Itty-Bitty Review: Hello My Baby - Vered

A good part of Vered's second album, Hello My Baby (subtitled Songs to Bond You and Your Baby) doesn't sound much different from its predecessor, her debut album Good Morning My Love. The folk-pop songs are very tightly arranged, with Vered's lyrics often requiring her to sing, or almost rap, them quickly (see, for example, "Gotta Go"). And like its predecessor, the subjects and lyrics for most of the songs are designed to, well, bond parent and baby, so the song helps explain the child's perspective to the parent, and/or gently remind the parent the consequences of actions like being on the phone too much ("Phone").

If there's a big change from the first album, it's in the songs that speak much more directly to the parents. "More of a Baby" is a duet with the Okee Dokee Brothers' Justin Lansing that recognizes the value of a baby's attitude toward the world. "Something Other Than a Mom" reflects the voice of a mother trying to take back some of that personal identity she had before becoming a mom. With a cello helping to underscore the frustration and sadness that can be mixed into life as a parent, it's rawness one doesn't hear often in kids music; rawness about parenting just isn't heard much in music, period. And if that track is wistful, the album closer "All I Want" features the year's most memorable kindie chorus, with a handful of kindie musicians (album producer Dean Jones, Joanie Leeds, Rachel Loshak, Jon Samson, and more) singing "All I Want / is to sleep / seven hours straight / all I want / is to sleep." Compared to most of the other tracks, this song is loose, letting all the emotion flow and spill out.

The album is most appropriate, as you might expect, for kids ages 1 through 5 and their new parents, natch. (You can listen to samples of the 43-minute album -- soon -- here.) To the extent that Vered sought to create an emotional dialogue between parents and their infants and toddlers, Hello My Baby succeeds. For those parents, it's definitely recommended.

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

Itty-Bitty Review: Calling All the Kids to the Yard - Cat Doorman

A little more than a couple years ago, Portland, Oregon artist and musician Julianna Bright gave the world her Cat Doorman alter ego and a fantabulous debut album.

Now she's back with Calling All the Kids to the Yard, the first of 4 digital-only EPs Bright plans on releasing in 2015. And based on the 12-plus minutes on these first 4 tracks, we're in for a treat.

All the hallmarks of that debut -- the tumbledown organic folk-rock sound, the fully-felt emotions, Bright's enthusiastic vocals -- reappear here. If the first album's theme was of individual expression, the songs here focus more on the world outside. "Loving Cup" starts out with a slow acapella chorus, then moves into a rocking meditation ("I'm ready as I've never been / To slow my breath and to take in / All the world's wonders, all its kin / I start to see you."). "Wake Up" features funky organ, crunchy guitar, hand claps, and an encouragement for the listener to "reach out" and pay attention to the world. After the title track, the album closes with the least-lullaby-ish verson of "All the Pretty Horses" I've ever heard.

You can stream (and download) the album, most appropriate for kids ages 3 through 9, here. Fans of the debut album will definitely find more music here to their family's liking, but this should appeal to a broad range of Zooglobble readers and kindie fans. If possible, I like this even more than the debut. Definitely recommended.

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

Review: The Peculiar Tales of the S.S. Bungalow - Big World Audio Theatre

Let's give a hearty "Ahoy, mateys!" for the crew of Big World Audio Theatre, whose debut story and music collection The Peculiar Tales of the S.S. Bungalow set sail earlier this year.

(Let me also promise you that the rest of this review will be free of sailing-related puns.)

Based in Portland, Oregon and headed up by Laki Karavias and Jason Reuter, the Theatre (really, a loose collective of area musicians and artists) turned to Kickstarter to raise monies for the production and release of the album. The result is a lovingly crafted album and physical product that tells the story of Captain Gregory and the S.S. Bungalow's trek across the Atlantic Ocean to find the Lullaby Islands and the treasure found there.

