godmother Alicia Bay Laurel, artist, musician, and author of “Living on the Earth”, the more-than-famous hippie “bible” of back-to-the-land living, has just released a new cd, “What Living’s All About”. The description on the cover reads “Jazz, blues and other moist situations”… Read what Alicia has to say about it, and follow links to purchase it on her site.
I’m sorry to late to mail. I went to Tokyo and Kanazawa. The day I back from Kanazawa, your CD came to my home. Thank you!!
When I listen your CD, [my teenaged daughter] Seina came home and she said, “It’s cool! I love this CD!”
We are surprised that this CD has very different world from your 1st and 2nd CD.
I’d like to sell this CD also. Please ask GATS production to inform me when he releases your CD in Japan.
Thank you!!
with love, Yoko Nema Musician Owner, Tata Bazaar Naha City Okinawa
* * * * *
You are so friggin’ talented it makes me weep… Thanks so much for sending me your new CD. I am enjoying it thoroughly! Aloha nui loa, Barb Barbara J. Fahs, M.A. Hi`iaka’s Healing Herb Garden, LLC Author of Super Simple Guide for Creating Hawaiian Gardens Kea’au, Hawaii
* * * * *
I listened this morning to all of the tracks and it’s great music. I enjoyed Alicia’s voice and the arrangements—it was well worth the listen! Connie Higginson-Murry Midnight Blues Radio Show
* * * * *
I was struck by the uniqueness of the sound and some of the melodies and voiceplay grabbed my attention! Don Strachan Author, Watsu Therapist and Tantra Teacher Middletown, California
* * * * *
I have listened to you music and I am stunned and delighted!!! I LOVE IT LOVE IT LOVE IT! YES!!!!!! Man….. the jazzy bo ho beat sultry powerful oh yes. Thank you , Alicia, for Being You!
…….Love, Char ~* Webmistress of Hippie Museum Santa Cruz, California
* * * * *
Dear Alicia,
I just listened to your CD: “What Living’s All About”. Oh, every one of the songs was really good. I especially liked the “doctor sun and nurse water” which is, like the song you recited to me, a poem and a prayer at the same time. I love the “nature boy” also. “it’s not fair” is funny and sad… “america the blues”, so strong. The music, voice, the content of the songs are all so good.
Through these 32 years, both of us have seen pleasure and pain, beauty and sadness of life which, I think, made us closer. I had such a deep feeling of solace being with you.
Good night for now.
Kenichi Iyanaga Saitama, Japan
* * * * * *
Alicia! You did good, mama. What a beautiful baby. I listened and bought it right away. Hilarious and absolutely GORGEOUS. A Hearty Congratulations To You. Thanks for sharing. Emily Capehart Permaculture Teacher Pilot Point, Texas
* * * * *
Vintage Alicia. Alicia at her best. Milo Clark Pahoa, Hawaii
* * * * *
New Year card from Lily Bastug, of Santa Barbara, California
* * * * * * * * *
The CD is eclectically superb! On to the 3rd listening… Joel Goldfarb Jazz Pianist Makawao, Hawaii
* * * * *
This is a fabulous album that has kept me company through hard times, entertained me and made me laugh. Alicia is a true artist. You can’t go wrong with any of her albums; they are all completely UNIQUE, impeccably produced, and she wrote the book on liner notes!
Karin Lease Artist and Environmental activist Sebastopol, California
* * * * *
Your CD is a delight. I know good things will come of it. Delia Moon Santa Barbara, California
* * * * *
I listened to all of the songs… GREAT, GREAT, GREAT! You must be so proud because it really is awesome.
Thank you so much for bringing your spirit to the music world. I will cherish this CD.
You never cease to amaze me. 🙂
Hope you have a beautiful day… you are a beautiful and blessed woman.
Peace, Love & Understanding 🙂 Hollywould Redneck Riviera, Florida
* * * * *
Aloha fairy godmother. I heard your latest album the other day with my mom. High props to you for creating a jazzy piece with a political message. Keep rockin!
My man and I are off the end of this week to Northern Cali for High Sierra Music festival to vend LalaSun. It should be fun.
Kisses to you.
Blessings
(((*leilea*)))
Clothing designer/manufacturer Honokaa, Hawaii
Live free & enjoy! Its the way to be.
* * * * *
I listened to all of the songs and really enjoyed them. I’m going to continue listening to your CD many more times. Your songs show sensitivity, depth, and breadth of life experience. Jerome Franklin MD Psychiatrist Los Angeles, California
* * * * *
We got the CD…
Its so cool… i love the cover design… it sounds great! you sound great! you must be so proud and happy… what a great accomplishment… a completion af a trilogy… WOW!!! You go girl!!!
Lihau Daly Hollywood, California
* * * * *
Hi Alicia
I received What Livings All About last week (what a fast delivery!). I love it! And you signed the cover – thank you. Your voice is so expressive. It sounds better than ever. The other musicians are great too. Alan and I are enjoying it.
Lani Harriman Cupertino, California
* * * * *
Dear Alicia, Congratulations on your new CD! My favorites are Floozy Tune, The Best of the Rest of You, and Dr. Sun And Nurse Water. I play them over and over. Your songs are a great de-stresser for me and and I love having my lifelong friend singing to me. It doesn’t get any better! Congratulations on your musical legacy to the world. Your hard work, planning, and determination has come to fruition! I AM SO PROUD OF YOU!!!!!!!!!!!!!!! BIG LOVE AND HUGS TO MY LIFETIME FRIEND, GERI WOOLLS Huntington Beach, California
* * * * *
Hi Dear Alicia,
Wonderful album! We listened as we drove to and from Tahoe this week.
There is such a great range of music and the styling is perfect.
Thank you!!
The protest song is great.
The literary statment at the end is a hoot and will be appreciated by every writer I know.
I love your CD. You have such a pure voice and a great selection of tunes. Good for you.
Much love, Stella Resnick, Ph.D Psychotherapist Los Angeles, California
* * * * *
A few of the highlights that spoke to me were the fun, jazzy feel of What Livings All About. I love your voice, it’s so versatile and pleasing to listen to. Your creative arrangements were not lost on me, either. “Sometimes It Takes a Long Time” really spoke to me so much, and I have always loved Nat King Cole’s recording of “Nature Boy,” and you totally did it justice.
I really got all that you put into it, your creative heart and soul really shined through.
Alicia Bay Laurel 
You must be logged in to post a comment.