Review: Brave

I am a big fan of Disney Pixar movies, having seen every one of their movies in the theatre, dating back to Toy Story, a number of years before I had kids, and even their shorts made for computer graphics geeks conventions more than 20 years ago.

So reviewing Brave, the latest effort from the company, is akin to me reviewing a kids musician whose albums-for-kids-and-families I'd been listening to alongside Nirvana.  It's a different frame of reference from most media for kids I take in.

The short version of the review: Brave is a good movie, about the in the middle of the pack of Pixar movies, the scariest of all of them, but with less character development than most.

The slightly longer version: The most basic of plot summaries.  Princess Merida is an ace shot with the bow and arrow, and opposed to the plan of her mother the Queen to marry her off to a suitor to help bring peace to the region.  Merida takes things into her own hands to save her from this fate, which produces way more complications than she, her family, or indeed this reviewer, could forsee.

That's right, one of the best parts of the movie is that the second-act plot development is genuinely surprising.  To say more would ruin the surprise, but the external conflict is not one you're probably expecting.  The internal, emotional conflict -- the heart of any Pixar movie -- is easier to spot, and while the movie dramatizes it OK, I never felt sufficiently invested in any character except Merida -- somewhat -- to fully latch on.

Of course, that may in part be a gender thing -- my wife and Miss Mary Mack loved the movie more than I, whereas I thought the short that preceded the movie, "La Luna," about three generations of (male)... janitors (for lack of a better word) said many the same things about parenting and self-determination that Brave did, but did it with more humor and far fewer words.  It was something that particularly struck me the second time I saw the movie.

[Side note: As a music reviewer, movie-reviewing is an odd beast.  Whereas I often listen to an album five or six times in the process of writing a review, notes by my side, movie reviews are done based on one viewing, in the dark, with all electronic devices sequestered by a movie company worried about electronic leaks.  Not quite sure how those movie reviewers manage it, aside from trying to jot down notes on a darkened pad of paper.]

Which isn't to say that Brave isn't funny, either.  The witch whose assistance sets the conflict into motion is an absolute hoot and the antics of Merida's younger siblings will keep the younger siblings in your household amused.  But often in Pixar movies the humor is rooted in emotional truth (think of Nemo's dad's neurotic ramblings) and here it can feel like the diversion from the story at hand.  I would also note that some of the scenes are pretty intense and the 3-year-old who loved Cars may not be ready for this.

I'm not being entirely fair to the movie.  It was fun, I recommend it, and I'm only sounding down because the bar set by Pixar for its other movies is so high.  If this movie came out from any other studio, it would be lauded unreservedly.  I just wish I could have felt even more attachment to the characters.

Note: I was invited to attend a press preview showing by Disney; I also saw the movie a second time, paid for by me.

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: In Tents - Recess Monkey

It's time for the annual kids' music reviewer's dilemma:

How to review the new Recess Monkey album.

Some kids' music albums are just so plain bad that it is easy to mock them (if you go in for that sort of thing) or ignore them completely (my preferred approach).  Other albums have such a unique sound that describing the sound becomes the hook of the review.  And then there are the artists take their own sweet time releasing their music, which makes returning to their music almost like hearing a unique take in and of itself.

Which brings us to the Seattle trio.  They're good (scratch that first approach), have no particularly unique sound (forget the second), and are incredibly prolific (they've now recorded 8 albums in less than 8 years -- they've likely written and recorded an album in the time it's taken me to write this review -- so I guess that take on the album's out, too).  I tried dealing with this problem by writing an entire review in haiku form last year, but for the band's latest album In Tents, I'm forgoing the weird stuff in favor of a plain review.

As you might suspect from the album title, the album is a concept album about circuses, but as with their previous albums, most of which have revolved around a theme of some sort (superheroes, space, monsters), it's a loose concept.  Yes, the leadoff title track is about performing in a tent, but the following track "Popcorn" could easily be on a food-themed or movie-themed album.  Most of the songs, in other words, stand on their own (except for "The Dancin' Bear," the Beastie Boys homage which is so deliriously odd and funky that it stands, or dances, on its own).

