There are not many artists who play jazz for kids, which is a sad thing. Sad not because Jazz Is The American Art Form and more kids should be aware of their country's musical heritage (even though that statement is true). Sad because jazz can be one of the most playful musical forms, and who plays better than kids?

On their second album, Coal Train Railroad Swings!, Nashville's Coal Train Railroad are every bit as playful as their pint-sized primary audience, adding several musical exclamation points to that in the title. From the get-go vocalist Katy Bowser throws herself into the preschool-focused lyrics with abandon. On the swingin' leadoff track "I'm Diggin' Me," Bowser sounds hopped up on pixie sticks as she fully inhabits the bouncing-off-the-walls-let's-play-superheroes! narrator. On big band-inspired "Dirt," I love the way Bowser throws off the word "dirt" at the end of every line, a statement of fact mixed with "what-are-ya-gonna-do?" insouciance. And I think you can probably guess the vocal approach she takes on the gypsy-jazz "I Hab a Code."

Which isn't to imply that the music is just jokey -- they come from a kid-centered focus. Bowser can turn in gorgeous vocals as well, as on "With A Box." And she's very ably backed up by her CTRR co-founder, producer and bassist Christopher Donohue, and the rest of the band. They provide great accompaniment, playful when necessary, solid through and through. The album is very preschool-focused lyrically, which may very well restrict the repeatability for folks when kids aren't around, though the album closer, the gorgeous "On Our Swings," is a worthy successor to the West Coast jazz sound Vince Guaraldi made famous to a broad audience via the Peanuts TV specials.

The album is more appropriate for kids ages 2 through 7, though that's a lyrical distinction -- musically, it works for everyone. You can hear the whole 27-minute album via the widget at the bottom of the page.

I liked Coal Train Railroad's debut, but I really like Coal Train Railroad Swings!. If it's not quite the all-ages classic that Medeski Martin & Wood's Let's Go Everywhere is, it gets close. It's musical, smart, and, most importantly, fun. Definitely recommended.

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

Posted by SAShepherd at 12:10 PM | Permalink | Comments (0)

I don't think that Jeff Krebs and Chuck Cheesman are the same person. Having said that, I've never seen the two bearded guitarists in the same place at the same time, and some of the similarities on their new albums leave the question open in my eyes.

The kindie world is very focused on rock and pop and sometimes other genres at the moment, which leaves the folk music that for many years was the backbone of the genre somehat pushed to the background. As a result, these two albums stand out more than they might have ten or twenty years ago.

I've long been a fan of Chuck Cheesman, a former Old Town School of Folk Music Wiggleworms teacher who now lives in the pines of Northern Arizona in Flagstaff. His first album for families, A Family Handbook, was a solid record of mostly traditional tunes, and his just-released second kids' album Dancing With No Shoes On is just as solid.

It's an occasionally goofy, occasionally heartfelt, always warm collection of songs. It's folk music that draws no small amount of inspiration from Woody Guthrie (see "Seafood Song" or "A Big Dog Ate My Homework," perhaps). Given his longtime experience playing for kids, he's got a good sense of what kids will respond to, songs like the banjo-aided "Chocolate-Covered Brussels Sprouts" and the bluesy (natch) "Milkstache Blues." It's a mostly upbeat, sunny approach -- something to play in the summer, or maybe a warm Northern Arizona fall. The 35-minute album (which includes 4 songs heard on his first album) is most appropriate for kids ages 3 through 7; you can hear song clips here.

If Dancing with No Shoes On is a sunny, almost summer-y folk album, Things That Roar, Jeff Krebs' (aka Papa Crow) first album for families is a little more hushed, a Michigan winter to Cheesman's Arizona mountain summer.

Nothing is being reinvented here (OK, maybe the beat loops on "High Up on a String" are a little new), but the 14 originals are put together with care. It's not just a guy and a guitar -- it features (among other things) accordion, banjo, sleigh bells, and a couple nice duet turns by Kerry Yost. Krebs has an appealing voice himself and shows off some nifty guitar and ukulele work on songs like "Polar Bear in a Snowstorm" and "Ukulele." And if "Chicken Lips" doesn't become a minor radio hit, I'll be sorely disappointed. Kids ages 2 through 7 will most appreciate the songs here. You can hear some songs from the 32-minute album at the Papa Crow ReverbNation page.

When I mentioned this as one of my favorite new albums of the fall, I deliberately included Crow along with Dan Zanes, one of his inspirations. Things That Roar is a gentle breath of fresh air, and maybe my desire for cooler weather caused me to prefer that to Dancing With No Shoes On, but they're both fine albums. Chuck Cheesman is one of those artists who, if they were in a larger market, would be much better known; Dancing With No Shoes On is just an excellent collection of new and folk music. And while Papa Crow's got a ways to go to reach the heights of Zanes or Elizabeth Mitchell or Frances England, artists who've inspired him, but Things That Roar is a small delight and fans of those artists will probably find in Papa Crow someone they want to hear more of as well. Both albums are definitely recommended.

Posted by SAShepherd at 07:14 AM | Permalink | Comments (0)

A lot of kindie musicians dream of creating their own TV shows.

Most of the rest of them want to become authors.

That works out to varying degrees, of course. Chris Ballew, AKA Caspar Babypants, in addition to being a talented musician (and visual artist), has the good fortune to be married to artist Kate Endle. Togther they have combined to produce two lovely books -- Bunny Rabbit in the Sunlight and My Woodland Wish -- which parents (or kids) wholly unfamiliar with Caspar Babypants or Chris Ballew would be happy to have on the shelf.

In fact, these books owe the majority of their charm not to the words but to Endle's cut-paper artwork, which is simply beautiful. It's a collage but with everything meticulously planned and put just in the right place. (Take a look at that cover -- you'd think that it was entirely hand-drawn until you look closely at those bushes.) Both books are nature-based -- Bunny Rabbit presents a series of animals in different light settngs while My Woodland Wish is an ever-so-slightly more narratively-driven book that follows a girl spying on (and interacting with) various woodland creatures. The books are cute, but not too much so -- they don't over-anthropomorphize the animals (or give them eyes waaaaay out of proportional to the rest of their bodies).

The words/lyrics to the books (created by Ballew alone in the case of Bunny Rabbit; the two of them together for My Woodland Wish) aren't bad, they're just not what keeps me returning to the books. Ballew created Caspar Babypants melodies for the words, and while they don't have the zippy energy that I personally enjoy most about CB songs (nor should they given the subject matter), they definitely create a sense of dream-like wonder like many of his other songs do.

Caspar Babypants - "Bunny Rabbit in the Sunlight" (book preview) [YouTube]

(The video book preview for the other book is at the end of this review.)

The board book Bunny Rabbit in the Sunlight is most appropriate for kids ages 2 through 5; the picture book My Woodland Wish is more appropriate for ages 3 through 7. You can download both books' tracks here.

I should also note that this is not a typical self-published book, which in my experience can look kinda cheap when you hold it in your hand. These are both releases of Sasquatch Books, a regional publisher distributed by Random House; they both look and feel gorgeous and solidly made. You can find the books, therefore, all over the internet (and maybe even your local bookseller); Endle also sells them at her Etsy store.

I've been almost a little scared as to how easily Ballew has made the transition to part-time (bordering on full-time) family musician. There's not a single dud in his Caspar Babypants CD canon, and now he's helped create two wonderful kids' books with Endle. (A third, Augie to Zebra, is due out in May 2012.) Given their success with books, perhaps they should think about TV... Definitely recommended.

Disclosure: I received copies of these two books for possible review.

Continue reading "Book Review: Two Books from Kate Endle & Caspar Babypants" »

Posted by SAShepherd at 05:20 PM | Permalink | Comments (0)

Laurie Berkner is without a doubt the brightest female star in kids music (and quite possibly the biggest star, period), so I've been surprised that there haven't been more artists who've attempted to follow in her footsteps. There are obviously lots of successful female artists, for the most part, however, artists like Elizabeth Mitchell, Frances England, Molly Ledford, and Ashley Albert have taken different paths than Berkner's taken, that of melding bright pop takes on traditonal kids' music with catchy new melodies.

But if your family enjoys Berkner and would like to know if there's more where that came from, the answer is, yes, indeed, as Charlie Hope and Laura Doherty are two of the best artists making music for the preschoolers in your life.

Songs, Stories and Friends: Let's Go Play!, Hope's third album for families, mixes traditional tunes ("Wheels on the Bus," "Ants Go Marching," "Robin in the Rain") with some of the shiniest pop tunes you'll hear this year. "Best Friends" and "One That I Love" are sparkly and joyful, with Hope's bright, clear voice carrying the tune. Caspar Babypants repays the favor of Hope dueting on his recent album by helping out with "Alouette," while Hope's mom tells the story of "The Bear Family." Perhaps the best track might be the kicky "What I Like To Do," which uses kids' voices to great effect as individual kids sing about what they like to do, punctuated at the end with Hope singing "What I like to do / is sing songs for kids."

There's little to dislike about the album, though it sounds to me like Hope's voice gets auto-tuned a bit, not like Cher in "Believe," but just slightly more than I like to hear (and Hope probably needs). Aside from that personal bugaboo, I like the album a lot. It's 45 minutes long, targeted at kids ages 2 through 5.

On her second album Shining Like a Star, Laura Doherty plumbs a slightly less traditional, slightly less pop-py line than Hope, with such as with the wurlitzer-like keyboard on "Rocket Ship," the country/western-dusted "Quiet as a Mouse," or the circus organ on "Ferris Wheel." Like Hope, Doherty's blessed with a clear voice that elevates the material -- her samba take on the Joe Raposo classic "Sing" is excellent.

Targeted at kids ages 2 through 6, the songs on 33-minute album are very preschool-subject-focused ("Hula Hoop" is about, you guessed it, hula hooping), which may eventually limit the number of times you can handle hearing Shining Like a Star with your kids, but it'll take you longer than with most albums to reach that point. That even happens with Laurie Berkner albums eventually.

Even though they remind me (in a good way) somewhat of Laurie Berkner, Charlie Hope and Laura Doherty are charting their own course in the kids music world. Even if they never reach the heights of popular success Berkner has, on their latest albums, both artists show off their talents in a way suggesting they, too, may be around for years to come. Recommended.

Posted by SAShepherd at 07:37 PM | Permalink | Comments (0)

There is just barely enough kids' music in the United Kingdom that reaches North America for me to note how little kids' music there is in the United Kingdom whenever I review an album from across the pond. But the genre there is maturing a little bit, as evidenced by the number of albums released by artists best known for playing for adults. Two of the most recent come from Mick Cooke -- best known as a member of the band Belle and Sebastian, but a composer and arranger for film and TV as well -- and Nick Cope of the now-dormant band the Britpop band Candyskins.

