Review: Little Seed - Elizabeth Mitchell

Here's my ugly Woody Guthrie secret: I never much liked Woody Guthrie's music.  Not the songs themselves, just their presentation on record.  Neither of his two albums for kids he recorded in 1947 and released in 1956 -- Songs to Grow on for Mother and Child and Nursery Days -- get much play in our house.  To my ears, it almost sounds like Woody was just rushing to get these recorded, and nobody would suggest that these 65-year-old recordings of Woody and his guitar are sonically gorgeous.

The songs themselves, however?  Those are great.  They just needed someone to give them a little tender loving care.

Who better than Elizabeth Mitchell, possessor of one of kids' music most gentle and empathetic voices?  In the decade-plus she's been recording kids' music, she and her husband Daniel Littleton have consistently been one of the best interpreters of songs, drawing both from the folk tradition as well as more modern tunes (Velvet Underground, anyone?).  Each of her previous albums have included versions of Woody Guthrie songs and now on Little Seed: Songs for Children by Woody Guthrie she mixes those versions with some newly recorded tracks for what is now an essential Guthrie-related album, a nice tie-in to the bigger Woody 100th birthday celebrations.

The seven new tracks here are every bit as good as the five that have come before.  "Bling Blang," quite possibly my favorite Woody kids' song, gets a sparse backing arrangement of little more than banjo, ngoni, and knee slaps that is quietly and intensely joyful.  ("Why, Oh Why?," almost certainly my least favorite Woody kids' song -- and that's being generous -- is almost tolerable to me.)  I love Clem Waldmann's percussion on "Rattle My Rattle" and the simplicity of Mitchell and Littleton on "Merry-Go-Round," reminiscent of those lo-fi afternoon recordings on You Are My Flower lo these many years ago.

These songs are most appropriate for kids ages 0 through 5, though kids raised on Mitchell's recordings (ahem) will enjoy them beyond kindergarten.  As alluded to above, five of the tracks on the twelve-track album are previously released and on a 29-minute album, that's no small percentage, and really its only downside.  (The mp3 version on Amazon, currently just $4.99, may be an acceptable compromise, though that would be mean forgoing the as-usual excellent physical packaging from Smithsonian Folkways.)

Longtime Elizabeth Mitchell fans will love the new recordings on Little Seed, and if you're a newcomer to Mitchell's music for families, it's a sweet half-hour introduction to the kids' artist most visible folk interpreter.  She does right by Woody Guthrie.  Definitely recommended.

Review: Books from The Secret Mountain

The Canadian company The Secret Mountain has published a lot of CD/book sets the past few years.  Once every three or four months, it seems, the company releases a hardcover book accompanied by a full CD of music.  At this point, they are nearly the equal of the Putumayo Kids label in terms of their ongoing release of music from around the world (at least from an American's perspective), even if the depth of their catalogue isn't yet near that of Putumayo.

Let's take a look at some recent releases to see if any might be right for your family.

Let's start with the least-recent production, The Fabulous Song.  The book (written by Don Gillmor and illustrated by Marie-Louise Gay) was actually first published in 1996.  It concerns one Frederic Pipkin, a young boy who does not take to instruments of any kind but eventually finds his own way to bring music into the world.  It is my favorite of the books here, but the music by Michelle Campagne and Davy Gallant is my least favorite of the CDs here.  The songs have a bit of pop-musical sound to them, but unlike most musicals, the songs only comment on the action without really ever moving the action along itself, and while I happen to like my share of musicals, there are no distinguishing songs here.  (More details here.)

Next up is Chicken Joe Forgets Something Important, a sequel from Trout Fishing in America to their previous Secret Mountain book, My Name Is Chicken Joe.  Frankly, I didn't give this book and CD enough attention when it first came out last fall, because when I gave it another spin recently, I was surprised (and pleased) at how well-done the songs are.  As a CD, I liked it more than what was in part a greatest hits album on the first book.  The songs have some connection to the story, but each stands alone without the other.  The story itself (the title pretty much says it all) is slight, but Stephane Jorisch returns to give the story his "happy Ralph Steadman" illustrations.  As a set (and definitely for the CD alone), I would definitely give this book the edge over Fabulous Song and I would recommend the CD by itself as well. (Details)

Moving on to more Putumayo-ish turf, Secret Mountain last fall released Songs from the Baobab.  The book itself was a massive success overseas when it was first released a decade ago, selling more than 100,000 copies.  Now the set featuring African lullabies and nursery rhymes compiled by Chantal Grosleziat comes to North America.  The book itself features evocative illustrations by Elodie Nouhen and a line or two of translated text from each song on a page or two.  (More detailed liner notes follow these fully illustrated pages.)  I am certainly no expert in the renditions, but they sounded lovely to my ears.  I would say the songs tend more toward the lullaby end of the spectrum.  (Details)

