Summer 2013 - Glamour Magazine (German) 

Of all the places! - My song "Mr Guru" was a recommended track in the German version of Glamour magazine:
(Translated) G as in good mood
Five songs that immediately provide Flirt pleasure (to listen easily the "glamor" Spotify profile view):
Natty: Bedroom Eyes 
Belle and Sebastian: Write about love 
Laurie Biagini: Mr Guru 
Mia: Dance of molecules
Court Yard Hounds: The Coast 

August 31, 2013 -
Pop That Goes Crunch!

Five More Top Notch 2013 Pop Releases From The Place Where Melody Is King

Laurie BiaginiSanctuary of SoundDusty Springfield would have made records like this had she hailed from Southern California. Biagini creates the sunniest possible mid-60s Sunshine Pop up in Vancouver, playing most of the instruments and handling the lead and backing vocals herself. The Beach Boys run all throughSanctuary of Sound. The album is so unrelentingly upbeat that I couldn’t stop tapping my foot and bopping my head as it played in the background while doing work earlier this week. Feel the warm sand between your toes. 

September 11, 2013 - LA Music Examiner

  1. Arts & Entertainment
  3. Arts & Exhibits

Laurie Biagini: Track by track

September 11, 2013

In this edition we (ahem) examine Laurie Biagini's most recent release Sanctuary of Sound. For those not up on their indie artists, Laurie Biagini is a singer-songwriter/keyboardist from Vancouver, British Columbia Canada, whose current cuts are influenced by artists such as early Brian Wilson/The Beach Boys, The Mamas and the Papas, The Beatles, The Byrds and Jan & Dean. Her new release contains 14 original offerings recorded “over the last year or so”. On this, her fourth release, Biagini is occasionally assisted by guest artists Vinnie Zummo and Fabrizio Serrecchia.

“Sanctuary of Sound”
The album opens on the titular track “Sanctuary of Sound”. Here listeners are introduced to Serrecchia’s noteworthy guitar work as Biagini begins with a reverb-soaked song that is steeped in elements reminiscent of Lesley Gore, the Mamas and Papas and early girl groups (The Honeys, The Shangri-Las) in general. It’s even got a catchy beat.

“Monkey Business” and “Beautiful World”

The second selection is “Monkey Business”. This one drew mixed reactions from the critics in that the “jungle metaphors and tropical beat” might make it almost “too cute” even for Biagini. Still, one cannot deny that the underlying melody is actually somewhat sophisticated. It’s followed by“Beautiful World” which takes a tunefully optimistic look at life’s assorted adventures.

“Rise Up” and “Shades of Green”

The next number is titled “Rise Up”. This, too, contains a sophisticated melody and further demonstrates Biagini’s ability to compose pop pieces. The song “Shades of Green” comes in next as she continues expressing her musical muses via inspiration from popular 1960s acts keeping her signature sound very much intact

“Gold Plated Girl” and “Run To The Sun”

The sixth serving is the “Gold Plated Girl”which is a surprising, slightly satirical swipe of a song. It’s also a bit of a “party song” and is highlighted by an encore performance by Serrecchia on lead guitar.Run To The Sun”, which introduces Zummo on guitar, all too quickly eclipses it though as the “one-woman-Beach- Boys” babe continues to work her surf music magic.

”Castle of Sand” and “Sunburn”

Also included here are the oft’times overlooked ”Castle of Sand” and the summer song “Sunburn” which includes an encore by Serrecchia on lead guitar. They further illustrate both Biagini’s dedication to her favorite themes and tuneful trademarks as well as her true desire to move on a bit as well.

”Springtime of My Mind”

”Springtime of My Mind” picks up where the previous pieces left off as the music continues to sound wonderfully reminiscent of other 1960′s sunshine pop groups. By now it should be obvious to any listener that this new disc is destined to be deemed highly appropriate for warm weather listening.

“Two of a Kind”

“Two of a Kind” is an obvious love song and contains yet more of her classic ’60s-vintage pop-tinged tunes that has become an early fan favorite. It’s catchy and has a great hook which could be why Biagini approved the inclusion of this cut on the International Pop Overthrow 2012 compilation.

“Perfect Thing to Say” and “Autumn Years”

It’s followed by the piece “Perfect Thing to Say” and the awesome “Autumn Years”. While the former works well enough with the other tunes the latter is a bit more memorable. While the latter was criticized for borrowing “from the Siouxsie and the Banshees version of the Beatles’ ‘Dear Prudence’”, the truth is this is something that should be considered par for the course as Biagini has never denied paying tribute to any artist or band she enjoys. Serrecchia also returns once more on lead guitar.


The sun sets on this disc of summer songs with the closing cut “Sunset”. This is the only song not totally composed by Biagini. This one is co-written with Zummo. It seems to be a tuneful tip of the hat to at least one of Biagini’s major influences—The Beach Boys. It features Zummo on lead guitar and backing vocals. It’s a most apt ending to Biagini’s latest (and some say) her best efforts.


Overall, Sanctuary Of Sound remains true to Biagini’s signature sound with the welcome and expected layered vocals, noteworthy melodies and music reminiscent of Top 40 artists of the early 1960s. While some critics claim her lead vocals have “faded more into the mix”, your astute author sees this as more a demonstration of her being secure enough to let the music meld together in a more overall effective mix. As to the claim that “there isn’t a lot of variety in her approach”, she should be commended for staying true to her own artistic vision of 1960's-tinged tracks complete with universal themes and musical metaphors for life. Check out Laurie Biagini’s Sanctuary Of Sound and you just might feel the urge to “Run To The Sun”.

My name is Phoenix and . . . that's the bottom line.

July 31, 2013 - Shockpop!

Three Queens of Pop - Laurie Biagini!
Fill your house with the power pop sounds of Biagini, Celsi, and Mychols this year! This handful of current releases from three Queens of Independent Pop are guaranteed to fill your musical coffers with hours of indie gold! 

Laurie Biagini
"Sanctuary of Sound" (2013)

The "Queen of Surf-Pop" Laurie Biagini does what Laurie does best... effortlessly channels the good vibrations of classic surf tunes and morphs them into her version of what sun drenched surf inspired pop should be. Add this CD to your library and hold on for an endless summer of tuneful fun that will brighten even your stormiest day.


June 24, 2013 - Broken Hearted Toy

MONDAY, JUNE 24, 2013
CD Review: Laurie Biagini - Sanctuary Of Sound

Judging from song titles like “Run To The Sun,” “Sunburn,” and “Springtime Of My Mind,” it seems likely singer-songwriter Laurie Biagini released her fourth CD to coincide with the warmer weather. Sanctuary Of Sound is like a refreshment stand on the beach, serving up easy-going arrangements, layered vocals, and enticing melodies to people looking to have fun. Like Lisa Mychols, whose Above, Beyond And In Between CD was reviewed here last week, Biagini often draws inspiration from Top 40 hits of the early 1960s.