Cooke's album Down at the Zoo sounds very much like a soundtrack to an animated children's TV special about, well, a zoo with anthropomorphically familar residents. It's an extension of "The Monkeys Are Breaking Out the Zoo," Belle and Sebastian's contribution to Colours Are Brighter, the kids-comp Cooke put together a few years back. On that song (also here), the monkeys scamper ouf of the zoo, while the peacock sings "Pay attention to me / pay attention to me" ("The Peacock Strut") and the penguins goof off playing Dixieland jazz ("Playtime for the Penguins"). They're character sketches primarily, with a mix of simply-arranged pop styles that don't step much into rock territory, though the tracks that do -- "We Are the Tigers" and the especially awesome "The Crocodile Synchronised Swimming Team" -- are among the best. But the 32-minute album (listen to a couple tracks and hear more about the recording here) probably won't satisfy fans of Colours Are Brighter hoping for yet another, more muscular collection of rockers recorded for adults as much as kids.

As gentle as Cooke's album is, Cope's is even more delicate. My Socks is his second album for families, following up last year's What Colour Is Your T Shirt?, and it features hummable acoustic chamber-pop tunes about very preschool-ish issues. The title track is an unambiguous and unironic celebration of, well, socks. Other songs deal with going to the grocery store ("The Very Long Shopping List", which could be a long-lost Burt Bacharach track), bubble baths ("Pour in the Bubbles"), and manners ("Thankyou"). It's mostly mellow mid-tempo stuff about familiar concerns, which makes a song like the peppy "There's a Bear" (most preschoolers having not seen "a bear / over there") stand out even more. It's a good album for a rainy day.

Despite their UK origins, both albums are available Stateside (via iTunes and other outlets). Parents who pick up Down at the Zoo or My Socks in hopes of finding a string of pop gems that they will listen to without reserve when their kids are out of the room or the car will be disappointed -- these albums' target audience is unambiguously the preschoolers. But just as it's important sometimes to listen to your own stuff and not have kids music totally take over your stereo or iPod, it's important that preschoolers occasionally get music recorded without hesitation for them. And I'd recommend crafted-with-care-and-purpose albums like these two above most mass-produced TV tie-in stuff for this age. Here's hoping they encourage more folks to join 'em.

Disclosure: I received copies of the albums for possible review.

Posted by SAShepherd at 04:51 PM | Permalink | Comments (0)

As you would probably expect, I get many more disks than I could possibly have time to review (unless somebody decides that they want to nominate me for a MacArthur Fellowship). Given my time constraints, there are many reasons why I don't review an album, including it stinks or I can't figure out what to say about it. But there are a number of decent albums with a particular point of view that don't get reviewed in a timely manner just because life goes on. Here, then, are four albums, each with a different approach to the genre -- your family is likely to dig at least one of them.

San Diego-area musician Steve Denyes is a prolific songwriter (see here for a side project of mine he originated), cranking out a Hullabaloo album at least once a year. His latest record Road Trip tackles the theme of, well, car travel (natch), with thirteen tracks covering the experience (truckers' horns, traffic jams, the unfortunate demise of bugs on the windshield). The opening title track is a fun country-rocker, while the rest of songs take a slightly mellower, folkier, Johnny Cash-ier approach. (You can stream the album here.) The album is most appropriate for kids ages 2 through 7. In one sitting, the songs begin to run together, but there are a lot of songs here that would work well in a mixtape for your next trip. Recommended for: your next trip to Grandma's house, your afternoon errand-run.

Moving up the coast to Portland we find The Alphabeticians, a duo consisting of Eric Levine and Jeff Inlay, AKA Mr. E. and Mr. Hoo, which gives you a little sense of the goofiness that this duo trades in on their formal debut Rock. A little bit of the Pixies and R.E.M. (literally, in the case of the song "Eric Saw Peter Buck's Girlfriend and Then He Saw Peter Buck"), with a healthy dose of They Might Be Giants, "Weird Al" Yankovic, and Schoolhouse Rock mixed in. It could use a little more polish production-wise in spots, but there are some great songs in there (I recommend giving "Metaphor" and "Monkey on my Shirt" a spin at the album's streaming page.) The album's most appropriate for kids ages 3 through 8. Recommended for: the sassy younger kids on TV sitcoms, families who have at least one TMBG album (kids' or adult's) around the house, kids who want lots of alphabet practice.

Continue reading "Review Four-fer: Hullabaloo, Alphabeticians, Mister G, Monty Harper" »

Posted by SAShepherd at 04:59 PM | Permalink | Comments (0)

OK, you have folks like Raffi and Ella Jenkins and Justin Roberts -- people who, once they started recording music for kids, showed little interest to breaking away from that and recording for adults. But there's a long history of "adult" artists dipping their toes into the world of kids' music -- Carole King, Johnny Cash, Harry Nilsson, Tony Bennett, all the way up through They Might Be Giants, Lisa Loeb, and Barenaked Ladies and every artist who's ever recorded a song for kids' music compilation. Some, like TMBG (or Pete Seeger and Woody Guthrie long before them), spend a lot of time there, but usually the artists return to the world of checking for fake IDs and adult themes.

Which is what makes watching Chris Ballew, longtime Presidents of the United States of America member, so interesting to me. In less than four years, he's released four albums for families as Caspar Babypants, including this week's new release, Sing Along!. Over the course of that time period, Ballew has thrown himself into the project with energy and has tapped a rich vein of creativity. While all four of his albums are very good, this new one is my favorite and one of the best albums of the year.

It starts off with "Bad Blue Jay," with its "Yes, sirs" and "No, sirs" clearly inspired by the "Yes, ma'ams" and "No ma'ams" of the kids' classic "Mr. Rabbit." Next is "Wild Wild Time," which uses an old Beethoven melodic line. And on it goes, with Ballew pulling in influences from all over and creating new folk songs or in time-honored folk tradition, tweaking classics like "Ba Ba Black Sheep" or giving a hint of Beach Boys sound on "Long Long Dream." Also, I really dig Mike "Outtasite" Singleton's rap turn on the classic "Dem Bones." And while Ballew's always been willing to do very simple music for the very young, doing things like getting Frances England to duet with you on "Loud and Quiet" (or Rachel Loshak on the album-closer "Baby Cloud") makes those teachable songs listenable long after the concepts have been mastered.

The album's targeted at kids ages 1 through 5, though hopefully I've made clear that older kids will dig it, too. You can hear samples here.

I really, really like Sing Along! -- the Caspar Babypants disks have been favorites at our house for a long time, and I see no reason why this new album won't join its predecessors in heavy rotation. If he can keep it up, Chris Ballew might just create a body of work for preschoolers to rival Raffi's. Highly recommended.

Posted by SAShepherd at 06:21 AM | Permalink | Comments (0)

The annoyance some parents feel upon hearing the classics of kids' music isn't due to the melodies themselves. The melodies, in fact, because they've survived for centuries in some cases, are some of the best ever. Parents' anger, rather, is a result of repetition and, sometimes, poor execution. The littlest things, like providing the barest minimum of interesting accompaniment and slightly different (but real) instrumention, can push the date of the inevitable "I can't take this anymore!" way out into the future.

So it is with The Littlest Star, the debut album from Meadows. The band is a side project from musician and composer Keith Kenniff and his wife Hollie (who also perform together in their indie-rock band Mint Julep). Most of the tracks are renditions of standard wiggleworm-y classics like "Shoofly Don't Bother Me," "King Kong Kitchie Kitchie Ki-Me-O," and "Twinkle, Twinkle, Little Star." The arrangements are muted and tasteful, lots of acoustic guitar and piano. Hollie Kenniff gets the majority of vocals here; her relaxed voice induces calm and fits the simple tunes perfectly. Their banjo-assisted take on "You Are My Sunshine" is particularly lovely. The originals (e.g., "Flutter Like a Butterfly," "Three Kangaroos") are pleasant enough, but tend toward the cute end of the spectrum and I found myself preferring the standards to these.

The 33-minute album is most appropriate for kids ages 0 through 5. You can hear samples at their homepage, but to listen to fill tracks, check out the Unseen Music YouTube channel. You'll probably find Meadows' sound as reminiscent of Elizabeth Mitchell's (minus the inspired cover song choices). I'd go with Mitchell's CDs over The Littlest Star, but the fact that I'm even bothering to compare the two speaks highly of the Meadows' ability to make childhood classics listenable for a long time. Recommended.

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

Posted by SAShepherd at 05:11 PM | Permalink | Comments (0)

Time once again for another stroll -- a long, langurous stroll we might not actually complete because we're so tired -- down lullaby lane. The last couple times I did this, I reviewed seven lullaby albums, but maybe because I'm only doing this a year after my last list, I only have three to add. Let's get started... you're probably tired anyway.

First up is my favorite of the trio, New England singer-songwriter Mark Erelli's Innocent When You Dream, originally released in 2007 and back in print once again. Like many lullaby disks these days, it's not a collection of traditional (or even standard) lullabies; rather, the album includes songs by "some of [Erelli's] favorite writers that have a certain tenderness to them," and even subtitles the album "Lullabies and Love Songs." Which is why you get folks like Tom Waits, Tom Petty, Wilco, and Shawn Colvin getting covered here. (I already said how much I liked Erelli's cover of Wilco's "My Darling"; the song is originally from this album.) They are songs of comfort and reassurance, so, yes, lullabies, if not ones with easy-to-remember lyrics. Sonically, the album is perfectly pitched, as if Erelli were sitting in the corner of your nursery or around the campfire, singing to you and/or your child, accompanying himself on guitar. It avoids the common lullaby album mistake of being so overwrought that it'll keep everyone awake. Listen to a couple tracks from the 30-minute album here. Innocent When You Dream is a lovely little album and will soothe all but the most savage beast.

A couple more albums after the jump.

Continue reading "Review: A Trio of Sleepy Disks" »

Posted by SAShepherd at 08:33 PM | Permalink | Comments (0)

The sight of Nicola Heindl's illustration immediately brands it as a Putumayo disk. But take off the animated cover of Acoustic Dreamland, the latest collection from Putumayo Kids, replace it with some tastefully sepia-tinged photograph of, I don't know, a moon rising over a barn, and you could totally sell this collection at Pottery Barn, perhaps.