The album starts out with a very modern sound - "Popcorn" has a modern sound, while "Sit and Spin" (Tilt-a-Whirl, natch) has a driving chorus.  But as the album progresses, it regresses sonically.  "Human Cannonbal" sounds just a bit like the Who in their more musical-minded moments.  And for much of the rest of the album ("Dancin' Bear" notwithstanding), the band returns to the Beatles sound which inspired their early work -- "Bouncy House" includes echoes of "Get Back" and "Edwina Mae" sounds like A Hard Day's Night-era music, for example, and other songs like "House of Cards" have the 1920s vaudeville sound that runs through a lot of the Fab Four's work with George Martin.

In fact, as I listened to the album, I was reminded in more ways than one of the Beatles' Sgt. Pepper's Lonely Hearts Club Band.  Some of the reason are minor (the Beatles' circus costumes on the album cover suggesting this album's theme) and some larger (the wistful song "Crystal Ball" and album closer "Show on the Road" striking echoes of that album -- "Crystal Ball" even includes a "When I'm Sixty-Four" shoutout).

Dean Jones' production here is clean -- it sounds a lot like any other Recess Monkey album, sonically, albeit with a little more trombone.  (I loved, though, the production choice in "I Could See (Magically)" to fuzz up the sound at the begin and to clear it all up once the narrator gets glasses.)  And he also lets the band's natural humor show through (Mayor Monkey! Drew Holloway's manic over-singing in "Sit and Spin").

As with most Recess Monkey albums, this album is most appropriate for kids ages 4 through 8.  You can listen to a few of the tracks at the band's homepage.  As always, the physical packaging for the album, this time featuring a backstory for the circus theme, is excellent.

There's not a lot of backstory here -- Recess Monkey makes music for kids, with joy and without pretense.  There are lots of other bands who do that, too, but few if any who do it as well.  As bands go, I'm not sure they're the Beatles of kids music -- who would want to saddle anyone with those expectations -- but when you look at the consistently high level of musical quality the band's given us over the past few years, perhaps it's not such a totally ridiculous claim.  It's a tough call, but I think In Tents is my favorite Recess Monkey album yet.  Highly recommended.

Note: I was provided a copy of the album for possible review.  Also, the band was invaluable in helping to create Hand Aid's "Felt Around the World."  But I'm a looooongtime fan.

Review: Ultramagnetic Universal Love Revolution - Mista Cookie Jar & the Chocolate Chips

Sometimes all you want is a lazy afternoon reading with your kid or playing Legos with them while rain gently falls outside.

This is not the album for those times.

Ultramagnetic Universal Love Revolution, the second album from Los Angeles' Mista Cookie Jar (and his backing band, the Chocolate Chips), is bright and shiny -- as chaotic a melange of sights, sounds, and smells as the boardwalk pier featured on the album's cover photo -- and intended to make you dance.

Just listen to the first track, "Inner Child Rock," and you'll have a pretty good idea whether the album is for you.  Mista Cookie Jar (AKA C.J. Pizarro) sings out his rapid fire lyrics while his daughter, 9-year-old Ava Flava, and Miss Mikyla chime in with background lyrics (their oft-repeated "We HEART you" is lodged in my brain for the next year at least), offset by the occasional "Let's get, let's get, let's get wild" bridge.  I find it nearly irresistible, but I admit that others might find it over the top.

There are some slightly less wild tracks -- in the liner notes for "Lover Not a Fighter," Pizarro said he "aimed to pilfer some of that Jackson 5 bubble gum-soul-funk-magic" and it's a worthy re-appropriation of the sound.  "Happy Place" is a sun-drenched groove that should be played loudly as the neighborhood kids jump around in the front yard slip-n-slide.  (If you or your kid want to double-down on the sonic craziness of "Inner Child Rock," I'd suggest tracks like "Lucas!" or "Best Day Ever EVER.") 

