I’m so happy. I got my fifth consecutive positive review of What Living’s All About, this time in Blues Revue (“The World’s Blues Magazine”) January 2008 issue, written by Tom Hyslop in the “Blues Bites” section. I just posted it on the What Living’s All About review page.

You can get your own copy of What Living’s All About from CD Baby, on iTunes, or from this site (I’ll sign it for you).  You can download free the one cut no reviewer has been able to ignore, America the Blues, here.

Tags: music jazz wlaa aliciabaylaurel blues cdbaby itunes americatheblues bluesrevue

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.

NOTE: "Floozy Tune" is the opening track of What Living's All About: Jazz, Blues, and Other Moist Situations. 

Tags: music jazz wlaa aliciabaylaurel floozytune unisong songcontest

Here’s a free download of my matriotic anthem, America the Blues, the second cut from my most recent CD, What Living’s All About, featuring avant-garde guitar legend Nels Cline as the roar of the industrial-military complex (and Ron Grant, Jody Ashworth, and me as the Mormon Tabernacle Choir and Orchestra).

Happy Interdependence Day, to all people, animals, plants, planets, stars, universes and microbes.

And while we're on the subjects of patriotism, democracy, and the government of the United States of America, please listen to and read Keith Olbermann's call for the resignation of Bush and Cheney. 

Tags: environment music wlaa nelscline sustainability peace politics earth imperialism blues environmentalism globalwarming socialjustice americatheblues avantgardemusic humpbackwhale powwow industrialmilitarycomplex americathebeautiful patriotism matriotism freedownload independenceday julyfourth americanflag depleteduranium keitholbermann

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’s 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 best seller). 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 CDBaby and
her own site) 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.”

More about the song:
http://www.aliciabaylaurel.com/americatheblues

MP3 link:
http://www.aliciabaylaurel.com/amerciathebluespodcast

best regards,
Kim Cooper
Editrix
Scram Magazine
http://www.scrammagazine.com

Tags: music hippies kimcooper wlaa nelscline sustainability peace livingontheearth scrammagazine socialjustice protestsong americatheblues punkrock the1947project

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.

Tags: music jazz wlaa trancemusic japan protestsong yukotopia tokyo deadhead freejazz children

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 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 Tm’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.

The afterhours crowd at Yukotopia.

Tags: music jazz wlaa japan yukotopia tokyo

Back cover/tray card of What Living’s All About with list of the songs

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!

Tags: music jazz wlaa bonnieraitt taxi songwriting musicindustry billieholiday peggylee madeleinepeyroux norahjones coleporter

Today I decided to have a CD release party for 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, now the editor of the Hawaii Island Journal, which is the alternative paper in these parts. I met him through Sachiho Kudomi, the leader of Amana, when she and the band came here to the Big Island to 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.  I'm hoping to post a bit of the video on my Sonic Bids page. 

Tags: music hawaii wlaa diy promotion publicity hilo kahuinagallery tomasbelsky hawaiiislandjournal

America The Blues
Lyrics and liner notes by Alicia Bay Laurel
from her new CD What Living’s All About

Podcast of America the Blues 

(Hear the first two minutes of this song on CD Baby)

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 state-financed candidates 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, 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.

Don’t wave that flag at me;
Try human decency.

Tags: music jazz wlaa nelscline permaculture sustainability peace politics democracy voting blues johnbwilliams fascism socialjustice katharineleebates elections protestsong

PERFORMING SONGWRITER MAGAZINE, MAY 2007

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

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 20 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

"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.

 
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 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