Which is to say that this isn't so much a kids music album as it is just a kid-friendly album. But oh what a nicely curated album it is. I never would have pegged Wilco as a source for lullabies, but Mark Erelli's version of "My Darling" outshines the original, methinks. Ditto for Elizabeth Mitchell's cover of the Allman Brothers' "Blue Sky." Kids musicians aren't totally shut out here -- Frances England records a new song, "Here With Me," for the collection, and Kesang Marstrand lends a song from her excellent lullaby collection as well. As with many Putumayo disks, however, the value in the collection isn't so much the individual songs as much as it is the fact that someone has spent the time finding the tracks and saving the listener the effort.

The album is appropriate for all ages, though the lullaby nature of means that you're more likely to spin it with kids ages 5 and less. You can sample some of the tracks here. I can totally see Acoustic Dreamland being used at nap time or quiet time or during a nighttime feeding. And, buried on a hard drive and stripped of its album art, long past your kids nap, eat at night, or are ever quiet, listened by you and you alone. Recommended.

Posted by SAShepherd at 04:54 AM | Permalink | Comments (0)

I'd heard about the music that guitarist Tom Gray of the British band Gomez had done for a couple of kids' puppet shows for at least a couple years now. So was it merely an amazing coincidence or was it fate that I had an e-mail ready to go to Katherine Morton and Polly Dunbar, proprietors of Long Nose Puppets and creators of said puppet shows, when I received the press release saying that that very music would finally be made available on iTunes?

The answer is probably irrelevant, but does provide some background as to why I was particularly eager to give the music a spin. Gray's first score was for the 2006 puppet show Shoe Baby, the first Long Nose Puppets production and an adaptation of a children's book written and illustrated by Dunbar's mother Joyce Dunbar. (It's about a baby who disappears in a shoe and has lots of interesting travels.) Compared to the two later productions, the gentle pop-folk music for Shoe Baby is pretty simple in terms of orchestrations, but it might almost be the album that least needs the visual of the puppet shows (or the books) to understand the music.

The second show, Flyaway Katie, was based on Polly Dunbar's book, which (the book -- and presumably the puppet show) is about a girl who dresses up very colorfully and becomes a bird (briefly). As you might expect, there are lots of songs about colors -- a moody one about gray, a mellow one about green, and bright one about the yellow sun. It's more orchestrated than the first show -- literally, in some cases, as strings make an appearance on several songs, and Gray even duets with another singer on one of the tracks. (My favorite track: "The Red Bus".")There's also a Mark Mothersbaugh-like instrumental "The Mice Theme" that is very pretty though makes less sense without the context of the puppet show itself.

The newest show is Penguin, which debuted just last year. It's also based on one of Polly Dunbar's books about a silent penguin. Without visuals for the puppet show, it is easest perhaps to follow along to the narrative arc in this album. (There's another fun instrumental in "A Lunar Tune," all spacy and with bleeps and bloops.) That may make things confusing if you're listening without benefit of the book (who exactly the singer singing to in the funky second-line-like "Say Anything" is not clear unless you know it's boy singing to his silent penguin). But I think the songs here are the most engaging and most beautiful of the three albums -- "Penguin's Song" could easily rest outside the kids music world.

The songs here are most appropriate for kids ages 2 through 7. The songs are available on iTunes (link to all 3 albums here). You may find the albums a bit pricy -- about $27 for barely more than an hour of music -- so you'll probably want to try a few samples and start off with one of the albums (one of the latter two) before taking the plunge for all three.

While the albums don't quite match the (too high) expectations I had for them, Tom Gomez's scores for Shoe Baby, Flyaway Katie, and Penguin feature simple, gentle and occasionally beautiful songs your family would enjoy listening to even if they've never seen the shows that accompany this music. They make me want to rewrite that e-mail to Long Nose to say, "When's your US tour starting?," and that's praise for the music in and of itself. Recommended, especially Flyaway Katie and Penguin.

Disclosure: I received electronic copies of the albums for possible review.

Posted by SAShepherd at 08:31 AM | Permalink | Comments (1)

One thing that's been striking to me is the relative absence of an independent Australian family music scene, at least viewed from the American vantage point. One might think that the tremendous success of four nice blokes in bright t-shirts might have spurred a lot of imitators and counter-revolutionaries, but that doesn't seem to have been the case. In fact, you can argue that the Wiggles have had a lot more influence on the American kids music scene, either through imitators (the Fresh Beat Band), people headed in the opposite direction (many of the artists on this site), and folks with their feet firmly planted in both camps (Yo Gabba Gabba!).

So I'm glad to see that Australian indie-folk musician Holly Throsby has peeked her head into the relatively small Australian scene and offered up See!, which is one of most captivating family music albums I've heard this year. Recorded at an old church south of Sydney, the album kicks off with the sound of a horn heard off the coast as the intro to "Putt Putt," a gentle tune about going out into the ocean with a small motor boat. From there, the album moves to "Fish and Mice," which starts out with what sounds like a Casio drum keyboard and eventually leads to an infectious sing-along chorus with a bunch of kids singing interjections ("Fish!"... "Bike!"). This looseness in musical production is carried on throughout the album.

It's all very impressionistic -- moods and feelings and lyrics that aren't totally straightforward narratively, as on the winning Americana-by-way-of-New-South-Wales "Diamonds Are So Shiny" ("I have a deck of cards / And I'm in love with the two of hearts / I dug a hole with the ace of spades / I found a bone and some clay / And an old golf ball / That I hit around with my four of clubs.") She even includes an 11-second "Drum Lesson" that simply introduces a handful of drum sounds. (Also, I'm happy that on "What Turns?," Throsby finally writes a second song for a kookaburra, who, frankly, was probably getting tired of sitting that that old gum tree.)

The 28-minute album is most appropriate for kids ages 2 through 8. Right now it's only available as an import or from here -- either way, it'll cost ya about $30 Stateside, so I'd definitely recommend checking out 3 of the tracks here, as well as "The Seasons" here.

But See! might very well be worth the $30. It's a combination of Frances England's dreamy songwriting and Elizabeth Mitchell's appropriation of sounds and melodies from everyday life (with a little bit of Stephen Cohen's Here Comes the Band atmospheric tone thrown in). It is described as "experimental," though to American kindie ears it won't sound experimental at all. It is merely delightful in big ways and small. Definitely recommended.

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

Posted by SAShepherd at 08:13 AM | Permalink | Comments (0)

I think we can agree that England -- the entire United Kingdom, actually -- has not carried its weight in the kids music new wave. Few artists have attracted any attention here in the States, and even those artists would admit that the independent family music scene is as small there as it is large on this side of the Atlantic Ocean.

Into the breach comes the Crayonettes' Playing Out (Songs for Children and Robots). The Crayonettes are a new project from singer-songwriter Kathryn Williams, who actually has a little experience in the genre having contributed a track to the Colours Are Brighter 2006 kid-comp, and Anna Spencer, formerly of the punk band Delicate Vomit. Although the album's overall sound won't be too surprising to regular readers of this website, used to hearing all sorts of songs for all sorts of kids, its folk-electronica music and some out-of-left-field lyrics aren't entirely typical of the more polished kindie sound.

"Robots in the Rain" leads off the album with drum tracks, bleeps and bloops, and a mellow song about rusty robots. "Disco Teeth" channels "Odelay"-era Beck to offer this pearl of wisdom: "Toothpaste / Toothpaste is great / 'Cause it cleans your teeth / Disco bright." My favorite tracks are "Emergency," which effectively uses the whah-whah-whah of emergency vehicles as a musical motif and "Illegal," which combines a little trip-hop with a snaky violin and various prohibitions ("Don't pour lemonade in the fishbowl / Don't take the fish for a walk"). I also liked "Spooky Way Home," which is just scary enough for a 4-year-old at Halloween. Having said that, some of the songs don't sound polished enough and sometimes the lyrics are a little too precious (I'm thinking here about "Sweet on the Floor," about not eating, well sweets on the floor).

The 30-minute album will be most appreciated by kids ages 2 through 6. You can listen to samples at the UK iTunes page for the album, or listen to "Disco Teeth" here, "Robots in the Rain" at the One Little Indian Facebook page, and an outtake for the price of an e-mail. The Crayonettes' mere existence shows there's hope yet for the UK family music scene. While it's not a perfect disk by any means, Playing Out (Songs for Children and Robots) has a number of tracks suitable for dancing, lounging or being creative to. Recommended for families who are fans of Kimya Dawson's Alphabutt and (to a lesser extent) Saint Etienne's Up the Wooden Hills EP, and for any family willing to be more adventurous in their musical selections.

Posted by SAShepherd at 09:48 PM | Permalink | Comments (1)

If it's November, it must be time for another album from Chris Ballew's family-music alter ego, Caspar Babypants. Last November it was More Please!; this year he continues to confound Fids and Kamily voters and their Nov. 1-Oct. 31 voting year by releasing This Is Fun!, his third album for families.

The title suggests that Ballew is finally feeling comfortable in this his new skin of family entertainer. And while you never would've known that he was uncomfortable after listening to his first two tons-of-fun disks, it is a clue that Ballew has begun to figure out his calling. That calling? Focusing on preschool-aged kids and younger. It's a group that's tended to be overlooked by many of the artists in the kids music new wave, leaving Laurie Berkner to clean up. But songs like the zippy album opener "All You Pretty Babies" and the gentle punk-in-a-bouncer "Baby's Getting Up" are all about movement and music. Handclaps are big, too, such as on "Look at All These Elephants," which is just rhythm and words. The album is often little more guitar and small percussion (e.g., shakers), though it remains fresh for the most part throughout.

But lest you think the album is just a small music participation class for 2 year olds, This Is Fun! has more than its fair share of earwormy tunes for all ages. Ballew gives old songs new life -- his takes on "Shoo Fly," "The Cuckoo," and "Buckeye Jim" shake off the cobwebs and make them safe for tired parents. Of course his pure pop sensibility is still there on kid hits like the hyper (for this project anyway) "Googly Eyes" and the sweet "Little Ditty." And Ballew knows how to pick guest artists -- Elizabeth Mitchell and Charlie Hope lend their voices to "Dark of Night" and "Mister Rabbit" while the unmistakable bassline of Nirvana's "Sliver" is played by Nirvana's bassist Krist Novoselic.

The 47-minute album is most appropriate for kids ages 1 through 5, though older kids will certainly enjoy the melodies and goofier tunes on the album. You can listen to the album at the Babypants homepage (or samples at its CDBaby page).

With This Is Fun!, Chris Ballew has now produced three Caspar Babypants albums and had three successes. Call it a hat trick, perhaps, but the optimistic album title his latest is indeed appropriately named. Highly recommended.

Disclosure: I was provided with a couple of the album for possible review.

