Review: For The Kids Three! - Various Artists

The "For the Kids" series was kids' music before kids' music was cool. Or at least really cool. Its first two compilations, released in 2002 and 2004, were earnest and enjoyable collections of, for the most part, adult artists tackling kid-friendly tunes. The first disk had a few more heavy hitters (Sarah McLachlan, Tom Waits), while the second had a bit more of an underdog feeling (Robyn Hitchcock, Nada Surf). How, then, to describe this third installment, which will be released by Nettwerk tomorrow? Well, let me put it this way -- it's the first kids' music compilation where I almost feel too old. Now, you might be thinking, "Ummm.... it's a CD of music for kids... you're supposed to feel too old." True, but in this case I'm talking about the bands -- some of them aren't in my core demographic. For example, Of Montreal, who leads off the disk with "I Want To Have Fun," is a darling of the Pitchfork crowd, and while I don't say that pejoratively -- I'm a member of the Pitchfork crowd -- I also realize that the sub-crowd of parents who are members of the Pitchfork crowd is a small crowd indeed. So it matters little that, against my expectations, the song is pretty good, because I'm not sure the people in my child-rearing crowd (a considerably larger one) would care. Same goes for the Format, who turn in a slightly odd and operatic "Does Your Car Have a Mustache?" or Blitzen Trapper, who add the zippy "New Shoes" to the mix. Good bands, not quite in the my demographic. One of the hallmarks of the series has been its relative lack of interest in musicians who make their living playing for kids, and that holds true even more here. Only one band, the Sippy Cups, get a slot here, and that's with a cover of a non-kids' song, "I'm a Believer." There are a few traditional songs on the CD -- O.A.R. do a brief reggae-tinged "Itsy Bitsy Spider" and while Steve Lee-compatriot Kyle Andrews and the Submariens turn in a peppy "Wheels on the Bus" and trip-hoppy "My Darling Clementine," respectively. There are some other good tracks here (the awesome "See You on the Moon," from another compilation, by the Great Lake Swimmers; "James Taylor's "Jellyman Kelly," done appealingly raggedly by Mates of States), but there are three tracks here that are key for me. The first two are songs that are decent enough and will probably have everyone talking. Over the Rhine's "The Poopsmith Song" is a song that illustrates, in repeated detail, where one should and should not poop ("Not on your arm / not on your leg / not on your toast / not on the eggs"). The transgressionary nature of the Seussian tale (yes, I just used the phrase "transgressionary nature" in talking about kids music) might be too cute by half if I didn't hear kids (probably the bands' own kids) singing -- it probably was a song written to help them use the toilet. MC Lars' "The Lint Song" is another one of those "too cute by half" songs that's probably more amusing to the parents than the kids, but there will probably be some 8-year-old older siblings who find the rap about, well, lint the funniest thing ever. And then, finally, there's the Barenaked Ladies. A band which, if I'm any indication, has probably almost fallen off the radar screens of many of the purchasers of this CD. Cassettes of Gordon lost, the CDs of Stunt simply disappeared as the band pursued other, more serious songs. After a listen to their previously-released (though new to me) rendition of the traditional "The Other Day I Met a Bear," I wondered aloud, "Why has this band not recorded a kids' CD?" The track is my favorite on the CD, which is saying something, considering "See You on the Moon" is on here, too. The tune (originally released on a Simple Life-branded collection, for goodness' sake!) is energetic and with the band sounding like they're having a ton of fun -- listen to them chant "Ten Feet!" with ever-increasing loudness. It may no longer be cool to listen or like the Barenaked Ladies, but this track is just too much fun to let those silly notions carry. The songs here are most appropriate for kids ages 3 through 9. The 56-minute album, like its predecessors, will serve as a benefit in the US for the VH1 Save the Music Foundation. (In Canada it'll benefit the Sarah McLachlan Outreach Project.) You can check out the tracks at various internet retailers, and Blitzen Trapper's "New Shoes" here. For the Kids Three! is a solid collection of songs for kids, songs for parents, and, well, songs for those somewhere in between. It doesn't always hit all the sweet spots at the same time, but everyone will find something to like here, especially given the collection's broad range of indie-rock styles. And for those of you who loved the first two compilations, but are wondering just who these bands are scattered amongst Moby and the Barenaked Ladies, I encourage you to take the plunge -- your kids might find a new favorite song, while you might find a new favorite band. Definitely recommended.