Biagini definitely takes a hand-on approach; creating her own back-up vocals and playing most of the instruments. There isn’t a lot of variety in her approach, but each song is distinctive enough to stand on its own. The mood throughout Sanctuary Of Sound is upbeat, with the occasional satirical jab like “Gold Plated Girl,” a party song augmented by guest guitarist, Fabrizio Serrecchia. “Monkey Business,” with its jungle metaphors and tropical beat, is the only track that gets a little too cute.

The catchy “Two Of A Kind,” which also appeared on the International Pop Overthrow 2012 compilation, is a clever and touching love song, and “Beautiful World” takes an optimistic view of life’s adventures. “Sunset,” co-written with Vinnie Zummo and featuring his guitar playing and backup vocals, is a gorgeous homage to The Beach Boys, while the title track taps into Lesley Gore and the girl group sound. Biagini isn’t limited to nostalgia on Sanctuary Of Sound, though. “Rise Up” shows the power pop craftsmanship so often seen in songs by Shoes. 
- Terry Flamm

June 20, 2013 - Powerpopaholic

Laurie Biagini “Sanctuary of Sound”
This is the fourth LP by Vancouver singer/songwriter Biagini, and I’m glad summer is finally here. Often referred to as a “One-Woman-Beach-Boys,” she also takes her cues from The Honeys and The Shangri-Las.

The title track has a Mamas and Papas feel, with its sparkling harmonies and catchy beat. Her songwriting has definitely improved as “Monkey Business” and “Rise Up” boast sophisticated melodies. Echoes of other 60′s sunshine pop bands can be felt in “Shades of Green” and “Springtime of My Mind.” The albums middle boasts the surfer style we are familiar with like “Gold Plated Girl” and “Run To The Sun.” If I nit-pick, I will say Laurie’s lead vocal has faded more into the mix, but overall this music is a bright summer treat.

June 4, 2013 - Pop Geek Heaven

BLOODY RED BARON – Early June Reviews

Posted on 04 June 2013


early June reviews

by Mike Baron

 lauriebiagini6LAURIE BIAGINI: Sanctuary of Sound

       Drawing inspiration from the Beach Boys and surf music in general Vancouver’s Laurie Biagini has forged an addictive sound that is part tart, part sweet and pure imagination.  Utilizing flattened notes on every song she weaves a hypnotic spell suitable for surfing, cruising and grooving.  All of her influences are on display in the anthemic “Rise Up” which weaves together Brill Bdlg. pop, the Rolling Stones, Michael Brown and the Beach Boys.  ”Run to the Sun” is the closest you’ll hear to a new Beach Boys song, right up there with Jeffrey Foskett’s “Through My Window,” but from an earlier period.

       ”Springtime of My Mind” has a Band meets Jan & Dean vibe with that irresistible flattened chord while “Two Of a Kind” recalls Ronnie and the Daytonas.  But it’s all original, and it builds momentum as it unrolls.  Biagini is a One Man Band and plays virtually every instrument herself save for a couple of guest guitar solos.  Her piano playing is superb as is her drumming.  Top Ten contender.

            Four and a half stars.




LAURIE BIAGINI – ‘Sanctuary of Sound’ (CD)
LaurieBHow do I love thee, Laurie Biagini? Let me count the ways. One through fourteen ways! After falling hard for her ‘A Go Go Girl In a Modern World’ CD in 2011, Biagini had released album number after working diligently for 18 months in her home studio crafting more songs about the summer, the sun, the sand and any activity you might enjoy in the company of each. It might sound a lot like ‘Pet Sounds’ era Beach Boys at first blush, but Ms. B. doesn’t hesitate to shuffle the lyrical deck with tunes like “Monkey Business” the eat-the-rich commentary of “Gold Plated Girl”

She also incorporates plenty of psych-era Sunshine Pop with the title track, “Beautiful World” and “Castle of Sand” among others. Where this album differs from her previous efforts is in the improved production and especially her singing (though this listener would love to hear less Phil Spector reverb and more breathy Biagini up close in the mix). She also takes some progressive risks on tunes like “Springtime of My Mind”, “Autumn Years” and the Vinnie Zummo hauntingly beautiful co-write “Sunset”.

This is a hell of a production which pits Biagini against herself as writer, producer, engineer and star performer – she plays every instrument except some additional guitar added – in virtual time – by New York’s Zummo and Roma, Italy’s Fabrizio Serrecchia.

May 30, 2013 - The Georgia Straight

Laurie Biagini's Sanctuary of Sound is magic '60s-vintage pop

Good God, lady—where have you been hiding? Based on the first-listen wonder that is Sanctuary of Sound, Laurie Biagini won’t be flying under the radar for long. Remember that warm and fuzzy feeling you got the first time you heard the Velvet Underground, Mazzy Star, Camera Obscura, or the Dum Dum Girls? Get ready to live the magic all over again, right from the album’s reverb-drenched opening track, “Two of a Kind”. This is classic ’60s-vintage pop given a psycho-candy coating, the whole thing held together by Biagini’s winsome vocals and effortless understanding of what makes a lethal hook.

So, who cares if the kaleidoscopic “Autumn Years” borrows a little from the Siouxsie and the Banshees version of the Beatles’ “Dear Prudence”, or if “Monkey Business” skirts dangerously close to being too cute for its own good unless you’re an easily excited kid looking for something cooler than the Doodlebops?

Those aren’t even minor quibbles—more like needless nitpicking. Standing back and looking at the big, golden picture, Sanctuary of Sound is a serious runner for local revelation of the year. Biagini might have been hanging back in the shadows until now, but she’s just served notice that she’s ready for her coming-out party.

May 28, 2013 - The Province  - CD of the week!  

May 14, 2013 - The Province

Summer means fun isn’t only a surfing song by Bruce And Terry, for the past summers this also has meant a new album from Laurie Biagini. Fans of ’60s pop-rock will like her Sanctuary Of Sound.

 ~Tom Harrison

May 21, 2013 - Segarini: Don't Believe A Word I Say

Frank Gutch Jr: The Best of the First Half of 2013

biaginisanctuaryLaurie makes me laugh, and I say that with the utmost respect.  She is one of the most unassuming and humble people I have ever “met” and also one of the most positive.  I suppose she has moments when it comes to her music because it isn’t easy being a musician these days.  The business was bad enough in the good old days, but now that you pretty much have to do everything yourself or accept the fates of the musical gods (which is inevitably a life of obscurity), it can wear you down fast.  I’m sure she very occasionally wonders if this whole recording thing is worth it.  Like I said, we all have our moments.