Posted by SAShepherd at 08:25 PM | Permalink | Comments (1)

This is probably a Zooglobble first. I've double-dipped reviews before for albums getting re-releases, but this is essentially a triple-dip. It's for the LA band The Squeegees. Their album started out as an EP, then doubled in size and was released in February 2008. Now it's getting exclusive national distribution in Target starting tomorrow and I thought I'd pull up that 2008 review for your pleasure, plus offer a thought on the new track...

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Meet The SqueeGees, the first full-length CD from the Los Angeles-area band The SqueeGees, could offer me a chance to be exceedingly lazy and simply copy the review from their debut EP, The SqueeGees. Well, maybe half the review. Because half of the CD was originally found on that debut EP.

Now, that's not a bad thing, perhaps, because that means the bubbly tiny nugget of a song, "Apples Oranges & Peaches," is back, as is "Nala the Chihuahua," with its snaky melodic line and harmonies. And "The Ol' WWW," which really isn't a kids song (though it's totally kid-safe) is back to amuse the parents.

Just as with the EP, the Squeegees are at their best when they're not as concerned with the point of the song, such as the dreamy "Bubbles." "I-D-E-A," a song encouraging more environmentally conscious thinking, almost overdoes it with the hitting-over-the-head. (More amusing is the Queen-esque breakdown that starts "So you think that you would like to drive a big car? / Have you seen the gas prices today?" and ends, of course, with "I like to ride my bicycle / I like to ride my bike...")

In fact, what struck me the most on listening to the full-length CD is how much care and craft has gone into these tunes, musically speaking. The SqueeGees generally play folk-rock, but there's a lot of interesting bits squeezed in here, like in the song above, or the harmonies in "Nala the Chihuahua." Along with Samantha Tobey's clear voice, they make the most of the songs here.

As for the Target re-release, even though the band itself seems to have gone through some changes (Tobey is still there, she's now joined by Rilo Kiley bassist Pierre de Reeder and Rich Sherwood), the album appears (and sounds) to be identical to the 2008 release except for the new track, "Tweet Tweet Tweet." No, it's not a song about Twitter (which would've made for a nice new verse on "The Ol' WWW"), but a song about birds, with a nice full sound. It's not worth getting the album for that one song alone, but it's definitely a pleasant addition.

I'll peg the album as most appropriate for ages 2 through 7. You can hear some tracks from the CD at the band's Myspace page. There's a lot to recommend in Meet the SqueeGees. I like the quirky ones more than the standard ones, but that might be personal taste. In either case, there's a high attention to sonic detail that kids musicians thinking of recording debuts could do well to emulate. Recommended.

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

Posted by SAShepherd at 09:11 PM | Permalink | Comments (0)

Give New York's Oran Etkin credit for this -- his early childhood music education program, Timbalooloo, sounds little like other music program for youngsters. A combination of jazz, world music, with interaction thrown into the mix, it's not necessarily better than other such programs -- I'll leave that for the pedagogic experts -- but it draws deep from wells that are lightly touched.

The first album from the Timbalooloo program is Wake Up, Clarinet!, and after listening to the CD (and watching the 10 minutes of bonus video), I have a decent idea of the program's strength. Its core is classic jazz, played artfully by Etkin himself. As you'd expect from a jazz album, there's a lot of playful give-and-take between Etkin and the other performers, particularly vocalist Charenee Wade. There's also a lot of interactivity expected of the listeners, asking questions, giving the instruments characters through how the musicians play their instruments. (It's a touch of "Peter and the Wolf," I suppose.) If there's a downside, it's that the album's pretty short -- just 22 minutes long, including one song ("High Low") given two interpretations. After the first few times, I gladly would trade some of that and the introductions for ten minutes more of the band jamming on 3 or 4 different tracks.

The album is most appropriate for kids ages 2 through 6. You can buy the album here, listen to the album here and watch the bonus video here. If Wake Up, Clarinet!'s brevity helps keep it from reaching the heights of all-time classic jazz-for-kids disks, it's still pretty good. I think Etkin's got the chops to be doing this for some time, and if he does, I fully expect his albums to reach that essential jazz for kids level -- maybe even essential, period. Recommended.

Posted by SAShepherd at 07:39 PM | Permalink | Comments (0)

This is the year of the kids music EP, apparently. First Haley Bonar, then Lucky Diaz -- now Vancouver's Salteens complete the trifecta of excellent family EPs with Kid Songs.

Most folks will probably come to Salteens via Yo Gabba Gabba! -- two of the songs have appeared on the show and another two were written and recorded for it as well. "I'm So Happy" is a giddy romp that will bring smiles to everyone, including and especially fans of The New Pornographers' throw-in-the-kitchen-sink arrangements. (Yes, there's an indie-pop formula at work, and I hope they don't lose it.) "Be Nice To Animals" lopes along sweetly, with just enough giddiness and over-the-top sincerity to make it listenable repeatedly. The band, recognizing the popularity of those two songs given their visibility, has shrewdly made those two songs only available via an $8 physical CD (which includes four other songs); if you just want the other four songs, you can get those digitally without those two songs for just $3.50. Those other four range from OK (the reflective "I Love My Cat") to pretty darn good ("All My Friends Are Different"). The purposefully emotional "Have a Nap Mom" is funny, but sounds out of place here with its wise beyond his years narrator and winking tone -- the rest of the album is so eager and earnest.

The EP is most appropriate for kids ages 2 through 6. You can listen to (and from there buy) the 4 digital tracks below (or here), and listen here for "I'm So Happy" and here for "Be Nice To Animals." Salteens have successfully dipped their toes into the family music water with Kid Songs and the only question, really, is whether you should get the 4-song or the 6-song version. I vote 6-song version -- so fun and definitely recommended.

Disclosure: I was provided a copy of the album by the band's press folks for possible review.

Posted by SAShepherd at 05:05 AM | Permalink | Comments (0)

Do Fun Stuff is hardly a new idea -- there's a long lineage of compilation albums featuring adult artists recording songs for the swing set, er, set, arguably starting with Free To Be You and Me more than 35 years ago. Even the indie rock genre has been part of the act (see: Yo Gabba Gabba!, See You On The Moon, Colours Are Brighter, Play, and three For The Kids albums, just for starters). This album, the brainchild of music blogger Ryan Marshall (Pacing the Panic Room), is a worthy new addition to the tradition, the equal of many of those collections.

Marshall used to work in the music industry and still has friends there, such as the indie-pop band Rabbit!, who contribute 5 of the album's 13 songs. They're some of the best tracks, such as the uptempo leadoff "Pass It On," the rock ballad "Always a Blue Sky," and the lullabye closer ("Sleep," and natch). But the other artists pitch in nicely in a similar indie-pop vein. A few of the songs tell a story or have some greater moral (hate to spoil it for you, but in Davey Rocker's "Morton the Caterpillar," Morton ends up becoming a butterfly), but it mostly has a gentle springtime bouncy feel.

The songs here are most appropriate for kids ages 2 through 7. (Spin the tunes in the widget below.) This digital-only release is also noteworthy in 2 other ways: 1) it managed, albeit briefly, to hit the #1 spot in the iTunes Children's Music store, which is pretty amazing for an indie release, and 2) more importantly, it's a benefit album for which 100% of the proceeds will go towards funding graduate students who will do additional research into the Smith Magenis Syndrome, a developmental disability (Marshall's stepson is diagnosed with SMS). Little of that would matter if the album wasn't good. But it is good, worth your time and money. Fans of those indie-rock-for-kids albums above will definitely enjoy Do Fun Stuff as well and even if you don't know your Frightened Rabbit from your Rabbit! methinks your family can still rock (and mellow) out to the songs here. Recommended.

Posted by SAShepherd at 06:09 PM | Permalink | Comments (0)

Ah, Putumayo Kids, you compiler and purveyor of music from around the world, you must be running out of themes, right? Rock & Roll Playground? Isn't there another region of the world you need to unearth some musical treasures from? What's next - Pop Playground? Hip-Hop Playground? (Actually, please get on that, stat.)

Most regular readers have heard many of these tracks (or at least the artists), but credit Putumayo for having the sense to string 'em together in a happy-happy pop-rock mixtape with few if any duds. For example, Taj Mahal -> Dan Zanes -> Charity and the JAMband = win. (Or, Rhythm Child -> Rosie Flores -> Uncle Rock = win.) Best for kids ages 3 through 8 (samples here), you could probably put together your own 34-minute playlist, but why bother when they've already done the work for you? Recommended.

Having said all that, Jazz Playground is my favorite of all the Putumayo "Playground" series disks, and that's saying something. The nature of jazz is such that it covers lots of styles and permits fresh interpretations of songs we've heard dozens if not hundreds of times before, and as a result, there's a nice mix of new and old, providing new perspectives -- and isn't that one of the major points of the Putumayo concept anyway? The album deftly navigates the line between over-reliance on English language voices (which you can get anywhere) and non-English language songs (which can be hard for English speakers to fully appreciate, no matter how funky the liner notes are).

Beyond that, it's just plain fun through and through, from Zooglobble favorite Lewis Franco & the Missing Cats doing his swing original "Stomp, Stomp" to Chris McKhool's fiddle-based take on "Spider-Man" to the Latin jazz of Jose Conde's "Cumbamba." And on down the line. Best for kids ages 2 through 8, the 31-minute album (again, samples here) goes onto my shortlist of essential jazz-for-kids albums. Definitely recommended.

Posted by SAShepherd at 08:12 PM | Permalink | Comments (2)

Why such a tiny review for such a big superstar as Laurie Berkner? Because it's a greatest hits disk, the future of which is somewhat in doubt in the mp3 era. After all, if your family are superfans, you'll get it just for the three new-to-CD tracks, including rerecordings of "Pig on Her Head" and "Moon Moon Moon," both previously seen on video, and the new track "Open Your Heart." (There's a deluxe edition as well, featuring four videos, including a previously-unreleased one for "Mouse in My Toolbox," which is similar in scope to Berkner's other Nick videos. You superfans will probably want that version.) The rest of you? You might just download the extra tracks from the album you don't have (there are no more than four from any particular album).

But that obscures just how important a songwriter and performer Berkner is for the pre-K set. As a whole, it's a solidly constructed disk, with no major omissions -- I personally would've included more tracks from her debut Whaddaya Think of That?, but all the big tracks are here. And over the roughly 15 years or so Berkner's been performing for kids she's compiled a catalog of songs that would be the envy of just about any kids' musician. "We Are the Dinosaurs" is a stone-cold kids' classic, for example, one that works equally well performed live by a band and performed by your preschooler's teacher. "Moon Moon Moon" is the only lullaby written in the past hundred years that I actually sing to my kids. And "Victor Vito" is cheesy, dorky, and stuck in your brain for the next week now that I've mentioned it. And so on.

