Order 3 or more physical items and get 1¢ postal shipping
Alicia Bay Laurel | What Living's All About

Go To Artist Page

Recommended if You Like
Bonnie Raitt Maria Muldaur Phoebe Snow

Album Links
Alicia Bay Laurel Bitmunk GreatIndieMusic GroupieTunes Nexhit PassAlong Tradebit PayPlay Apple iTunes

More Artists From
United States - Hawaii

Other Genres You Will Love
Jazz: Jazz Vocals Blues: Acoustic Blues Moods: Mood: Fun
There are no items in your wishlist.

What Living's All About

by Alicia Bay Laurel

Fun, funny, sexy, spiritual, cynical, hip, and anti-corporate, Alicia sings ten of her own blues, jazz and gospel tunes and breathes new life into two jazz standards.
Genre: Jazz: Jazz Vocals
Release Date: 

We'll ship when it's back in stock

Order now and we'll ship when it's back in stock, or enter your email below to be notified when it's back in stock.
Continue Shopping
just a few left.
order now!
Buy 2 or more of this title's physical copies and get 10% off
Share to Google +1

To listen to tracks you will need to update your browser to a recent version.

  Song Share Time Download
clip
1. Floozy Tune
4:05 $0.99
clip
2. America The Blues
5:23 $0.99
clip
3. Aquarian Age Liberated Woman Blues
4:02 $0.99
clip
4. Zero Gravity
6:16 $0.99
clip
5. Doctor Sun and Nurse Water
4:09 $0.99
clip
6. What Living's All About
4:18 $0.99
clip
7. Sometimes It Takes a Long Time
4:25 $0.99
clip
8. Nature Boy
7:23 $0.99
clip
9. Best of the Rest of You
3:29 $0.99
clip
10. I Could Write a Book
4:45 $0.99
clip
11. It's Not Fair
3:14 $0.99
clip
12. Love, Understanding and Peace
3:27 $0.99
Downloads are available as MP3-320 files.

ABOUT THIS ALBUM


Album Notes
Alicia Bay Laurel is a baby boomer, hippie chick, earth goddess, and political activist, who wrote, illustrated and designed a bestselling boho style, back-to-the-land manual, first published in 1970, that changed the way books look, forever. Lots of people still read Living on the Earth, and thousands of people read her blog at www.aliciabaylaurel.com. This is her third CD, released in 2006 (as of 2018, she's made eight).

For those familiar with Alicia's first two CDs, this one may come as a surprise. It has a much lower glycemic index and is not recommended for children. Alicia widens her range as an actress, and addresses sticky issues personal and public. She also collaborates as musician and producer with some of the most gifted players in Hollywood.

Alicia sings twelve catchy jazz, blues, and gospel tunes, ten of them original, including her in-your-face protest song, America the Blues, featuring avant garde guitar hero Nels Cline. Gorgeously (self) produced, with three ensembles of top notch professional players in LA, What Living's All About emanates sex, spirituality, cynicism, humor, hip repartee, and occasional righteous rage.

Other members of the cast include jazz upright bass legend John B. Williams (Nancy Wilson, Manhattan Transfer, Arsenio Hall Show Band, Tonight Show Big Band) and his red hot R & B vocalist wife Jessica Williams, who forms the gospel choir along with her daughter Vetia Richardson, and her friend Irene Cathaway (with whom she sings backup for Connie Stevens), gospel keyboardist Reverend Harold Pittman (Minister of Music at the Greater Ebenezer Missionary Baptist Church in South Central Los Angeles), woodwind wizard Doug Webb (who totally smokes on a different instrument on each of four songs), three fabulous top flight drummers: David Anderson, Kendall Kay, and Enzo Tedesco, fluid and cool jazz pianist Rick Olson, two rock-solid, multi-talented bassists: Kevin O'Neal and Chris Conner, versatile actor/vocalist Jody Ashworth, and soulful Liberian gospel singer Francis Nyaforh.

The tunes:

Floozy Tune: A 1920's trad jazz tune about a girl who runs off with the band. Will make you Charleston, even if you don't know how.

America the Blues: A love song to America, rallying voters to save her from corporate greedheads. Turn up your speakers for the amazing solo at the end by Nels Cline.

Aquarian Age Liberated Woman Blues: the ultimate free love hippie girl song complete with countercultural references.

Zero Gravity: Atmospheric jazz conjures a predatory night scene in LA.

Doctor Sun and Nurse Water: Gospel blues waltz about the life-giving properties of sunlight and water.

What Living's All About: Sex, of course. Mid-century modern jazz in the style of "Fever."

Sometimes It Takes a Long Time: A blues waltz that starts folk, ends gospel, and is uplifting enough be sung at a wedding.

Nature Boy: A spacy, improvised version, for voice, upright bass and percussion. Showcases the great John B. Williams.

Best of the Rest of You: Kick ass blues about the social mores of New Age bobos.

I Could Write a Book: Stylish rendition with classic jazz quartet and shocking revelations read from literary agent Michael Larsen's book, How To Write a Book Proposal.

It's Not Fair: Jazzy blues bitch slap to an unfaithful lover and former creative collaborator. Great guitar solo by Nels Cline.

Love, Understanding and Peace: Gospel love ballad that reflects upon Paul's letter to the Corinthians, Chapter 13, which Alicia wishes that some Christians would take a little more seriously.

REVIEWS:


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.


Ejazz News in London, June 2006
Review by John Stevenson (editor)

Dear Alicia,

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

07/09/2007 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
Host of "Psyche Van Het Folk," 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)… Potentially, 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.

Review by legendary guitarist Nels Cline on his website:

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 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 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
, Melbourne, Australia


Read more...

Reviews


to write a review