Laurie has carved out a niche few seem to want to fill these days— she is all “sunshine pop” (kind of a cross between bubble gum and pop), surf, girl groups.  When I hear her music, I dream of beaches and Beach Boys and woodies (the cars, bonehead— get your mind out of the gutter) and bikinis (God, but I love bikinis!).  Her music smells of AM radio, a world the young will ever know and I feel sorry for them.

Laurie bought a guitar and has been teaching herself how to play.  Until recently, she was all about the keyboards, but when she got that guitar it must have felt like Christmas because she was all over social media with pictures and the trials of learning a new instrument.  Like I tell everyone, I’m just glad it wasn’t a cat.  I’m beginning to hate cats.

Listening to Sanctuary (to get to the album part of this), I can hear that Laurie has learned her lessons well.  Her previous three are solid albums and I love them (especially on a nice drive to the Coast on a warm, sunny day), but Sanctuary stands above.  The vocals are exceptional, especially the deep harmonies, and the recording and mastering are as good as I’ve heard.  You know, the only thing missing is a sax.  Put a sax solo here and there and this would be perfect.  Ask Moondoggie.  He knows.

A special DBAWIS commendation has to be awarded for Sunset, a stunning song co-written by Laurie and master guitarist Vinnie Zummo.  Every time I hear it, it’s 1964 all over again.

~ Frank Gutch Jr. 

April 26, 2012 - Goldmine Magazine

Laurie Biagini has released her third full-length, A Go-Go Girl in a Modern World , and it finds her covering much the same musical and lyrical ground as her first two releases: aural homages to sun-soaked days at the beach, jaunty, keyboard-based tunes, and a cornucopia of ‘60s-influenced numbers about go-go girls, secret agents and SUV’s.  The clear highlight is the pretty, romantic ballad “An Innocent Love,” which sounds like it could have come straight off the soundtrack to a Sandra Dee movie. Biagini’s vocal delivery offers just the right amount of yearning on this tune, and her smooth background vocals are also quite fetching.  Other goodies to be unearthed are the snappy “A Ride on the Train” (which pinches the main riff to “The Boy from New York City”) and the disc-closing “One Track Mind,” which has a slight Middle Eastern bent to it and features Biagini on lead guitar. On the other side of the coin, Biagini’s attempt at a secret agent-type number, “The Invisible Guy,” falls flat, with a decent melody buried by a morass of instruments in a murky mix.  Oh, and many of these tunes cry out for a real drummer (rather than a drum machine), and a few miss the mark entirely.  Still, Biagini is pretty good at what she does, and fans of ‘60s sunshine pop could do worse than to pick this disc up.  Grade: B-
John Borack

March, 2012 -  
Ear Candy Magazine

Laurie Biagini,"A Go-Go Girl In A Modern World" (Self-released) Just last week I pulled out my old Bangles albums to give them a listen, thinking to myself how I really miss that whole girl group sound of the '80s (which itself was a nod to the '60s). Well, I just discovered a "new" album that PERFECTLY recaptures that Sunshine Pop feeling: Laurie Biagini's "A Go-Go Girl In A Modern World"! Sure, Laurie sings about classic topics such as: California, beach, sand, and summertime - but she also gives Sunshine Pop treatment to SUV's ("My Little SUV") and commuter trains ("A Ride On The Train"). "The Invisible Guy" is the theme to a James Bond movie that never was, but should have been! In the immortal words of Mr. White ("That Thing You Do"), Laurie's music has something peppy, something happy, something up-tempo, and something snappy. Laurie flawlessly captures the Sunshine Pop
essence in her songs - Damn, I wish I owned a convertable because this is THE perfect car album for summer! 
Review by Ronnie

 January 12, 2012 -
Riveting Riffs Magazine (review can only be read at Riveting Riffs website)

Laurie Biagini (Laurie Biagini)

The role of echo in the production process has long served to enhance or sweeten a given session. At Sam Phillips’ Memphis, Tennessee-based Sun Records in the 1950s, echo (famously and often achieved via the placement of a microphone at the bottom of the studio’s staircase, with the respective vocalist situated at the top of the stairs) played a key role in creating the atmosphere of urgency and high drama that characterized many of the label’s landmark releases. In the early 1960s, producers Philip Harvey “Phil” Spector and Robert George “Joe” Meek each took the concept to the next level by incorporating generous amounts of echo into their work to create what in Spector’s case came to be known as the Wall of Sound. 

While Vancouver, British Columbia singer/songwriter Laurie Biagini may not be thinking in terms of other artists at this juncture, her just issued third album, A Go-Go Girl In A Modern World (recorded at Biallo Studio) nonetheless features a lavish helping of echo throughout its fourteen original compositions. As was the case with Phillips, Spector and Meek, that echo serves as common ground to unify her refreshingly diverse material in somewhat of a dreamscape setting. 

That material is a shining example of the tried and true adage, “part inspiration and part perspiration”. In terms of the former, Biagini has set the bar incredibly high for herself, citing such artists as Jan and Dean, the Monkees and Jackie DeShannon among her primary inspirations. 

With regards to the perspiration part of the process, Biagini faced what seemed to be an arduous task, at least from the long term perspective that covers all that transpired between the creative genesis of Jan and Dean, the Monkees and Jackie DeShannon and the present day. Throughout the intervening years, artists such as these have been cited with great regularity as catalysts for an endless stream of hopefuls, with mixed results. As such, for a fifth generation garage rock aspirant to bring something new to the table in that respect would be indicative of a greater vision and innate capacity for productivity, borne of no small amount of perspiration.

Nonetheless, Biagini has done exactly that with A Go-Go Girl In A Modern World. With a title track highlighting her disenfranchisement with contemporary cultural mores, the stage is set for an invigorating ride through Biagini’s third person perspective on the creative process that drove her inspirations to great heights.

“Third person” because Biagini is one of a growing number of fifth-generation artists who has no real time experience of the explosive growth that characterized that most fertile musical period from which her mentors came. Her understanding of their creative process is borne strictly from research, which means that it is relatively free of the cultural periphery that often clouds the artistic process with duly bound exegesis. 

But as the evidence herein indicates, Biagini has (to paraphrase Rick Nelson) learned her lesson well. With only a slight amount of revisionist perspective evident in the proceedings, she has painted a portrait of fourteen idyllic settings that, while paying some degree of homage to the perceived cultural periphery, instead primarily address a variety of musical settings with the attention of portraying said scenarios in the best possible light.