While other artists slowly slide up to the 4-to-8-year-old age range, Berkner's continued to make music -- darn good music -- for preschoolers. So while I'm not sure many regular readers actually need The Best of The Laure Berkner Band! given the relative lack of new songs, as a collection of some of the best original music for preschoolers of the past twenty years, it's highly recommended.

(Disclosure: I was provided a copy of the regular edition of the album for possible review.)

Posted by SAShepherd at 08:17 PM | Permalink | Comments (0)

Based in the Twin Cities, The Sweet Colleens normally play Celtic-flavored roots music for adults, but they've branched out on The Monkey Dance: All the Kids Are Doin' It!, their first album for kids. It's a hodge-podge of styles, from the more rockin' title track and the especially fun Cajun'-tinged "No Beans, No Brownie" (the chorus soon to come to a home near you), to the more traditional "The Terrible Twos Step" and "Who's My Pretty Baby?" (Covering Woody Guthrie will usually earn you bonus points 'round these parts.) Though the Minneapolis Youth Chorus sounds great on a number of the tracks, they also sound a little out of place on the album -- I'd've rather heard the band tear through another traditional roots piece to get the kids dancin'.

The album will be most appropriate for kids ages 2 through 7. You can hear a few of the songs from the 41-minute album at the band's new Myspace page. For a first kids' album, The Monkey Dance is pretty decent -- some fun tunes, good musicianship, and a willingness to get playful. I'm recommending this for fans of roots rock. And I think if the band decides to record their second album for families and figures out what they really want to do, look out -- it could be seriously good.

Posted by SAShepherd at 08:49 PM | Permalink | Comments (1)

A couple years ago, I put together a review of seven lullaby albums. It's time to do another review of lullaby albums that have crossed my desk in the past six to nine months and, what do you know?, there are seven more. Must be a lucky number.

The most striking lullaby album in this collection is Until the Light of Morning, the recently released album from New Yorker (via London) Essie Jain. As Jain notes in her liner notes, the 35-minute album is "designed to unwind itself as it goes along, as the music becomes softer and more relaxed, eventually becoming as instrumental as the heart beat." It's definitely the best-constructed lullaby album here, perfected for moving from evening play time to sleep time. The music and lovely packaging make it a good choice for gifting to the new parent... or maybe even your own family. (Listen to a couple songs here and 3 more from a live Daytrotter session.) Definitely recommended.

Sing Me To Sleep from American Laundromat Records is the latest in the time-honored tradition of getting indie rock artists to record music for kids. The For the Kids series can cross "lullaby disk" off their to-do list, because this fits the bill. The indie artists here such as Stars, Dean & Britta, and Tanya Donelly cover others' songs for the album. As you might expect given the compilation nature of the disk, the definition of "lullaby" gets stretched considerably. I love The Leisure Society's take on "Inchworm," but it gets far too peppy to be a lullaby, and I'm not sure "Little Boxes" is really a lullaby in any sense of the word. (Also, can we please put a five-year moratorium on covers of "Pure Imagination" and "Rainbow Connection," both covered here and a billion other kid-related comps?) Far better are Dala's take on "Dream a Little Dream of Me" and Telekinesis' version of "Can't Get It Out of My Head," along with a number of other tracks.

There's a limited edition with tracks from Julie Peel and the Coctails, and more -- the tracks from those artists in particular definitely aren't throwaway tracks and are probably worth the extra cash, along with a gorgeous instrumental version of "The Sound of Silence" from the Abbasi Brothers. Peter Broderick's "You Are My Sunshine" may induce nightmares, though, and count me among those wondering why Say Hi covered the Violent Femmes track "Kiss Off" (it does make for interesting listening, though, I'll give it that much). Proceeds from the album will go to The Valerie Fund, which provides support for the comprehensive health care of children with cancer and blood disorders. (Listen to songs from the album here.) It might not be a perfect album, but you can certainly find a good 30 minutes of excellent lullabies. Recommended.

I think these two albums are the cream of this particular crop of disks, but there are 5 more after the jump -- you're bound to find at least one of these that appeal to you...

Continue reading "Seven Sleepy Lullaby Albums (The Sequel)" »

Posted by SAShepherd at 11:28 AM | Permalink | Comments (1)

It's been too long since we've heard from Los Angeles' Gwendolyn and the Good Time Gang. They released the fine Get Up and Dance in 2007 (review), but aside from a track on a 2008 Disney compilation, silence.

So, good news -- they've just released Clap Your Hands, their fourth album, and, yeah, they still rock. Well, not specifically for you -- Gwendolyn's music is still pretty much targeted at preschoolers, though perhaps a kindergartner or two might want to listen in and dance along. Sunny pop (with a few other genre explorationss thrown in) plus preschooler-oriented lyrics, that's always been the GTG formula, and they don't stray from it here. "Clap Your Hands" is essentially a movement song wrapped inside horns and harmonies -- it'd collapse under the weight of its simple lyrics ("You know me / I like to clap my hands / Clap, clap my hands") if it weren't an insanely catchy and well-produced tune. "Alright, Okay, Just Fine" swings while explaining feelings and emotions at a preschool level. "Smile, Smile" sounds like a lost track from a Muscle Shoals kids record. The gentle rocker "Evens and Odds" is the best song about the subject (sorry, TMBG), while "Mix It Up" mixes together crayons and diversity along with an insanely catchy chorus. The album's not perfect (I'm lookin' at you, "Speak-A-My-Language"), but there are a lot more hits than misses.

The 27-minute album is most appropriate for kids ages 2 through 6. You can hear clips of the album at its CD Baby page. Clap Your Hands will have you doing that along with your kids in spite of yourself. Tons of fun for the preschoolers you know and love. Definitely recommended.

Posted by SAShepherd at 09:17 PM | Permalink | Comments (0)

The problem with "subgenre" albums in kids music is they sometimes become jokes. "Hey, everyone, wouldn't it be funny if we did "Wheels on the Bus" reggae style? Or "Twinkle Twinkle Little Star" in polynesian tiki music?" And, yeah, maybe it's funny at first, but it gets old. And even if it's not meant to be funny, at some point the subgenre needs to move forward, to write songs that honor where they're coming from but at the same time are very much for kids. After all, those toddlers and preschoolers eventually hit grade school, where "Wheels on the Bus" is, well, not appreciated in any style.

Detroit's Candy Band, four moms who play punk and rock for kids, have done reasonably well in avoiding the turning punk rock for kids into a joke. (They, along with Jam Toast and, especially, the Boogers, do yeoman's work in that regard.) They've just released their fifth and latest album, High Five. Don't be afraid of the "punk" label -- from the get-go, this is a high-energy, high-fun album that's accessible to any family not afraid to rock a little. (I'm not a huge punk rock fan, and I dig this a bunch.) "Cookie Jar" gives the "who stole the cookie from the cookie jar" song a energetic stomp; that's followed by the irresistible original "I'm a Monkey," guaranteed to have your kids (and maybe even you) bouncing around the room making monkey noises on the chorus.

I know that some of my appreciation of the music is because of the musical shout-outs the band tosses to the adults listening along. "It's Raining Green" is a pitch perfect melding of Green Day's "Brain Stew" and "It's Raining, It's Pouring," while "Ice Cream" throws in the title snippet of Depeche Mode's "Just Can't Get Enough." But sometimes it's those little things (and they're always pretty little) that mean the difference between cursing at and humming along with the disk if your kid gets attached to it. Also, it takes confidence to pull off a version of "Ode to Joy" on a punk album -- it works out pretty well, as it turns out.

Kids ages 2 through 7 will most appreciate the music here -- they're also the most likely to bounce maniacally. You can listen to "Ice Cream" here, as well as buy the disk. High Five is Candy Band's best album and my new favorite punk rock album for kids. Definitely recommended.

I was provided a copy of the disk by the band for possible review.

Posted by SAShepherd at 08:23 AM | Permalink | Comments (0)

There is lots of interest in musicians who create new worlds and new songs for the youth of today (and tomorrow). But there is something to be said for making old songs sound new with verve and joy, and so I'm glad Heidi Swedberg and the Sukey Jump Band is there to take this path slightly-less traveled (at least traveled well) with their debut disk Play!. The Los Angeles-based Swedberg and her band run through a mostly familiar set of tunes -- at least to anyone who knows their Raffi from their Yanni -- but between Swedberg's ukulele and and her band's wide set of instruments (e.g., saw, glockenspiel, slide whistle) they provide new arrangements. (It's supposed to facilitate teaching ukulele, but the end result is something much more fulfilling.) The presence of a few kids (and kids at heart) singing along to songs like "Muffin Man or "Skip 2 My Shoo" make the album accessible for all, but the slightly ethereal takes on "Buckeye Jim" and the "Japanese Umbrella Song" put this in a league above your typical "20 Classic Children's Songs" collection.

For the most part, this album is targeted at kids ages 2 through 7. To Swedberg's credit, though, she actively encourages families to sing along and helpfully provides ukulele chords (as an amateur ukulele player, this was super cool) and lyrics to help that cause along. (Listen to song clips here.)

If Play! doesn't quite scale the heights of the original-old-songs-in-new-bottles-master Raffi, it comes a lot closer than most. More, please. Recommended.

Posted by SAShepherd at 09:41 PM | Permalink | Comments (1)

First, let's get this out of the way -- Banjos For Babes is a lot better than its cover might lead you to think. While I admit that the 4-year-old daughter of Atlanta neurologist/banjo player Josh Turknett has more drawing skills than I, a casual viewer might be forgiven if they opened the disk with some trepidation.

But once they get the disk into the CD player, they'll be fine, because this is a sweet and simple little collection of, well, songs for the youngest banjo fans. Nothing revolutionary here, just solid banjo playing, nice arrangements, and even an unfamiliar nugget or two. The leadoff track "Head, Shoulders, Knees, and Toes" adds a few other body parts into the mix, while "Old Dan Tucker" takes a slightly more leisurely approach to the song than is commonly heard. And I really liked "Coke Oven March," a song whose origin Turknett traces back to a music box. If Turknett doesn't quite have Pete Seeger's golden voice -- and, really, who does? -- it's pretty good, and he does a good job making what is essentially a one-man affair seem much fuller.

The song selections on the 42-minute album are most appropriate for kids ages 2 through 6, though the arrangements will have a broader appeal. You can listen to samples from the songs here or at the album's CDBaby page. Banjos For Babes is a well-crafted collection of folk takes on kids' classics, one worth checking out. Recommended.