Voice actor Kevin Barbare narrates the story, which is filled with enough dramatic plot turns, gentle good humor, atmospheric sound effects, and occasional Princess Bride-style meta-commentary to keep the target audience hooked and any adults tuned in amused. The chamber pop-folk, featuring the occasional stringed instrument, horns, and pedal steel, runs the gamut from peppy to slow as befitting the story's twists and turns (sometimes in the same song, as in "Life Is Good." "Follow the Albatross" sounds like it could have been culled from an Uncle Tupelo album. One song, "Aquinas," commemorating a long-loved pet, is particularly sweet and moving in a way few kindie songs are. While the songs are meant to serve a story, speaking as someone who primarily listened to the songs alone, they stand up well on their own.

The album is most appropriate for kids ages 5 through 9. The story version of the album is nearly 75 minutes long; a second disk featuring only the song tracks clocks in at about 32 minutes. (You can listen to the whole thing here.) The physical version, featuring Ward Jenkins' illustrations, is solidly packaged -- for multiple reasons, the CD would make a lovely gift. (I have no doubt that if they ever chose to go the vinyl route, that would look - and sound - splendid as well.)

The Peculiar Tales of the S.S. Bungalow was clearly a labor of love, with a fine attention to detail. I would love to see one of those multinational entertainment conglomerates figure out how to spread this far and wide, though I know that's unlikely. Instead, we'll just have to hope that Big World enjoyed this labor of love enough to make them want to attempt another. Definitely recommended.

Note: I was given a copy for possible review.

Review: Watching the Nighttime Come - Suz Slezak

Lullaby albums can be a nice way for an artist who typically records music for adults to slide into the kids music world -- maybe record a few public-domain lullabies and/or some love songs appropriate for tender ears, and with relatively little change, presto, you have a lullaby album! The potential downside is that you get a bunch of songs recorded too loudly and with little of the magic that makes parents repeatedly put good lullaby albums back into the CD player night after night.

Suz Slezak certainly could have gone that route. Along with her husband David Wax, she's part of the folk-roots rock band David Wax Museum, but Slezak chose to record and release Watching the Nighttime Come, her first kids' music album, a lullaby album, under her own name. She could have easily gone the route I outlined above, but instead this new album is remarkable for how much Slezak the vocalist fades into the background and lets Slezak the musician step forward. I tend to think of the start of the album as being the aural equivalent of the album cover -- playful as day's last light fades and, well, waiting for nighttime. Slezak's songs "Where Did You Come From" and "You Got Love" are dreamy tracks, but ones on which her vocals take something approximating center stage.

As daylight fades, however, the overall feel of the music, rather than anything vocally-based, becomes most important. The heart of the album -- "Jessie's Waltz," "Tallis Canon," and "Caballito Blanco" -- are, respectively, an instrumental, a 6-minute version of a 450-year-old hymn, and a Spanish-language lullaby. Those are not the artistic choices of someone who just wants to create a lullaby album with a snap of her fingers -- those are the choices of an artist who's deliberately creating a hushed mood. That mood on the album eventually breaks somewhat, as all nighttimes break. Here it's with a cover of Leonard Cohen's "Hey, That's No Way To Say Goodbye."

The album is going to be most appropriate for kids ages 0 through 5, but like most good lullaby albums, it's far more all-ages than a lot of kids music. You can stream the 31-minute album here.

This is a somewhat idiosyncratic lullaby album, and if you're looking for renditions of the same set of lullabies you might typically hear on collections of sleepy songs, you should probably move on. But I think this is exactly the kind of idiosyncratic that regular readers of the site will dig a lot, and even if you think you want yet another version of "Twinkle Twinkle Little Star" on CD, I'm pretty sure that Watching the Nighttime Come will fit in nicely amidst your family's CD collection. Definitely recommended.