Review: Napper's Delight - Dean Jones

Though this is the best kids music album title (or at least most amusing to parents) since the Sippy Cups' "Electric Storyland," people who expect Dean Jones' Napper's Delight to be a traditional lullaby album or a goofy riff on a traditional lullaby album will be disappointed. Surprise and, not infrequently, delight are more likely feelings here. Jones is one of the ringleaders of the fabulous New York band Dog on Fleas. While it sells both this album and the band short, to call Napper's Delight a Dog on Fleas lullaby album is a good place to start in describing the CD. One of the chief attributes of a Dog on Fleas CD is its spirit of adventurousness, of lack of calculation in song selection and instrumentation. Such is the case here as well. There probably aren't many CDs that include both drum machines and traditional African instruments such as mbiras or the balafon, but they all appear here and neither of them really sound out of place. I think it takes a few tracks to get into the CD -- the drum machine on the third track "Wheelin' and Dealin'" might not be everyone's cup of tea -- but by the time fellow New York musician Elizabeth Mitchell takes over the vocals on the fifth track, "Grow Little Flower," the CD has really started to establish a relaxed but not sleepy mood. The next track, "Bygones," struck me as a long-lost Vince Guaraldi Trio track, while the reworked 18th century folk song "Turtle Dove" gets a nice assist from fellow Dog on Fleas bandmate Debbie Lan and a couple fiddlers. By the time you get to "Hush Little Baby," which sounds like it's got a tiny calliope helping to provide musical accompaniment, you're sold. (I also adore "Filly and Dilly," a duet with Amy Poux which is a reworking of the traditional "Lavender's Blue.") The overall effect is definitely not one of a lullaby album, if only because many of the songs don't deal with unconditional love as many lullabies do. Rather, the CD creates a mellow mood that will work well as the soundtrack to many a lazy afternoon reading with the kids. The 42-minute CD is fine for all ages, of course, but I think kids ages 2 through 8 will respond to it more. You can hear samples at the album's CDBaby page. Napper's Delight isn't a traditional lullaby album -- it sounds nothing like it. Although it has echoes of Dog on Fleas, Elizabeth Mitchell, and the Innocence Mission, it doesn't really sound much like those, either. It is, as I said above, filled with surprises and delights. I'm not sure kids will necessarily run to pull this off the shelves. But I think a lot of parents (especially those who are regular readers here) will find this a soothing balm for family listening and, given five or six spins, will find this working its way into their brain. It did mine. Definitely recommended.

Review: Jump in the Jumpy House - Mr. David

How to describe Jump in the Jumpy House, the recently-released third CD for kids from San Jose, California-based artist Mr. David?.... How about... "this album sounds like nothing else you've heard all year." Well, yes, but that's what I said about his last album, The Great Adventures of Mr. David, so perhaps I need to find different words, because it doesn't sound like that CD, either. Whereas the previous album had a strong folk and folk-rock influence, the new album has more diversity of sound -- the garage rock of the title track, aided by the propulsive guitar work of Greg Lisher from Camper Van Beethoven; the gentle Spanish guitar on "Miss Pila"; the early New Wave sounds of "Hey! It's Lunchtime!" Mr. David (real name: David Alexandrou) does a passable Johnny Cash impression on "Them Devils," or at least is obviously inspired by him there. I also love the brief "Ragtime Honey," a sweet little ragtime instrumental that's a nice palate-cleansing (or aural-cleansing) at the center of this 31-minute album before plunging into the second side. In an interview here last year, Mr. David said he was proud of "putting out a kind of children’s music that really is different." There's no doubt he's doing that. There are times on this CD when I wonder if it really isn't a little too different. "Cabin Blues" is pretty abstract for a kids' song, about passing the days in a (vacation) cabin. The leadoff "Crocodiles Are Hungry" is almost stream-of-consciousness, barely touching on crocodiles and ending with a tribute to "John, Paul, George, and Ringo." (Favorite line: "People always ask me, 'How can you spend so much time up in your hammock?' / I say, 'Because man, I got pink lemonade!'") I think this is one of those albums that will probably divide listeners. Some families will absolutely adore this album for its adventurousness while others might think that "Jump in the Jumpy House" rocks and "Little Girl" is a sweet little song and the rest is just a little too weird. The album is probably most appropriate for kids ages 4 through 8. You can hear (and download) "Hey! It's Lunchtime" and "Jump in the Jumpy House" at Mr. David's Myspace page or hear samples of all the tracks here. Jump in the Jumpy House is another wildly imaginative album from Mr. David. It's got some fun beats and lyrical pictures. Even if the album isn't quite your family's cup of lemonade, though, you have to hand it to Mr. David for indeed stretching the boundaries of what kids music can be. Recommended.