For those of you looking for a sprightlier musical trip somewhere outside of America, the latest set from the label, Songs in the Shade of the Flamboyant Tree, should fit the bill.  This collection of French Creole lullabies and nursery rhymes is more on the nursery rhyme end of the spectrum.  The songs were compiled again by Chantal Grosleziat, but illustrator Laurent Corvaisier uses a brighter, more vibrant palette (befitting the music).  I recommend both this and its African cousin -- your preference for calmer versus more active songs (and pictures) should guide your choice.  (Details)

There you go -- four sets, at least three worth further exploration.

Review: All on a Sunday Afternoon - Sugar Free Allstars

There's no secret formula to the success of rising kindie stars Sugar Free Allstars -- the Oklahoma band's high-energy live shows get kids dancing and tire them out.  (It's the musical version of a long post-dinner swim.)

And while their first two kids' albums had moments of groove, neither one fully captured that live energy.  With their third album All on a Sunday Afternoon, however, the duo of Chris Wiser and Rob "Dr. Rock" Martin gets a lot closer to putting on disk (or bits) what gets kids hopping around.

The album kicks off (appropriately) with "Gotta Get Up," a groovy wake-up song featuring Jack Forman from Recess Monkey and Shawana Kemp from Shine and the Moonbeams adding vocals.  While SFA's kids songs are very much kid-focused in their subject areas (this time around there are songs about hiccups, putting away toys, and teddy bears), there is more diversity thematically ("Love Train" features Keller Williams and is as much praise of soul music over the past few decades as anything).  And bringing in some additional instruments, like horns ("Very Best Friend," for example) or strings (the epic slow-jam "Ready To Give Up Teddy") really rounds out the duo's funky sound.

The 36-minute album is most appropriate for kids ages 3 through 7.  The physical copy of the album also comes with a live concert roughly 40 minutes in length which, though simple, features songs from all their albums and does a good job of capturing that live energy I mentioned above.   You can stream the album through the widget below.

The Sugar Free Allstars don't reinvent the wheel on All on a Sunday Afternoon, they just trick out the ride a bit.  It's danceable and goes down smoothly.  Works for me and probably for you, too.  Recommended.

Note: I received a copy of the album for possible review.

Review: Invisible Friends - Dog on Fleas

When interviewed about their music, it is not uncommon for kids musicians to say that they're not recording for kids.  It's a statement that for many artists puzzles me, because while I totally get what they're saying -- good stories and songs should resonate with a diverse audience -- it seems to deny what is obvious: songs about playgrounds or going to school or getting a dog are written with kids in mind.  They are kids' songs, no matter how good they are or how appealing to adults they may be.

New York's Dog on Fleas are one of the few artists making kids music whose music, stripped of context such as album art or a review on a website such as this, could legitimately be not described as "kids music."  Their brand-new album Invisible Friends taps into a feeling of childlike wonder and exuberance without ever sounding like somebody was tapping into memories of (anyone's) childhood.

What the songs do sound like, at times, are half-remembered childhood memories themselves.  The lovely and gentle "Fortunate Mistake" tells the story of a mouse (or someone the size of a mouse) whose name is indeed "Fortunate Mistake" while echoing the textures of Paul Simon's Graceland album.  (The lyrics "I bring good luck wherever I go / I bring good luck to you" sound to me like a blessing.)  On the other, more-minimal hand, the sung lyrics for the song "Party" are as follows: "I like to party, party, party / I like to party, party, party / Party, party, party, party, party, party, party!"  There's a little variation in that perhaps, but for the most part it's an excuse for Dog on Fleas mastermind Dean Jones to get his Memphis horns on.

Notwithstanding the occasional dance tracks, it's mostly a laid-back series of songs, with tracks like "Tell Me What You Love" or the group sing-along "Peapod" being the sonic equivalent of laying on your back in the shade of tree in a grassy field watching clouds go by.  Longtime fans of the band will may hear of lot of the last Dog on Fleas album, Beautiful World, on this new disk, but with some of the more electronic elements dialed back -- this is a much more organic album.  I liked Beautiful World, but I like this much more.

Given how much I've talked about the 42-minute album's all-ages sound, the idea of an ideal age range is sort of silly, but it's probably more appealing to kids ages 3 and up.  You can listen to the whole album here. 