Posted by SAShepherd at 08:09 PM | Permalink | Comments (3)

I sometimes get asked for baby shower gift suggestions from folks who don't have kids themselves but who know my gig. Because it'll be a little while before the kids are ready for the more raucous and diverse music targeted at the preschool crowd, I limit my suggestions to a handful of lullaby albums. I think I'm going to add Little Boots from Vermont's Brendan Taaffe to the list.

Conceived as a gift of sorts to Taaffe's nephew, it's a quiet collection of traditional folk songs, Irish tunes, and originals that blend instrumentation both traditional (guitar) and not so from a North American sense (mbira, used to particularly good effect on the leadoff track, Pete Seeger's "Well May the World Go"). Seeger is a big influence here -- he endorses Taaffe's effort and gets not only the leadoff track but the album closer, too. It's a little reminiscent of Dean Jones' Napper Delight disk in its instrumentation and that it's not afraid to step lively occasionally. If A Prairie Home Companion did a kids show, this would be the music they'd play throughout.

As a lullaby album (for the most part), it's clearly targeted at kids ages 0 through 3, but even more so at their parents, who could use a calming moment or two. You can hear (and download) four of the album's tracks here and sample the rest of the album here. (One other note in favor of its suitability for gifting -- the album's cover art was done by Dan Zanes' partner in artistic crime Donald Saaf.) Little Boots is a sweet little disk your family may find itself listening long after you've packed up the crib. Recommended.

Posted by SAShepherd at 08:21 PM | Permalink | Comments (0)

The first time I heard Renee and Jeremy's It's A Big World more than 2 1/2 years ago, I instantly recognized how unique its sound was (read the review). Even if I thought it was just shy of being a timeless classic, it was definitely (and still is) a very important album in the resurgent genre, a completely modern lullaby album that was so intimate it sounded like it was recorded in the nursery. (Which it was, incidentally.)

But if lullaby albums are about the parents, the follow-up albums are about the kids, which brings us to C'mon, the recently-released second album from the duo of Renee Stahl and Jeremy Toback. Whereas the first album was designed to put everyone at ease, C'mon is designed for, well, if not dancing, then at least bobbing of heads. At times, the album is the grooviest thing you're going to hear until Sly and the Family Stone release their family music album, but it also retains just enough of the raw intimacy that gave It's a Big World such a distinctive sound (for example, Toback's "here we go" at the very start of the leadoff track, "Share"). But if you're looking for another hushed rendition of "Three Little Birds," you'll be surprised by the '80s pop and synthesized strings of songs like "Watch Where You're Going."

The songs are anchored by Stahl's beautiful voice, but Stahl and Toback duet more on this album than on its predecessor, usually to great effect ("Wishing Well" not only features Stahl and Toback duetting, but also multiple layers of Stahl's vocals). Fans of the first album might prefer the lullaby "Is It Really Any Wonder?." But for me the album's standout track is ELO-meets-the-playground "Mama Papa Love," which neatly turns the line "Mama loves you so much, baby / What you gonna do with that love? / Papa loves you so much, baby / What you gonna do with that love?" into "Baby loves you so much, mama, what you gonna do with that love?" It speaks straight to both parent and child and soars.

I'm a bigger fan of the music than the lyrics, which are generally simple, big on repeated choruses, and directed at kids with fairly obvious topics -- sharing ("Share") or delayed gratification ("Right Now"). The album is slightly more than the sum of its parts, as over its 33-minute run it sets up its groovy mood and sticks to it. The songs here are topically most appropriate for kids ages 2 through 6. You can get the physical copy exclusively (for the moment) at Barnes and Noble or digitally here.

Families who are fans of the first album should have no problem getting into C'mon after a listen or two. Neither should listeners new to the duo. It's a sweet treat of a disk. Definitely recommended.

Disclaimer:Renee & Jeremy provided me with a copy of the album for possible review.

Posted by SAShepherd at 08:59 PM | Permalink | Comments (0)

Dan Bern might not be the first person you'd think to release a kids music album -- a discography filled with socially and politically charged songs (sample: "Bush Must Be Defeated") isn't necessarily the typical precursor to singing songs about binkies. But Pete Seeger, Woody Guthrie, and Ella Jenkins didn't exactly hide behind their political convictions, so why shouldn't politically-minded contemporary folk musicians be any less free to sing for the preschool set?

Having said that, if you're expecting you're expecting the just-released Two Feet Tall to be your toddler's introduction to progressive politics, you'll be disappointed. Instead, the album features amusing couplets like this in "Hen Party" -- "They'll be playing ball games / They'll be eating applesauce / One thing we know for sure is / They won't be playing an egg toss." The closest Bern really gets to being political is "Labor Day," and that's really just a celebration of walking outside with an infant.

Instead, Bern's more interested in turning a simple story of putting on pants ("Trousers") into a digression on how pants became trousers (Jack Trousers, 1751, apparently -- strange how Wikipedia is oddly silent on that issue). Or a manic telling via lyrical couplets of the people behind Listerine or Kleenex or Schwinn bicycles ("Mister Lister"). Or telling a child she's too young to do things she wants to do with lyrics that will thankfully go over the 18-month-old's head ("If you came to me and said / I want to hold a shiny red purse and / Hang on the corner of Hollywood and Vine / I'd say / You're too, too, too young / You're too young for that / Why don't you sit on my lap / And we'll drink cookies and milk...").

And occasionally Bern comes up with classic kid-folk songs, like "Shoes" ("I like that you don't have a mortgage / I like that you don't have a mortgage / That's OK when you're old and gray / But today you can run and play / I like that you don't have a mortgage...") "Only a Mouse" lists all the things only a mouse knows -- the migratory patterns of cats, certain qualities of cheese, and mixing a sloe gin fizz, apparently, among other things. There are plenty of other tracks here, such as "Donkey to Brunch," "Secrets," and "Monkey and the Kangaroo" that could easily have been recorded on a Folkways album of fifty years ago. Bern's clearly in love with his kid, and that tenderness comes through loud and clear. Well, at least clear.

Clocking in at 38 songs and about 70 minutes in length, the album could have been trimmed by at least a third, not because any of the songs are bad (OK, I'd be happy never to hear again the vibrating chair in "It Vibrates") but because there's relatively little variation in the arrangements, with whistling or bells occasionally offsetting Bern's sightly nasally voice and guitar (or ukulele) playing. (There's a reason I've been focusing on Bern's wordplay here.) The songs here are most appropriate for kids ages 0 through 4. You can purchase the album at Bern's store or hear samples through iTunes.

As if he were the child of Kimya Dawson, Barry Louis Polisar, and Woody Guthrie, Dan Bern's put together a collection of gentle and witty lo-fi songs that wear their hearts on their sleeves and occasionally achieve transcendance. Two Feet Tall isn't for everyone, but if you know a relatively new parent (or are one yourself) and are looking for an album celebrating infant- and toddlerhood with some roughness around the edges, you might just adore this album. For those folks, it's recommended.

Disclosure: I purchased this album. Is that a disclosure?

Posted by SAShepherd at 08:30 PM | Permalink | Comments (0)

I am perhaps not the best person to judge a Yo Gabba Gabba compilation, as I've never seen a complete episode aside from the premiere I received on a screener DVD a few years back. (That's what a lack of cable will do.) A soundtrack album -- that's pitched at the true believers, not at the casual fans, right? So, if anything, I started listening expecting not to like it so much.

Wrong. Even if you've never watched an episode and don't know your Brobee from your Muno, you and your preschoolers could definitely enjoy their new compilation Music is... Awesome!. For the most part, the disk alternates songs from the series with those from a list of artists with serious street cred; often they're set up as pairs. So a basic YGG song like "I Like to Dance" is followed up by Beastie Boys collaborator Money Mark doing a cool "Robo Dancing," an angular dance tune with lots of bleeps and bloops. "Don't Be Afraid" is followed by I'm From Barcelona's swirly pop on "Just Because It's Different Doesn't Mean Its Scary." Generally, the best songs are from the guest artists -- the Roots' incredible "Lovely, Love My Family" or Chromeo's funky ode to handwashing "Nice 'N' Clean" or the sunny "Hey, Won't Somebody Come and Play" from The Little Ones (a song which is destined to find its way onto a lot of hipster mix CDs yet is somehow totally appropriate for the 3-year-old in your life). But there are a few decent songs from the YGG folks, even if you're not a fan of the show (the cute "Party in my Tummy," or the shiny pop of "You Can't Always Get What You Want," credited to the Yo Dazzlers, but really just another YGG tune).

You can find the 37-minute CD at the usual places, including Amazon and iTunes. Besides your hipster 30-year-old friend with the chunky eyeglass frames, the album's most appropriate for kids ages 2 through 5.

I'd love to say that Music is... Awesome! is awesome. Unfortunately I can't pull the trigger on that obvious pull quote as some of the YGG tunes are just too dry to enjoy apart from the visuals. But a lot of the music is indeed awesome, which makes it the kids music compilation of the year. Definitely recommended.

Posted by SAShepherd at 09:07 PM | Permalink | Comments (0)

Unlike any other lullaby album you'll hear this year, Hello Night is the creation of New York-based singer-songwriter Kesang Marstrand. It's buoyed by Marstrand's simple songs, spare accompaniment, and her delicate, beautiful voice. Especially her voice, which is clear and just about perfect for an album like this.

Many of the songs -- all original -- on the album take inspiration from the natural world, from the opening tracks "Dandelion" and "Carry On Crickets" to songs like "Cocooned In My Blanket," in which the snuggled child thinks of becoming a butterfly. (I also particularly liked the placement of "All the Little Children," about all the adventures the not-yet-sleeping child could have with the singer, at the end of the album.)

If you listen to the 37-minute album repeatedly in the light of day (an occupational hazard of reviewing music), you may tire of the relatively narrow range of song styling and guitar accompaniment. (One of the most welcome tracks is "Rest," which unlike the other songs, features Marstrand accompanying herself on kalimba instead of guitar.) But that's not a huge concern with lullaby albums, designed as they are to be listened to in the background (or subconsciously after falling asleep), for which radical changes in style are not to be wished for.

The album is obviously most appropriate for kids age 0 through 4 and their weary caregivers. You can listen to samples here and here. Families who have found a spot in their record collection for the mellow music of Frances England and Renee & Jeremy should give Hello Night a spin. It's an album you could spend many nights with. Recommended.

Posted by SAShepherd at 05:50 AM | Permalink | Comments (0)

Laura Freeman's Somersault Season arrives a couple years after its demos were completed and a full four years after its excellent predecessor, Color Wheel Cartwheel (review), an album which I still play around the house, no small feat given the constant influx of material.