To wit, In The Eyes Of A Little Girl is the most telling in that respect, featuring as it does a swirl of vocal harmonies and proclamations that are at once foundational and not bereft of a prerequisite amount of naïveté. Likewise, Summertime (an original, not to be confused with the George Gershwin-penned Rick Nelson/Billy Stewart monster classic) takes the basic template of the Fantastic Baggys’ This Little Woody and places Biagini in the position of awe struck, third person observer. That atmosphere of reluctant detachment also surfaces in the title track, with Biagini seemingly resigning to being victimized by chronology. 

However, A Go-Go Girl In A Modern World is not so much a deference to circumstances as it is a clarion call to rise above those circumstances by asserting one’s own creative muse. In that respect, Head In The Sand at once confronts and encourages potential colleagues from a first person tale of victory, asserting itself with a stamp of individuality that often escaped the second generation garage rockers in their attempts to faithfully execute the mission statements of their predecessors. The 6/8 ballad, An Innocent Love even finds Biagini at ease enough with the notion to stand in solidarity with the Kathy Young/Linda Scott model of unbridled optimism. The modern world take on the tried and true surf/hot rod format of My Little SUV, the refreshing rebuttal to genre myopia, One Track Mind and the Nashville/Brill Building hybrid, The Heart Of The Song round out the highlights of the set.

While some purist factions may take issue with the generous use of echo and the borderline monaural mix, Laurie Biagini is nonetheless an artist very much in command of the proceedings, who has done her homework and again, has learned her lessons well. Or, in the words of one of the stand out tracks from her 2010 A Far-Out Place album, she has realized A Beautiful Dream.

~ Michael McDowell

As seen at Power Popaholic!

Laurie Biagini “A Go-Go Girl in a Modern World”

The Vancouver singer is on her third album at this point, and once again she is a one woman version of The Honeys. Laurie stays retro here, with a clear 60′s Beach Boys influence, multi-tracked vocals and Phil Spector production values.

The songs are well composed, as standouts are the descriptive ”A Ride on the Train” and the surfin’ car tune, “My Little SUV” with just the right guitar by Richard Snow. She also gets some help from guitarist Fabrizio Serrecchia (from the Italian group Soundserif) on the faux-Bond theme “The Invisible Guy.” But for the most part Laurie’s vocals are center stage, and just when it starts to get monotonous, the best song emerges. “In The Eyes Of A Little Girl” is a thrilling mid-tempo look back at childhood co-written and performed with the brilliant Maxi Dunn. So if you want to return to those innocent days of AM radio pop, close your eyes and let Laurie take you back.

As seen at Cabin Essence -  Blog for the Web Page for Brian Wilson

Best Of Biagini

Laurie Biagini is another artist who has been very prolific recently, with her third album and the third that I’ve reviewed on this blog (first two are here and here.) A Go-Go Girl In A Modern World is a clear progression from the first two albums, with a clear step-up in variety and production quality.

However, as with all music, the most important thing is the songs. Laurie has consistently hearkened back to a more innocent time in her music, and this continues with a wider palate of styles- the rockin’ title track, the slightly psychedelic One Track Mind, the 60s classic sounding Chameleon Man topped out with a brilliant instrumental break, and the chugging car song, My Little SUV. There are two interesting collaborations -Californian go-go girl Elaine McAfee Bender provided lyrics on The California Quake and there is an outstanding co-write with the brilliant Maxi Dunn on In The Eyes Of A Little Girl.

The highlight for me is An Innocent Love, in my view Laurie’s best song, that really taps into that combination of lyric, melody and mood that elevates one to a higher plane. All Brian Wilson and Beach Boys fans should be supporting Laurie; you can get the album at CD Baby as well as many other places.

~ Andrew Gladwin

As seen at Cashbox Canada Magazine Inc
Submitted by cashbox on Fri, 12/02/2011 - 13:13

Compact DISCovery
Jaimie Vernon



A Go Go Girl In A Modern World



Each new Laurie Biagini release is met with Christmas Day anticipation. Especially if you like Christmas on the sun-soaked, sand-filled beaches of Santa Monica in July. Her last album, ‘A Far Out Place’, married the groovy harmony and musical stylings of The Beach Boys and other California surf artists from a female perspective. ‘Go Go Girl in a Modern World’ takes the next leap with a broader range of 1960s authentic sounding AM power pop.

Taken at face value it seems a rather odd musical marriage coming from an exotic Italian musician from Vancouver, British Columbia, Canada. But when you hear the craftsmanship in the songs, you’d swear Biagini grew up on Venice Beach and spends her days, the breeze whipping through her hair, riding the Pacific Coast Highway in her car. In fact, the song “My Little SUV” gives us a modern re-tooling of classic car songs like “Little GTO” and “Little Honda”. You just want to ride along as she throws her cares to the wind. 

The title track, “Go Go Girl in a Modern World”, is self-referential in that Biagini knows she’s out of step with current musical trends. Nowhere else are you going to find tips of the hat to The Ad Libs’ and the Mamas & Papas in one song – “I Ride on the Train” successfully melds the groove of “Boy From New York City” with M & P’s “Creeque Alley”. She also tips her hat to both Mamas & Papas and Lovin’ Spoonful on the baroque shuffle of “Summertime”.

Biagini has a sweet pure pop vocal delivery somewhere between Karen Carpenter and Susan Jacks which fits effortlessly with the early-60’s Spectorish girl group motifs on “An Innocent Love” and “In the

Eyes of a Little Girl” (co-written with Liverpudlian songstress Maxi Dunn); late ‘60s Seekers/Poppy Family sunshine pop on “The Heart of the Song”, “Chameleon Man” and “No Other Like You”; and even the Pacific Northwest psyche-garage sounds of “Head In the Sand”.

Clincher track on the CD is the Johnny Rivers-meets-James Bond “Invisible Guy” which finds equal parts surf guitar riff married to Herb Alpert brass lines. It’s catchy as hell and should be put to good use as the soundtrack to any number of ‘spy’ related television or movies projects. I’d suggest ‘Chuck’ for starters.

Aside from the strength of her songwriting pastiches and vocal talents, Biagini is the master of every organic instrument on the album: keyboards, electric guitar, and percussion. Cleverly, she taps many of her music friends (Maxi Dunn, Peter Hackett, Fabrizio Serrechia and Richard Snow Hattersley) – using digital technology to fly the tracks around the world – and has them contribute via virtual recording techniques; Proving that you can capture the magic of a bygone era without compromising the spirit of it in a digital setting. I’d say they don’t make albums like this anymore, but Biagini does.