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

Review: Night Night! - Caspar Babypants

The family music of Chris Ballew -- recorded as Caspar Babypants -- has been so consistently good over his past eight Caspar albums. (I don't think I've ever been as pleased with the result of any prediction of mine as the one from six years ago that suggested Ballew "might make a whole bunch of great CDs for the family.")

So when I got an advance review copy of Night Night!, his ninth album, out today, my question wasn't whether it'd be any good -- the quality goes without saying -- but whether he could translate his tightly-contstructed hook-filled melodies into lullaby form.

Because, as you might gather from the title, this is supposed to be a cool-down album.

I hope Ballew doesn't take this the wrong way, but his album is forgettable in all the right ways. What I mean by that is the music, while catchy, isn't necessarily one bouncy hook-filled song after another. Rather, it features a more consistent -- and obviously far mellower -- tone. The opening track "Just For You," is a lovely song featuring words of unconditional love (one of the backbone topics of lullabies), as is "Sad Baby," but for the most part the strength of the album is that the songs almost imperceptibly slide from slightly bouncy with lyrics from the wandering brain of a child who's just turned out the light all the way to album closer "Made of Light," whose minimal lyrics and ambient sounds would fit right in amidst the contemplative "space music" of Hearts of Space. (It's a cousin to the ambient music Ballew has started posting.) So while there are fewer "classic" individual CB tracks, perhaps, as an album with a specific purpose in mind, it's kind of brilliant.

The 50-minute album is targeted at kids ages 0 through 5 or 6, though many of the tracks would probably fit on a relaxation album for a broader, older age range. Night Night! is a stellar lullaby album with a set of soothing sounds for whenever a break is necessary. Highly recommended.

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

Review: Dancin' in the Kitchen - Cathy Fink & Marcy Marxer

From the opening lines of "Dancin' in the Kitchen," the title track to Cathy Fink and Marcy Marxer's new album, it's clear the duo means business with the album's full title, Dancin' in the Kitchen: Songs for All Families. "Dancin' in the kitchen / with mama and mommy / dancin' in the kitchen with me…" they sing, with the entire song celebrating families off all stripes -- two moms, two dads, all sorts of families.

Fink and Marxer -- who themselves married each other last year -- aren't the first kids' artists to record a song about people who identify as BGLTQ or even families with gay or lesbian parents, but the inclusion of that song in this album is a step towards including those families as part of the overall diversity of family types in this country (and kids music). In fact, more than half of the album are not new songs, but songs from artists like Justin Roberts and Uncle Ruthie Buell that fit within the broad rubric of "family," which kindie godparent Marlo Thomas defines as "a feeling of belonging" (it's the definition that the duo says they like most).

The album works best when it's celebrating the everyday-ness of families -- on the title track, for example, or on "Birthday Pup," a Lou and Peter Berryman tune detailing two dogs' many yearly birthdays, which Marxer performs here with Riders in the Sky. Fink's "Twins," recorded with the Canote Twins (actual identical twins), and their Irish medley with Cherish the Ladies "Howdy Little Newlycome/Ceilidh House Polka" are examples of what I think of as one of Fink and Marxer's greatest strengths -- finding other interesting artists to make music with, and plugging themselves in, as it were, to those musicians' talents, especially when those talents mesh well with Fink's and Marxer's bluegrass and roots music skills.

Some folks may find the balance of "message" (even if it's one they support wholeheartedly) and fun of the music sometimes tips uncomfortably toward the "message," but that may depend on whether or not you feel like you've heard your family's story -- or other families' stories -- before. I'm a parent of an adopted child, for example, and while I'm glad John McCutcheon's "Happy Adoption Day" has been around for a couple decades (Fink and Marxer offer their own version here), I've always only been "meh" on the song itself.

The 58-minute album is most appropriate for kids ages 4 through 9. I think Dancin' in the Kitchen will be popular for its content and message, and a fair number of the songs here would have been appropriate on a wide variety of albums, not just one labeled "family." Even if every song doesn't work for me, I'm glad for this album's existence. Recommended.

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