Don't misunderstand me -- there's a lot of excellent kids music out there that is written with kids in mind, and I think that's great.  (Really, I think people should embrace that idea.)  But it's nice to have bands like Dog on Fleas blurring the distinctions between what is kids music and what isn't.  Like a preschool collage, Invisible Friends mixes stuff together that adults have long stopped mixing together but in spite of that (or possibly because of it) produces art.  Highly recommended.

Review: A Potluck - Lucky Diaz and the Family Jam Band

Bright and sugary like a treat from a Parisian patisserie, here is A Potluck, the third (and second full-length) recording from Los Angeles-based Lucky Diaz and the Family Jam Band.

Diaz' songwriting strength has always been his knack for a catchy melody, the good pop hook reeling the listeners in.  The opening songs -- the Postal Service-aping "Lines and Dots," "On My Bike," and what sounds like a vocoder-assisted "Lemonade Stand" -- seem like they should be packaged with a diabetic warnings if listened too often on repeat, so sweet are the combination of the hooks, handclaps, and kindergarten-focused lyrics.  The rest of the pop-rock tracks from Diaz and his bandmate-now-wife Alisha Gaddis offer a little more sonic diversity ("Squirrelly the Squirrel," ska; "Monkey Jones," brass band; "Tres Ratones," a little Tex-Mex).

I wish some of the songs would be pared down (The run times for "Lil' Red Rooster" and "Lemonade Stand" of about three minutes could have been cut in half, creating quick, tart lemonade espressos of a song, for example).  And Diaz' lyrics have never been too multi-layered -- here they are as shiny as the music and with the exception of "Invisible Friend" don't really address kids' interior lives.  Which is fine, but if that's what you're looking for, you should move on.  Of course, if you or your kids want to dance or jump around the room -- something I'm all in favor of -- you are bound to find something here. (The songs on the 29-minute album are most appropriate for kids ages 3 through 7.)

As I hope I've made clear, A Potluck won't change the world.  But it's a neat collection of some very nifty songs that should end up in your kids' rooms (or iPods) and Diaz's best family album to date.  Definitely recommended.

Review: A Little Love - Renee & Jeremy

Cover albums are, depending on one's perspective, the last refuge of scoundrels or a songwriter's tribute to classic songs.

Of course, that's an adult's perspective.  Such debates are nowhere to be found in kids' music, mostly because preschoolers don't truck in adults' notions of hipness and because the history of the genre has been one of handing down songs from generation to generation.  There's a reason why kids have been singing "Twinkle Twinkle Little Star" for hundreds of years in dozens of languages -- it's because it's a damn good song.

And lullaby albums are especially susceptible to the cover treatment.  It's hard work crafting loving songs that are memorable (but not too memorable, because, hey, the kids are supposed to go to sleep).

One of the bands that have worked the lullaby seam quite well in recent years are the LA duo Renee & Jeremy.  Many of their chilled-out songs (especially on their debut It's a Big World) are mellow, modern gems of love.  So it was with a little trepidation I gave their new album A Little Love -- a collection of ten covers given a mostly down-tempo burnish -- a spin.  "They write a good song," I thought, "why would they want to record others'?"

Whatever their motivation, the resulting album highlights Renee & Jeremy's number one weapon in making parents weak at the knees and kids very relaxed -- their voices.  Jeremy Toback and Renee Stahl are the best vocal duo in kids' music, bar none, and it's the interplay and harmonies between them that turn what could otherwise be a collection of "why bother?" covers of overly familiar tunes into something much bigger.  "Daydream Believer," "Shiny Happy People," "Love" -- all songs I never needed to hear other than by their original artists, but which R&J give a sufficiently mellow spin and artfully draw out the lullaby-ish nature of the song to prove me wrong.  And in some cases, like their take on Red Hot Chili Peppers' "Give It Away" and Coldplay's "Yellow," they provide an entirely different perspective from the original, breathing new life into those songs.  Some of that is due to the arrangements, but much of the credit must go to duo's voices, which seem perfectly matched.

It's mostly a lullaby album (ages 0 through 5), but besides the parents, the 25-minute album will probably translate well to the toddlers' older siblings as a mellow-afternoon spin.  (You can listen to 90-second samples via the widget below.)

I expected to like A Little Love, but was surprised how much I ended up enjoying it.  It has nothing to do with the fact that they're covering songs of my musical childhood and everything to do with the fact that they're turning those songs into music of our collective childhood.  That, and the fact that I'm pretty sure I would buy an album of the duo singing anything, including the happy hour menu at TGI Friday's.  I actually have a lot of love for A Little Love.  Definitely recommended.