Review: Mary Had A Little Amp - Various Artists

Mary Had A Little Amp was originally released waaaaaaay back in, er, October 2004. OK, it really wasn't that long ago in the cosmic scheme of things. But if it's not quite the paleozoic era to the current mesozoic era, it does seem like it comes from a different time. The big thing about the current wave of kid-comps (kids' music compilations) is that the CDs tend to be composed of songs recorded specifically for the CD. It's not a hard-and-fast rule, mind you, and some of the songs on those CDs aren't specifically "kids music," but, more often than not, when the artist or band went into the studio, they had a pretty good idea of who their audience was going to be. Or, at the very least, the track listing makes some sense. Not so with Mary Had A Little Amp. The songs here seem to have been compiled as much by the artists' affinity for for the album's benefactors (proceeds go to support preschool education projects) as by the appropriateness of the songs. "We Walk," for example, is a perfectly kid-safe song from R.E.M. (or at least as far one can tell in Michael Stipe's earlier, mumblier phase), but its appropriateness for a kids-music album is somewhat remote. You can count Moby's "Anchovie" and "Sing Along" (the Blue Man Group along with Dave Matthews) as songs whose lyrics are reasonably kid-safe, but probably not of much interest to kids. Which isn't to say there aren't some stellar tracks on here, they just tend to be the ones that are more suitable for a kids-comp. The Dixie Chicks' cover of "The Rainbow Connection" is almost worth the price of the CD by itself -- sweet, with sufficient banjo to make fans remember the original. Jack Johnson turns in an early, laid-back version of "The 3 R's," revved up later on the Curious George soundtrack. Madonna's "Little Star" is surprisingly good and Rosanne Cash's "How To Be Strong" is by far the best original. The album is probably best-suited for kids ages 3 through 9, though I doubt any kid will really get into the whole CD, there's such diversity in age-range here. You can hear snippets all over the internet and here. With an overall mellow mood and a collection of slightly older stars, this collection might make a good gift for your older sibling who had a child of their own a little after you did. While it's a decent lineup of artists, compared to some of the more kid-centered (and rockin') compliations that followed it, Mary Had A Little Amp is, well, a little unplugged.