Like Cartwheel, Season is a concept album, except instead of colors, it's about the passing of the seasons. (TMBG can now cross Here Comes Seasons off their future sequels list.) Each season gets its own foreign-language introduction (a la the colors on Cartwheel) and three season-appropriate songs. As opposed to its predecessor, the songs here are more interactive, meaning that your kids (and you) will enjoy it more if you move. Stomp along with "My Brother's a Monster," shake along to "Can You Shake It?," or dance along with the western swing of "1, 2, 3, 4." Generally, the music takes a folk/bluegrass approach, aided especially by producer Mike West's mandolin and banjo work. Freeman's sly sense of humor is more prevalent live, but occasionally breaks through here on songs like the droll "Look in a Book."

The songs here are targeted very much at the kindergarten-and-under crowd (ages 2-5). You can hear samples at the album's CD Baby page. I'd also recommend Freeman's notes on the lyrics and activities.

Clearly my appreciation of Somersault Season is hampered somewhat by my affinity for Color Wheel Cartwheel, and while I'd recommend Cartwheel for an introduction to Laura Freeman over this new album (particularly as a pure listening experience), I like Somersault Season quite a bit, too. It's an especially good music-and-movement CD, heads and shoulders above most in that particular subgenre. Recommended.

Posted by SAShepherd at 11:00 AM | Permalink | Comments (0)

At the risk of over-simplification, I think there are five kinds of kids music albums:
1. Explicitly educational music (for the most part, left undiscussed here),
2. Renditions of traditional kids songs (e.g., Raffi, early Laurie Berkner),
3. Rock/pop/folk songs with kid-focused lyrics (Ralph's World, Justin Roberts, later Laurie Berkner, tons more),
4. Music geared at the whole family simultaneously (Dan Zanes, Elizabeth Mitchell).
5....

Well, the fifth type looks a bit askew at the kids music genre. If it doesn't quite subvert the genre, it doesn't quite buy into it, either. They Might Be Giants, who could easily fit into the rock/pop/folk category above, fit here, as do albums from folks like Duplex and the Quiet Two. You can also lump in every album that attempts to fit the kids song peg into an adult hole (traditional kids songs... done in electronica!) or the adult peg into the kids music hole (ahem, I'm looking at you, Rockabye Baby). I wouldn't want a kids music library consisting of nothing but albums from this category, but their quirkiness is a welcome change, even from nothing but excellent albums in the other categories.

For those of you looking for an album in that fifth category, I can't commend John and Mark's Children's Record to you highly enough. The album is the creation of John Upchurch and Mark Greenberg, who played together in the Coctails many years ago and now find themselves each father to three kids. The album was inspired, of course, by life with their kids, but the result sounds like little else you will hear this year.

"The Lawnmower" kicks off the album with a kid's lament that he might be trapped inside the house all summer long since the grass has grown so high before chugging into a country-folk tune which will have you humming "the lawnmower goes off / and the lawnmower goes on" and the killer couplet "I can rest well assured / of a lawn well-manicured." It's the kids music album equivalent of "you had me at 'hello'." From there the album moves into "A Counting Error," which beyond its lyrical subversion (to tell you more would ruin the surprise) has funky "Mahna Mahna"-style vocalizing, whistling, and sax interspersed. I can't think of a more striking kids song all year.

"Pat, the Alligator Lady" is an odd little song about a lady who, Greenberg says, ran a rescue shelter for odd animals in an 80-year-old Victorian house. "The Elephant Leads the Way" is a poppy banjo-accented number followed up by "People Have Good Reasons," which sounds like it lost its way from another album made just for adults -- the spoken-word carousel tune is amusing, but it's the album's one false step as kids'll probably be mystified ("It is very VERY important / So precautions that they've taken are all warranted / And accepted / as a rule of law").

And on it goes. I have no idea what the titular shoes are of "Honey Boots," and the lyrics consist primarily of "I've got my honey boots on," but that's one of the joys of this collection -- not everything is spelled out. "Colors" is about, yes, colors, but it's as if Shel Silverstein wrote a poem about colors and asked Sufjan Stevens to write song to along with it. The album mellows as it draws to a close, ending with a lullaby ("Until the Dawn") and a slow instrumental ("In My Blue House").

The album is about 35 minutes long and most appropriate for kids ages 2 through 7; you can download a couple tracks -- including the sublime "A Counting Error" -- here. You can download the entire album from iTunes or eMusic. But I should mention the album packaging (designed by former Coctail member Archer Prewitt) is beautiful and well worth the additional shipping cost (the album costs the same in physical format as through iTunes).

As you can tell by now, I think this album is fabulous. It is a bit odd perhaps, but I've figured out over time that what separates the great "odd" albums from the annoying ones is love -- that people love the genre and the kids in their lives and they're making music borne out of their own musical and personal experiences. John and Mark's Children's Record reflects that love in spades. It's one of my favorite albums of the year. Highly recommended.

Posted by SAShepherd at 09:22 PM | Permalink | Comments (4)

The story of Brooklyn's Libby Shapiro isn't terribly novel at this point. As she puts it in her PR materials:

Throw a rock and hit a musician in Brooklyn, it is true. And [she's] yet another professional musician living in that fine borough who spent her life making music for adults, who, once she had a family, started singing for and with the kids the songs she loved and sang as a child...

The album will appeal most to kids ages 2 through 7. You can hear samples of the tracks at the album's CDBaby page. Honey, Sugar Baby Mine is what might've happened had Dan Zanes swung through Louisiana many years ago as he was starting to think about music for families. It's just good kids and family music, American roots style. Recommended.

Posted by SAShepherd at 08:58 PM | Permalink | Comments (0)

It's pretty easy to think of one kids music band from Australia, but once you get past the multicolored gents in the Wiggles, naming a second gets a lot harder if you're here in the Northern Hemisphere. But Australian Sherry Rich and American-born partner Rick Plant make the case for The Mudcakes being a perfectly acceptable alternative. The two of them lived in Nashville for a while and unsurprisingly their band's sound has a very rootsy, Americana vibe to it.

Their second album Cave Baby ranges far along the gamut of Americana, from the shuffling train sound of "Baby's Gonna Crawl" to the roots rock of the title track (with excellent guitar work from Plant) even to a little polka on "Please Don't Polka the Baby." Their rendition of "Shortnin' Bread" might just be my favorite on record. The songs (mostly originals from Rich) are mostly geared at ages 2 through 6, but the melodies and arrangements will appeal to a broader range of folks. You can hear samples of tracks from the 40-minute album at its CDBaby page or a few tracks at their Myspace page.

It might not reach the inspired heights of The Bottle Let Me Down or Session Americana's Table Top People Vol. 1 and 2, but Cave Baby will fit the bill for a sweet little set of Americana. Who would've thought the best kids Americana album in recent memory would come out of Australia? Recommended.

Posted by SAShepherd at 08:18 PM | Permalink | Comments (0)

What do you get when you cross the Beach Boys with some fuzzed out guitars and synthesizers and mix in a tiny hint of Barney? Robbert Bobbert and the Bubble Machine, who last week released his debut CD on Little Monster Records.

Robbert Bobbert is the brainchild of Robert Schneider, whose main job is as the ringleader for Apples in Stereo, an indie-pop band whose output melds '60s pop sounds with more modern textures. And for the Robbert Bobbert album, Schneider melds '60s pop sounds with more modern textures. Sometimes this works to great effect, such as on the synth-poppy "We R Super Heroes," one of the year's catchiest kids' songs. The raved-up "Hey Little Puppy" seems stolen from a lost Beach Boys kids album, while "Boom Boom" features lots of vocalizations (beat-boxing, "ba-ba-ba-da-da"s to no end) and is perfectly timed for a 2-minute dance break with your littlest ones.

While the music here is for the most part pretty catchy, listeners who are used to lyrics that play to two audiences at once -- the kids and the adults -- will be a little disappointed. In many songs, the lyrics are no more sophisticated than that of, well, Barney. That's not necessarily a bad thing -- what's wrong with a 90-second song tackling one theme in direct terms for a 3-year-old? And for the most part the melodies and arrangements are superior to that of the purple dinosaur's. But the songs where they don't quite ring true (the rapping mouse on "Fee Fi Fo, Fee Fi Fum"; the stomping in "The Mighty, Mighty Elephant") may have the parents hitting fast-forward and wishing for slightly more advanced lyrics as on the mini-science lesson of "Gravity" or the elegant "The Tiny Sheep."

Lyrically, the songs here will be of most interest to kids ages 2 through 5. The 23-minute album comes packaged with some sweet art from Todd Webb (Little Monster is definitely doing the most interesting physical album packaging of any of the labels dealing with kids music). If you want to listen to the album, it's embedded at the bottom of this post (after the jump if you're reading this on the main page).

The Robbert Bobbert character is being developed into a TV show. Based on the evidence from Robbert Bobbert's debut CD, it could hit the sweet spot for a lot a preschoolers and not a few of their parents. The album's got a lot of undeniably catchy tracks, and Schneider's only going to get even better as a songwriter for kids. Recommended.

(Reminder: Embedded song player after the jump.)

Continue reading "Review: Robbert Bobbert and the Bubble Machine (self-titled)" »

Posted by SAShepherd at 07:31 AM | Permalink | Comments (2)

One thought I had upon spinning Here I Am!, the upcoming first album from Caspar Babypants, the alter ego of Chris Ballew from the Presidents of the United States of America, was that it shouldn't be this easy for someone who spent a lot of years making music for adults to turn his or her attention to the kids music genre and turn out an album that sounds so good.

And maybe it isn't easy.

But it is good.

Now, there's no such thing as an overnight success, and Caspar Babypants is no different. Ballew put together a compilation of kids songs for a Seattle-based organization way back in 2002 -- he's been doing this for awhile. But over that time he's expanded his repertoire and approach considerably. There are 22 tracks here, almost all of them with something special to recommend them, so I'll just touch on a handful. Ballew has done a good job finding traditional songs -- some, like "Three Blind Mice," are changed enough to keep them listenable after a couple spins ("Mice" gets a 60's London sounds makeover and additional lyrics in the spirit of the original.) Others, like "Billy Pringle," get rescued from obscurity and are given new life.

Amidst the traditional songs, kids and folk, Ballew also mixes in some originals. Among my favorites are "Monkey River," an old song of Ballew's that he's recorded more than a dozen times and, lyrics tweaked slightly, is a hypnotic little family song. "Heard A Bird" is a great pop tune for 3-year-olds that could've been written 100 years ago.