As seen at SEGARINI: Don't Believe a Word I Say by Frank Gutch Jr.  

Laurie Biagini/A Go-Go Girl In a Modern World— From the liner notes on the track A Go-Go Girl in a Modern World: “Ever feel like you were born in the wrong decade, when all your tastes and interests are from a different era?” Man, can I relate to that. I always related to the early part of the 1900s, having been born not long after WWII, and my father said he wanted to be a cowboy. Maybe it is inherent in us all. For Laurie Biagini, it is the sixties mostly, and the sand and surf scene. It is surf and sand and girl groups and California, though she lives in Vancouver B.C. It is up sunshine pop and Beach Boy harmonies and innocence. I remember diving into the surf with A Far-Out Place and wondering what she was doing in the Pac Northwest. This kind of stuff needs sunshine! Three albums in and she’s doin’ fine— she even updated the 409 to SUV status!

November 22, The Province News

"A Go-Go Girl in a Modern World" chosen as CD of the week!

Laurie BiaginiLaurie Biagini

Laurie Biagini: Girls Rock!

By William Phoenix, LA Music Examiner

Take a creative Canuck cutie keyboardist and put her in the Los Angeles area and what do you get? You get a musical take on California that is both extremely familiar and yet still new and original. Biagini is a singer-songwriter from Vancouver, British Columbia Canada, whose current cuts are obviously influenced by artists such as early Brian Wilson/The Beach Boys, The Mamas and the Papas, The Beatles, The Byrds and Jan & Dean.

Biagini’s interest in music goes back to when she was a child. She has been playing the piano since she was 5 and has had a decade of classical piano training. Oddly enough, she would not compose any of her own music until a few years ago. One afternoon in the summer of 2006 while “commuting home from work” the lyrics and music just came to her. Before she knew it, she had written her first song.

It would take her another two years before she would release her 2008 debut disc Ridin’ the Wave. Ridin’ the Wave is a 16-track melodious, sunshine pop album with noteworthy vocal harmonies. It includes the title track “Ridin’ The Wave”, The apt “A Face In the Crowd” and “Everybody’s Goin’ Surfin’ All Over the World” and the bonus track “Bambuzled”.

Ridin’ the Wave took the number 45 slot on David Bash’s Top 125 albums of 2008. (Bash is the founder and CEO of The International Pop Overthrow Music Festival.) It also scored the 86th position in the top 100 albums of 2009 on the Powerpop Station in Brazil. Finally, Biagini was even named “artist of the month” on Twirl Radio for both June and July 2009.

Her music has received extensive airplay on commercial, syndicated, community and college and internet radio shows. All in all, her tunes have been played on over 100 stations around the world. Biagini’s talents have also been heard on the CDs International Pop OverthrowVolumes 11, 12, and13, as well as on Encomium in Memorium Vol. 1 – Jan Berry of Jan & Dean.

She also contributed to the Christmas compilation Rockin’ the Mistletoe and added a cut to A Very Vancouver Christmas 5 a locally produced compilation to benefit the SPCA. Biagini is no stranger to performing live, of course, either. Highlights of her numerous live gigs include playing at the International Pop Overthrow Festival in San Francisco, CA, Vancouver, B.C., and Liverpool, UK with a special performance in Rome, Italy.

More important, however, is her 2010 sophomore CD A Far-Out Place. Named CD of the Week and “one of the 10 Best CDs of 2010” The Province, this indie album includes 14 of Biagini’s original powerpop pieces. It was also one of the most played albums on Hawaii’s The Time Machine Radio show and on Sacramento’s Twirl Radio. The opener is “Intro - Settin’ the Scene”. This all too brief instrumental is a blatant tip of the hat to the works of Brian Wilson—perhaps more specifically to his memorable work on Smile.

The second selection is “A Far-Out Place”. This tight title track evokes mental images of an old 1960s beach party. It just has that kinda feel to it. “A Beautiful Dream” follows here. As in most of her material on this disc, Biagini creates “a beautiful dream” in which her music provides an escape from the world today as opposed to following the more common current trend of mirroring it.

The feel good tune “Another Old Lazy Lyin’ On the Beach Afternoon” and “Crazy People on the Internet” are both noteworthy numbers. “Critic’s Choice”, however, goes to “Crazy People on the Internet” because it simply touches homes when it comes to many of us who work and/or play online. In Biagini’s words the song is also “a slice of the big part of our lives that has brought together lovers of good music”. Its current and it works . . . whatever one takes away from it.

“Happiness Looks Good on You” is a song with a simple message. Biagini is simply trying to remind us that not everything is dark and dreary and while many of us are quick to look at the glass as half empty perhaps we need to remember that there are still some things in life about which to be happy. This is definitely the kind of music that predates the whole cynical, Seattle grunge movement.

“Leave Me Alone” is said by some critics to be everything Biagini does so well. It’s a catchy rocker that is highlighted by a drifting, swirling blend of vocal harmonies, drums and guitar. She quickly slows things down though with “Sweet Dream Symphony”. This is a nice, slower track reminiscent of Brian Wilson’s more thoughtful material.

“Not What It Seems” and “Gonna Do It My Way” are two tracks that a few critics don’t consider worth much consideration. They claim the tunes digress from what Biagini does best. While they might indeed appear to stray from certain themes in truth these are simply examples of Biagini’s other moods expressed in music. These, too, are part of her musical journey whether they seem to fit in or not they still remain true life experiences while in “a far-out place”.

“Not the Only Pretty Fish in his Sea” is yet another catchy number that gets the work back seaside and brings the album back on to its thematic track. “Make Up Your Mind” is the next number. There is something about this one that is very familiar. Perhaps it’s just your rockin’ reviewer but this one smacks of both Beatles and Beach Boys.

“Rockin’ My World Like You Only Know How” begs for attention here in the way that a Carpenters song used to, at any rate. (It surely makes your nosey note-taker want to inquire about it in an interview.) This one is (among other things yet to be determined) a fan favorite and considered praiseworthy by more than one critic.

“I’ll Be Back Again” also has very obviously inspired elements within it. This one is highlighted with a Beatle-esque albeit less famous intro. More importantly, it is highly appropriate as a closing cut in that it foreshadows Biagini’s new, forthcoming disc tentatively titled A Go-Go Girl in a Modern World.

A Far-Out Place, rated at number 15 on bash’s top 100 albums of 2010, contains clear piano lines and such elements as harpsichord, surf-rock guitar riffs, be-bop beats and layered doo-wop harmonies. Combined with Biagini’s point of view and personal twists, the music here is both reminiscent of classic rock and yet still “not what it seems” as Biagini proves that she is more than just one of those “crazy people on the internet”.