Review: Little Mo' McCoury - Little Mo' McCoury

I play the violin and not the fiddle, so my bluegrass bona fides are slim. But I'm familiar with Del McCoury, who's been making bluegrass music for a long time, and making music with his sons for a couple decades or more. No, Del does not have a son named "Little Mo'" -- that's just a fancy moniker for one of his sons, Ronnie McCoury, who essentially leads the Del McCoury Band through a kid-friendly bluegrass album. They're billing this self-titled Little Mo' McCoury album, released this week, as the first all-bluegrass album for kids, which it pretty much is, though there are other albums that come close to the mark (Phil Rosenthal's Folksongs & Bluegrass For Children collection, Grisman and Garcia's Not For Kids Only, which McCoury cites as an inspiration). The album could have been an excuse to run through traditional kids' songs in a bluegrass style -- think something like Pickin' On Raffi -- but thankfully McCoury and his band avoid the cliches and provide a nice introduction to bluegrass. In fact, the strongest tracks here are the ones most kids and many listeners, including this one, will be unfamiliar with. "Barefoot Nellie" is an instrumental showpiece, guaranteed to get all but the most somnolent kids hopping. "Mama's Blues" features some great banjo picking from Ronnie's brother Rob in which the instrument takes the place -- and the voice -- of a young child. Most of the rest of the album also works well. There are solid renditions of old standbys "The Fox" and "Teddy Bears' Picnic," which will be familiar to a number of listeners, and McCoury's original "My Friend, My Guitar," co-written with his wife Allison, is a decent song which also illustrates how to play a G-run guitar lick. I can't say that their takes on Randy Newman's Toy Story song "You've Got a Friend in Me" or the traditional "Big Rock Candy Newman" were revelatory -- I'm too used to other versions, perhaps -- and a few other songs left me with a similar "that's nice, what's next" feeling, but the playing throughout is expert. Given the songs covered here, kids ages 2 through 7 are most likely to enjoy the CD, though this is more of an all-ages set than many. You can hear clips from the 49-minute CD all over the internet, but you might want to check out their Myspace page for four cuts, or my most recent NPR appearance to play the energetic "Barefoot Nellie." There is nothing revolutionary about Little Mo' McCoury, it's simply a nice mixture of well-played kid-focused and kid-friendly bluegrass tunes that will serve as a decent introduction to the bluegrass genre. It's another sign that hopefully the kids music genre is maturing a little bit and expanding beyond the folk and pop-rock that has been its bread and butter up to now. Recommended.

Review: Dream - Mae Robertson

There is no other way to say this, so I'll state it up front -- I am going to be unfair to Mae Robertson in this review. I could blame this on Robertson herself, but, really, it's me. Or our family. You see, her debut CD, 1995's All Through the Night, recorded with Don Jackson, still gets regular rotation at our house. We first heard it when our daughter was still an infant, and it was the soundtrack to many a bedtime routine or midnight feedings. (Here's my original review.) It was one of the first good kids and family CDs I heard and it is, without hesitation, my favorite lullaby CD. Robertson recorded three albums of lullabies before moving back to Alabama from the New York City area in 2000 and recording 2 albums for adults and a Christmas album. Earlier this year, she released Dream, in which she returned to the lullaby world. In some ways, little has changed since that first album of lullabies, now 12 years old. To start out with, Robertson's voice has lost none of its smooth luminosity. It is one of my favorite voices in all of music, and to hear it is to feel the warmth of a towel just out of the dryer. Robertson also has a broad-ranging view of the definition of lullaby. Her debut featured two songs made famous by Elvis, and on subsequent CDs she covered Van Morrison and the Talking Heads, among others. On Dream artists such as Paul Simon, James Taylor, and Tom Waits get her cover treatment. She certainly picks some familiar songs (Radney Foster's "Godspeed," which the Dixie Chicks sang, and Bob Dylan's "Forever Young," perhaps best known in Rod Stewart's cover) but also covers some less familiar territory. In spite of these similarities to her debut, this album left me uninspired. I think the reason has to do with its production. Make no mistake, the backing musicianship here is first-rate. But it's just way too much for an album of lullabies. "The One Who Knows," a Dar Williams track which Robertson cites as an inspiration for the CD, leads off the album, but is way too uptempo and, well, loud for such an album. It's not like the drummer goes all Keith Moon on us, but the mere presence of the drums is such a change from that debut, which was all hushed and didn't have a drum to be found. Other musical flourishes (the guitar on Taylor's "You Can Close Your Eyes" or the piano on Waits' "Midnight Lullaby") would sound great on an album of mellow adult pop, but were hard for me appreciate in the context of a lullaby CD. Like most lullaby albums, it's most appropriate for kids ages 0 through 5 and their parents. You can hear samples from the 47-minute CD at the album's CD Baby page, or you can hear a couple full tracks at Robertson's Myspace page. So I'm probably being too harsh on Robertson here, not because Dream is bad musically (because it's not), but mostly because Robertson hit the ball so far out of the park and probably hard-wired the lullaby part of my brain to forever set my preferences for quieter, simpler songs. This album has some lovely renditions, but it's not an album I envision I playing at nighttime. If you have different preferences, you may like this for its intended purpose. And if you're like me, then get All Through the Night.