Lyrically... well, I think a sample from "Crystal Cave" illustrates where the lyrics sometimes go: "Inside ur heart there is a crystal cave / where the witches and the wizards invent their games. / They sew a string of sing-alongs / and tie them to the wings of swans / connectin' hearts to stars to cookie jars /in daisy-chain-trains!"  We are a long way away from songs about how to tie your shoe here, but it really fits in with the sound.

The album is most appropriate for kids ages 5 through 9.  You can listen to extended samples from the 43-minute album here.

As is the case with many good albums, Ultramagnetic Universal Love Revolution won't please everyone, and in fact some folks might downright dislike it.  But I think there are more than a handful of families who are going to absolutely adore the beats and rhymes and very palpable sense of love that pervades these dance tunes.  Me, I'm more in that second camp (and hope that everybody at least checks it out).  Recommended.

Make Believers - Secret Agent 23 Skidoo

Every time I listen to a Secret Agent 23 Skidoo album the same question runs through my mind:

Why isn't anyone else doing this?

Not the kids' hip-hop thing -- there are a number of artists mixing beats and rhymes and some of them are pretty good.

No, I'm talking about something a little more specific, namely hip-hop for kids who have kindergarten in their rearview mirror.

There is nobody making music for your favorite 8-year-old except for the Asheville, NC rapper.

Luckily for us, Skidoo is really good.  And on Make Believers, he elevates his game a little more, turning in his most adventurous and, yes, imaginative album.  He's always rapped about adventures and the power of imagination, but on the new album, drives the point home repeatedly -- if you have the courage to stand up for yourself and believe in your schemes, your life will be much more interesting.  It might not be easy -- and Skidoo is upfront about that -- but the alternative is much sadder.  He's much more interested in the daydreamers -- on "Space Cadet" Skidoo's daughter who performs as MC Fireworks trades off a series of crazy questions with her dad -- to him and his wife (Bootysattva, who sings the hook) she's their "little space cadet / and [they] wouldn't have it any other way."

If Skidoo just rapped his rhymes over plain beats, it would still be good, but his secret weapon has always been a musical community of dozens lending support.  "Brainstorm" features furious guitar work and a propulsive beat and the soulful "Rocketfuel" ("Treat your heart / Like a piece of art / And it'll be the spark / That lets you see in the dark") features organ and cello.  He and Lunch Money's Molly Ledford co-write the gentle "Snowforts and Sandcastles."  And "Hot Sauce" (all about trying things that are hard) features some Latin sounds. 

The 41-minute album is most appropriate for kids ages... you know, I'd like to propose a new subgenre of kids music.  A lot of kids music targets kids ages 4 through 8, with some focus on younger kids and virtually no focus on kids older than 8.  Independent artists in the genre have virtually ceded that ground to the artists getting airplay on Radio Disney and not necessarily recorded with 9-year-olds specifically (or at least exclusively) in mind.  Meanwhile, when it comes to books, there's a whole burgeoning genre of young-adult fiction, not to mention chapter books which have always been popular.  So I'm going to coin the term "middle-grade music," based on "middle-grade fiction," which tends to cover the age range of 8 to 12 -- yes, tweens.  Certainly kids that age will want to listen to Selena Gomez or Beyonce or whatever artist they covered on Glee this week, and sometimes the lyrical themes of those songs will resonate with the tween crowd.  But I think skilled songwriters can address the rest of the life experiences of that age group.  There is plenty of room to join in.

All of which is to say that Make Believers is a great album for the slightly-older kid in your life.  Secret Agent 23 Skidoo is a trailblazer in kids music in more ways than one, and while I hope he gets more competition over time, if we just had him making his music for this particular audience, I guess I'd be cool with that.  Highly recommended.

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.