My name is Phoenix and . . . that’s the bottom line.

William Phoenix's photo  , LA Music Examiner,  November 1, 2011

Jan 4 2011 - "A Far-Out Place" named one of the 10 best CD's of 2010 in The Province News!

Friday, December 3, 2010

New review of "A Far-Out Place" from Dig This Real magazine!

As seen at:


For a musician based in the frigid climates of Vancouver, Laurie Biagini displays an unusual fascination with the beach on her latest album, A Far Out Place. Her music is filled with sunshine, waves and kicking back. Her influences include the Beach Boys and Jan and Dean, though her voice sounds more like the Californian dreamers Michelle Phillips and Mama Cass. Perhaps the appeal of the beach is the simple relaxation it provides. She speaks to a generation of over-stimulated neurotics with the simple message of "Happiness Looks Good on You", the name of one of her tunes. "You are so quick to criticize," she says, but "outside your darkness there is light". Her music harkens back to a world before Kurt Cobain and the aethetics of angst. The music evokes nostalgia with effects like ooh-ahh vocals, clear piano lines, organ swells and surf-rock riffs. Indeed the music amounts to rose-colored glasses, but that ain't so bad.

Biagini is a multi-talented artist: she produces and plays multiple instruments in addition to composing and singing. She is a classically-trained pianist, having first played at age five and it shows through interesting chord progressions and lovely harmonies. One day, on her way home from work, perhaps stressed by the pressures of modern life, she wrote the lyrics and music to her first pop song. Her efforts are beginning to bear fruit; she has played concerts in Rome and Liverpool and her music has graced the airwaves of Brazil, among other countries. She plans on continuing to rock indefinitely.

Her music appeals to older fans, people who feel that modern indie rock is underwitten and over-distorted. If you think music's first and foremost goal should be to induce good times, this is the disc you have been looking for. She creates "A Beautiful Dream," the name of another one of her songs. However, for those who feel that music should reflect the hectic modern world, rather than offering an escape from it, her music may feel a bit outdated. This critic can only admire her craftsmanship and the courage of a real musician struggling to make it in a world of shrinking record sales and sacrilegious sampling.

-Christian Recca


Tuesday, July 27, 2010

Beach Boys Britain review of "A Far-Out Place"!


OK certain things re-occur in life like beloved seasons,in my case its the "it's finally Summer then it must be time for a new cd from Laurie!" vibe,well , lo and's both...A Far Out Place is a re-affirmation of the talent so well exposed on her previous album and incredibly a step forward and an indicator in certain songs that the future may hold a more personal , less beach orientated , lyrical bent.

Now I have never been one to write song by song,line by line reviews as in all honesty my opinion is simply that , an opinion,its nothing more than a reflection of me and not of the brilliance of the Artist thus I will dip into ,skirt around and generally delve into Laurie's tremendous new album leaving the true beauty for your ears to discover unencumbered by a previously written synopsis.

The Album [and yes it deserves Capitals!]kicks of with the wonderful[ly sic] Smile tribute track [in title if not execution] Intro -Setting The Scene..and in just over a minute the entire Album is laid bare..Dave Clark drumming ,wordless pads,block harmonies and a Farfisa that musta been dug out of mothballs...A Far Out Place is a great reflection of yesterday or maybe a yesterday that never was , almost name dropping The Scene, its an aural photograph of the Whiskey A Go -Go or The Matrix ,you can almost hear Elmer Valentine or Steve Paul barking out the acts and WOR-FM jocks telling of the caged Go-Go girls at the Village Theatre down on the Lower East Side.Musically its a great slow variation on the Louie Louie theme vocally all the Biagini elements are in place..Block Harmonies,effortless melody and perfect delivery..yup Summer's here with a vengeance!..A Beautiful Dream is hopefully the direction Laurie will head into,Almost Byrdsian Harmonies, discordant keys and a 12 string "Bells of Rhymney/If I Needed Someone riff intro that echoes not only the mid era Fabs/Byrds but also The Desert Rose Band..if she stopped now her position in the pantheon of hidden talents would be the ride out on the chorus and tag...Another Old Lazy Lyin' On The Beach Afternoon is Laurie's finest melody to date,Drums right out of the Dennis hit anything so long as it stays hit drawer,not content with some fine Catch A Wave bv rips there are more of the familiar block harmonies,a terrific multi tracked tag and personally I prefer my beach music to be lazy ,Surfin', running about? nah give me a blanket ,a bunny and a beach and I'm stoked.

Heck we have left the beach and walked into a What I'd Say frat party...Crazy People On The Internet is a lyric I wish I had the nerve to write...cyber "friends" can be as Laurie pertinently points out..."living in an alternate in a fantasy..." is there a sense of desperation and fatigue setting into Laurie's out look? Certainly the uproariously up-tempo melody and piano work out are hiding a thinly veiled attack on people we all draw lyric.

Happiness Looks Good On You must be familiar to anyone who owns a computer,aside from the pseudo phased vocal this song imho has attracted a vastly over rated standing and reputation,not that its not fun but Laurie has so many better songs,maybe over familiarity has bred contempt but to me its Biagini By The well live and the public love it so if nothing else it proves that opinionated reviews are not worth the blood/ink they are written with..Whilst Leave Me Alone is everything Laurie does so well and should do more of,A swirling morass of guitars,harmonies,drums and a lyric that is the bastard step-sister of Crazy People On The Internet,sure its lost in the effortless delivery but there is desperate cry from the heart going on here,then again no one noticed Lennon's desperation on Help until he spoke to Rolling Stone.

Sweet Dream Symphony could have been a Spring out -take in fact its so true to Sandler's colouring that I had to double check the credits,for fans of Spring,and that must include all of us,this song is worth the cost of admission ten fold,words do not suffice,you need your ears for this,file under.. rapturous.

Not What It Seems didn't stand a chance following on after such a corker but even allowing for its basking in its shadow it is nothing more than Sweet Dream Symphony-Lite, its nice in a Honey's were nice way ,nothing objectionable at all but simply not as great as what has gone before,on anybody else's album it would be a highlight,here its simply treading water.

Gonna Do It My Way sounds like it was either a hurried session or a very early one,at best its got a great Monkees rip[Stepping Stone] but again it sounds awkward maybe its the percussion,maybe ..more probably its just me but it is to me another Biagini By Numbers Number. [She will probably tell me its her favourite and I will have to stand corrected!]

Not The Only Pretty Fish in The Sea...totally redresses the balance,get the girl back near the ocean and she's in her natural element..everything that hadn't worked over the previous seven minutes is corrected here,welcome back the ascending block vocals,the Mama Cass delivery,the stunning chord progressions the tinkly piano...the only niggle is at four minutes its at least 30 minutes too short.De-loverly!

Make Up Your Mind is another Fabs/Brian tribute [Ticket To Ride/Girl Don't Tell Me] this time the percussion is spot on..the guitar and piano interplay is worthy of Krieger/Manzarek during their early days,multi tracked lead vocals,moving and block harmonies a terrific tag what is there not to like?

Rocking My World Like Only You Know would be lightweight but by reading betwixt the lines a totally dysfunctional relationship is revealed..hmmm...this is the real grower on the album,its easy to dismiss but its so damn subtle and the mid 8 is those mid era Beatles harmonies too...

I'll Be Back Again is a wonderful re write of You Know My Name [Look Up The Number]the intro alone is peerless..kudos to Laurie for re treading such an obscurity ripping it to shreds and if anything improving it,granted after 8 bars it becomes Biagini Bound and everything becomes new yet familiar,another Spring flavoured arrangement,another huge success,I'll Be Back Again...I Hope So.

~James Crowther

Check out the Beach Boys Britain website!

Tuesday, July 13, 2010

Ten of the best CDs we've heard in the Garage

Ten of the best CDs we've heard in the Garage
Maybe we're biased here and there, but all the recordings are enjoyable, worth a listen
By Tom Harrison, The Province July 13, 2010 

Each week, the Garage column picks the best West Coast recorded CD of the many received. It's not a perfect process because there is a phenomenal amount of recording going on, and the column reflects only the records received. You can't review what you don't have. However, the standard is high and the variety phenomenal, which makes choosing one record over another difficult. This Top 10 list covers albums released Jan. 1 and later and goes until the end of June. It probably reflects a bias toward melodic rock and roots. A further disclaimer is that the list only includes the CDs covered by the Garage and not the CDs included among the Ultrasound/QuickSpins reviews or written about separately. All the records are enjoyable, so give them a listen when you can.

Brasstronaut: Mt Chimaera
A confident progression from the band's debut in which a variety of styles have merged boldly. It's not flat-out rock or at all jazz, as suggested by the band's name, but an original hybrid.

Yukon Blonde: Yukon Blonde
The trio bases its sound on '70s West Coast rock so there is harmony and easygoing melodies but there also is imagination that provides an edge.

The Sojourners: The Sojourners
Ostensibly gospel but an album that embraces gospel in a variety of forms and eras, including blues, funk and doo-wop. It's all marvellous.

Symphony In Demeanour: Symphony In Demeanour
The band doesn't perform in public and that's only one similarity to Klaatu. Another is that these beguiling songs were inspired by the Beatles. So what is there is the Beatles sweetened by Klaatu and refined by Symphony In Demeanour.

Laura Biagini: A Far-Out Place
A neat little retro album on one level if you ever liked '60s groups from the Hollies to the Searchers to the Turtles, but also just good power-pop that stands on its own.

Terminal City: Rolling All Night
A blues trio that isn't limited to the blues but incorporates rockabilly to Latin, all rendered with vitality and the feeling that this band isn't venturing into foreign territory but actually knows its stuff.

Josh Battle: Slow Learner
Great folk-rock with a country leaning, Battle is a good writer more in the Gene Clark vein than Gram Parsons.

Hannah Georgas: This Is Good
Even when she gets dark, there is still lightness in Georgas's tone that, at the very least, suggests relief rather than angst, as though getting something off her chest is the best medicine.

The Get Down: Are You Down
Garage-rock with a slight touch of reggae and prog/psychedelic leanings. Kind of raw and possibly undisciplined but that's part of the appeal.

The Salteens: Moths
A modern take on melodic rock rather than one that looks backward for inspiration. Its intimacy doesn't hurt.

© Copyright (c) The Province

Tuesday, June 29, 2010

REVIEW: "A Far-Out Place" at Bill's Music Forum!

Monday, June 28, 2010

Review: Laurie Biagini "A Far-Out Place"

Based on her music, I would have guessed that Laurie Biagini was from sunny California. But no, she is cranking out her retro surf pop from Vancouver BC, Canada. Her latest CD, "A Far-Out Place", picks up where her debut record, "Ridin' The Wave" left off, and was inspired, unsurprisingly, by a 2008 adventure in California.

Biagini's songs have been written, composed, performed and recorded by herself - so she is either very talented or the ultimate control freak. Perhaps she is a little of both. Her sound is undeniably influenced by the Beach Boys, and her brand of beach music is some of the most authentically inspired I've ever heard. Her vocals are somewhat androgynous (think Kyle Vincent), but it is her extraordinarily well-crafted harmonies that will truly impress. Biagini could have easily replaced the B-52s girls.

All of the elements of classic powerpop are present and accounted for on "A Far-Out Place" - harpsichord, multi-layered doo-wop harmonies, and be-bop beats. It is hard not to feel like you are at a beach party with feel-good tunes like "A Far-Out Place", "A Beautiful Dream", and, of course, "Another Old Lazy Lyin' On The Beach Afternoon". But not all of her lyrics are as anachronistic as her music - take the Jerry Lee Lewis sounding "Crazy People On The Internet" for example. Other highlights include the catchy rocker "Leave Me Alone" and "Not The Only Pretty Fish In His Sea". And if you are in the mood for something slower, Biagini has "Sweet Dream Symphony" to offer, sounding like something right out of the Brian Wilson songbook. Fans of The Carpenters will want to take note of "Rockin' My World Like You Only Know How".

If you are a fan of the Beach Boys, Mamas and the Papas, Jan and Dean, or even the B-52s, you won't want to have a record collection without some Laurie Biagini. As her closing track, "I'll Be Back Again", implies, she is currently working on her third album, and preparing for her upcoming live performance at the International Pop Overthrow Festival on August 25 in Vancouver, BC.

iPOD-worthy: 2, 4, 5, 7, 11, 13

June 16, 2010 - Goldmine magazine

Laurie Biagini – A Far-Out Place

If you’ve ever wondered what the Beach Boys circa 1965 might sound like with a female lead vocalist (assuming you’ve never heard The Honeys) and piano-based arrangements, Canada’s Laurie Biagini is here to clue you in on her new disc. A Far-Out Place features 14 sun, surf and sand-inspired tunes that harken back to a simpler time and place (witness the winning “Another Old Lazy Lyin’ on the Beach Afternoon”) or drag sunshine pop kicking and screaming into the new millennium (the “true dat” musings of “Crazy People on the Internet”). It’s all pleasant enough stuff, although some of the songs go on a bit too long (and Biagini’s voice can get a tad monochromatic after a while). Still, anyone who bucks the current musical trends and writes, performs and self-releases music such as this that obviously means a lot to her is to be commended. Personally, I’d love to hear what she could do with a full band in a real studio, with some more varied arrangements. A for effort, B- for execution.

John Borack

Tuesday, June 01, 2010 - Powerpopaholic

Laurie Biagini "A Far-Out Place"

If you are ready for a retro-summer 60's style, then Laurie Biagini's latest girl-group, surf pop album, is the far out place you want to be! Laurie continues the Honeys meets Bangles style that made her first album "Ridin' The Wave" so much fun. You can't go wrong with Lauire's "oo-wah, oo-wah" chorus in the Beach Boys-styled "Another Old Lazy Lyin' On The Beach Afternoon." And it's not all sand and surf, as "A Beautiful Dream" weaves complex harmonies and psychedelic rhythms into a package that could've come off The Mamas and The Papas first album. The instrumentation is also improved here as she tackles other subjects from "Crazy People On The Internet" and spiteful naysayers on "Not What It Seems." When the beat remains uptempo it works best like on the Beatlesque "Happiness Looks Good On You" and punchy hooks on "Gonna Do It My Way." On some slower tunes ("Sweet Dream Symphony") Laurie's voice tends to blend a bit too much, but the production is so stellar you may not notice. It closes out on the wonderful "I'll Be Back Again" with a composition reminiscent of Gary Zekley's Yellow Balloon. This will take you back to that simpler time when the California sun was king and golden harmonies ruled the AM airwaves. Sit back and let it wash over you.

Friday, May 21, 2010 - Cabinessence

Talented People On The Internet

It’s not even eighteen months since I reviewed Laurie Biagini’s debut album, Ridin’ The Wave. Now she’s back with her sophomore record, called A Far-Out Place, and it’s very clear that she is tapping even more deeply into the vein of musical inspiration that she has found in the past years.

The album contains more harmonic rock-and-roll songs inspired by Brian and the Beach Boys and her own experiences. Many readers will be drawn to Crazy People On The Internet, a slice of the big part of our lives that has brought together lovers of good music. There are some great tunes here, including Sweet Dream Symphony, Not What It Seems, Rockin’ My World Like You Only How and I’ll Be Back Again. We certainly hope Laurie Biagini will be back soon. You can get this at CD Baby and visit her Facebook artist page here

Andrew Gladwin

Tuesday, April 13, 2010

The Province: CD of the week: Laurie Biagini: A Far-Out Place

The Province
E-Today, CD Reviews (page C4)
by Tom Harrison, Staff Reporter

CD of the week: Laurie Biagini: A Far-Out Place

Fans of 1960s California sunshine pop will like this. Biagini's second album is full of reference points that inevitably name drops the Beach Boys, but Brian Wilson's influence is not as obvious as you might expect. The harmonies are bright and the melodies uplifting. The songs are simple but effective in a '60s way, though Biagini tackles some contemporary topics and thus can't be labelled retro. She could be a little melodramatic, though. Over-the-top emotion didn't hurt Leslie Gore or Shangrilas.

Friday, April 9, 2010

1st Review of "A Far-Out Place" from!


A Far-Out Place

Cowabunga, sixties freaks! Summer's here! Or almost here, and I know because I just got my hands on Laurie Biagini's girl-group, surf, super sweet pop album, A Far-Out Place and all I can say is, far out! Laurie would like to have you believe it is California kicking-sand-in-your-face Pop, but California is only a part of her equation. The rest has a bare foot planted on every beach in the States, sixties-wise, and it adds up to one hell of a Pop Fest.

Unknowingly forged by the early music of Patience & Prudence, Annette Funicello, and the likes of The Teddy Bears, her music adds a splash of beach water, plastic bucket and shovel to Sunshine Pop and teen innocence. For old-timers like myself, it is a look back to music with a beat, when that was all that mattered. She takes us to our happy place, sans psychiatrist, and reminds us of the joys of youth. This is good music, harmonious music, beautiful music. It is happy music.

She starts it all of with a one-minute dip into the surf gene pool with an organ and background vocal romp plus basic Sandy Nelson beat (non-solo), a simple introduction to a music world of the past and present. Then all hail breaks loose. She reaches for every sixties Pop influence she can find and the party is on! Track after track pays homage to the AM sounds of the era and you hear slices of The Beatles, Phil Spector, The Brill Building, The Beach Boys, Southwest F.O.B., The Mamas and The Papas and others too numerous to mention. Listen hard and you hear a harpsichord here (probably a synthesized version, though one cannot always be sure), a Cyrkles-sounding organ there and the simplified let's-dance beat which quickly lost ground to the more complicated music of post-puberty when holding hands was no longer enough.

When the music is up, it is really up, having the driving force of a Freddie Cannon but on a bit more subdued level. Good rocking, less whoo! When it's not, it is pure melodic and harmonic joy with all the hooks you need and enough of the sometimes towering and always spot-on choruses to keep you beach-dancing for weeks.

I could point to each and every track as the best, but that would not give you much of an idea of what is there. Suffice it to say that I am enthralled by Intro-Setting the Scene, as short as it is, because it does just that and so well--- sets the scene, that is. I can't think of a better lazy beach tune than Another Old Lazy Lyin' On the Beach Afternoon, with its Beach Boys oo-wahs in the background, and Gonna Do It My Way has a chorus which makes me dance inside. Like I said, this is good stuff. I can't help it.

Laurie Biagini has done a wonderful job grabbing the bits and pieces of the past and weaving a spell completely her own. Her songs stand on their own, awash as they are in ghosts of the past, and are there for your enjoyment. I suppose you could listen with skepticism and find fault here and there, but this isn't music to be dissected, it is music to be enjoyed and, damn, I can't help but feel sorry for the skeptics in this world. Well, I would, but I don't have time. There is so much good music out there these days that if the music died today, I could not possibly catch up before my time comes, and Biagini just pushed a bit of that music to the back. I can't stop listening. In fact, it's a beautiful day and I'm taking A Far-Out Place for a drive. If I owned a convertible, I'd do it with the top down. Won't matter. I'll roll down the windows and turn up the music. With Laurie Biagini blasting, life is just an illusion anyway.

Oh, before I forget, Biagini released one album before this you might want to check out: Ridin' the Wave. Huh. Wonder what that's all about? I'm kidding! As soon as I'm done here, I'm checking it out myself. Then, it's the open road. Can't get much better than that.

Frank O. Gutch Jr