Production-wise, these simple songs get some small amount of ornamentation, but not much. There's a lot of keyboards, some guitar, the occasional tape loop, and a fair amount of "la la las" and "cheep cheeps." I'm a sucker for good "la la las." Ballew gets the occasional vocal assistance from Jen Wood and Fysah Thomas, but for the most part, it's just him and his instruments. If I have any complaint with the disk, it's that at 49 minutes, it feels just a little too long -- it might have been better to trim 6 or 7 tracks from the disk.

This album will hold the most appeal to kids ages 2 through 7. You can hear (and download) several tracks from the album at the Caspar Babypants website.

Now, I don't usually review albums ahead of their scheduled release date, and Here I Am! won't actually be available until February 14. But I think this album deserves an exception to that rule. It's just simple, organic kid-folk and pop. With his Caspar Babypants project, Chris Ballew might make a whole bunch of great CDs for the family -- this is the first of them. Highly recommended.

Posted by SAShepherd at 02:38 PM | Permalink | Comments (1)

While Virginia trio Rocknoceros finishes up their third album, they've remastered and re-released their self-titled debut CD. I've always thought of the band as the East Coast Recess Monkey -- or maybe they're the West Coast Rocknoceros -- and here's yet another similarity. This debut album is not as good as what follows, but contains glimmers of the talent shown to much fuller extent on Dark Side of the Moon Bounce (review). The songs here are much more direct -- counting songs, songs about hygeine and sharing. But there's subtleties and off-kilteredness, too -- the sadness and acceptance of the stone-cold classic "Big Head," the sparse "Zen Garden," and the too-meta-for-preschoolers "Trying to Write a Song."

The 33-minute album features mostly pop and rock stylings, but with some blues and other rootsier music thrown in for color (literally, on "Blue"). It's most appropriate for kids ages 2 through 6. You can hear samples here or some full track at the band's homepage.

The debut isn't where I'd direct newcomers to Rocknoceros; for that I'd go to the second CD. But if you like Dark Side..., then you and your kids (especially the preschoolers) will also dig this disk. Recommended.

Posted by SAShepherd at 07:34 AM | Permalink | Comments (0)

I suppose Portland, Oregon-based Johnny Keener could do worse than taking the path Elizabeth Mitchell has blazed before him -- one part covers of old tunes, one part covers of new tunes, add a pinch of original stuff, stir gently. With a mix of rockabilly, blues, and modern pop, Keener further refines the gentle formula above, originally outlined on his debut Elephants Over the Fence (review).

What's new is the presence of a kids chorus on several tracks. At its best, the chorus enlivens old tunes, even giving Apples in Stereo's already-awesome "Energy" a tweaking that makes it a great kids' song. Keener's call-and-response with the kids on the title track shows off the chops he's honed at the Portland Children's Museum -- Ella Jenkins would be proud. (I also like the kids on Keener's original "Run Around.") The sound is perhaps a little fuller than the first CD, but there's nothing particularly fancy.

Which gets back to how things haven't changed. There's still some nifty guitar work (check out Keener's bluesy take on "The Cat Came Back") and covers that seem odd but make perfect sense (Cat Stevens' "If You Want To Sing Out, Sing Out.") The album isn't perfect -- Keener's cover of John Fogerty's "Down on the Corner" doesn't add much to the CCR original, and I'd like to officially put a moratorium on covers of "Three Little Birds" -- but it gets the job done. Oh, and the album packaging is one of the niftiest of the year, a simple yet elegant cardboard envelope.

Kids aged 2 through 6 will most appreciate the 25-minute disk, from which you can hear samples at its CDBaby page. Long John shows an artist maturing in his kids music vision, and it's a well-done collection of Americana-influenced tracks young and old. Recommended.

Posted by SAShepherd at 08:23 PM | Permalink | Comments (0)

Smithsonian Folkways is best known in kids music for releasing classic albums more than a half-century old from Pete Seeger, Woody Guthrie, Leadbelly, and others. Aside from the still-recording legend Ella Jenkins and Elizabeth Mitchell, most of their kids music lineup features musicians who don't have webpages of their own, and must rely on, say, Wikipedia pages. Tom Glazer is no exception.

But just because there's no Facebook fan page doesn't mean that a musician's recorded output isn't worth keeping in print. Last week's release of Tom Glazer Sings Honk-Hiss-Tweet-GGGGGGG and Other Favorites, consisting of live tracks from three previously released and out-of-print albums, makes the case for Glazer to be considered alongside his more famous Folkways counterparts as a key early figure in the kids music genre.

Which makes it sound like a dry historical recording, which it isn't. From the very first track, "Come Down the Aisle," on which Glazer makes up verses as families arrive at the concert that's just started, Glazer is constantly inventive in his interpretations of familiar classics. "The Bus Song," better known now as "Wheels on the Bus," features the money on the bus going "clink, clink, clink, dunk - dollar bill." Glazer's introduction to "Jennie Jenkins," which features some especially silly banter, keeps the kids in stitches.

Really, you can hear how much Glazer has the kids' attention throughout the entire disk. Listen to the kids sing along -- shout, really -- on "Haul Away Joe" (they shout "JOE!"), and tell me there isn't one child in that audience who isn't having a great time. As much as the album is for kids (and it's really more of an album for kids than one which will constantly engage the adults), kids musicians ignore this album at their peril -- it's almost a master class on how to play to kids. And Glazer's voice is in fine form, too -- it's no surprise that he was asked to sing on some famous "Singing Science" albums.

This album will be most appealing to kids ages 2 through 7. You can hear samples and download the typically awesome Folkways liner notes (written by Glazer's children) here.

Tom Glazer might be best known for writing "On Top of Spaghetti" (yes, that's here, too), but on this album, he runs through a series of kids tunes with consummate child professionalism and enthusiasm. This'll probably be the only Tom Glazer album your family will ever need, but it's a good 'un. Maybe there'll be a Facebook fan page for him yet. Recommended.

Posted by SAShepherd at 08:12 PM | Permalink | Comments (0)

I've been waiting a long time to review this album, longer than I should. I'd been waiting for Austin, Texas artist Laura Freeman to release the follow-up to her 2005 album Color Wheel Cartwheel, thinking I'd include that album in a review of the new album.

Well, forget the new album (which will come out someday, just not today), because Color Wheel Cartwheel is pretty special; to wait any longer would just be wrong.

The album is, as you'd expect from its title, a concept album, dealing with colors. Down through the rainbow the songs move, from "Red" to "Orange," on through "Yellow," "Green," "Blue," and "Indigo and Violet." ("Purple" is thrown in there for good measure.) It'd be pretty easy to make color songs just by listing things that are of that particular color, but the what makes this album so much better are the differing stylistic approaches for each song. "Red" is loud and brassy, "Orange" is sassy ("You take a little yellow / you take a little red / Mix 'em up together and voila! / Orange, oh orange / Orange makes me wanna cha-cha-cha"). "Yellow" is a mellow, bluesy little tune, while "Green" is set to classic country music.

Certainly listing different items of particular colors help drive home the point for each song, but Freeman is also using the colors for jumping off into other stories (a philosophical discussion on blue jeans in "Indigo and Violet," for example). The differing approaches, the use of color to, well, color the songs, they give all the songs life. Interspersed between the songs are friends and musicians reciting the colors of the rainbow in various languages. I don't think there's any thought that kids will actually learn colors in a foreign language, they just subtly drive home the point about colors being all around us in the world. Freeman went to New Orleans to record the album, and she's pulled in contributions from a whole bunch of musicians.

Kids ages 2 through 7 will most derive educational value from the songs. You can hear samples of the songs at the under-30-minute album's CDBaby page.

I mentioned to Laura Freeman recently that Color Wheel Carthweel was a fun little album and she replied, "Well, we had a lot of fun making it." That fun is evident on this excellent little disk. I hesitate to call it an "educational" album, because every album is educational, but also because it unfairly narrows down the prospective audience. This is one of the rare "educational" CDs your family will listen to long after they've mastered the concepts inside. Definitely recommended.

Posted by SAShepherd at 08:57 PM | Permalink | Comments (0)

It's been nearly 7 months since I first watched (and wrote about) David Tobocman's fabulous video for his song "Home." (If you haven't watched it, stop reading this, click on the link, and see you back here in about 3 minutes. Really. Go now.)

Clearly I liked the video, so you might be wondering, why in the world haven't I review the rest of Tobocman's debut, I Count To Ten and other Very Helpful Songs? And the answer is... well, I have no good reason. I can't blame this on the dog eating the CD or a snowstorm -- sometimes good CDs just don't get reviewed on the site in a timely manner.

In any case, many CDs attempt to impart lessons to kids -- I know, I've heard a lot of them -- but very few do so in a totally appealing musical manner. This CD easily makes that small but distinguished list. I think there are a couple reasons for it. The first is that the songs are, for the most part, solid. The jazzy title track and "Brush Your Teeth," the pop of "My Rainbow," the country, banjo-inflected "Buttons and Bows" -- they're great melodies back up by well-crafted instrumentation. And more than half a year after I first heard it, I'm still moved by "Home," easily one of the top kids music tracks of the year.

The second reason for the album's appeal I think is that instead of conveying its lessons as a direct "you should do X" or "everybody feel Y," the lyrics are sometimes sung from a first-person perspective, telling the listener how the singer reacts. So the singer counts to ten and doesn't feel so angry ("I Count to Ten"), or the singer keeps his pajamas on through the night ("Jammies Song," based on a real-life problem Tobocman encountered with his daughter). It's not always the case, but there's very little sense of "should" here, and that makes the lessons easier for everyone to take.

The songs are most appropriate for kids ages 2 through 7. You can hear lengthy clips from the 33-minute album here and here. David Tobocman's I Count to Ten and other Very Helpful Songs is a solid little album. I can't guarantee your kids won't blow their top as much or brush their teeth more willingly with repeated listens, but I'm pretty sure you or your kids won't blow your tops if you listen to this a lot. Recommended.

Posted by SAShepherd at 01:23 PM | Permalink | Comments (0)

With their latest album, Massachusetts' The Nields joins the company of the Foo Fighters and Pearl Jam.

Really.

That's right, because on their new 2-CD family album, Rock All Day, Rock All Night, the Nields sisters join those two alternative rock heavyweights in putting out an album with both an uptempo and a downtempo disk. (Those two albums, in case you're wondering -- the Foo Fighters' In Your Honor and Pearl Jam's best-of rearviewmirror.) Now, I can't say that the Nields rock quite as hard as those bands do, but I'm also not sure there's anything quite as giddy on those disks as on the sisters' banter on the brass-band-accented "Muffin Man." (Did you know there was a whole neighborhood on Drury Lane? Well, you do now.)

The first disk is a mixture of folk songs and originals (some old, some new). The sisters have run a HooteNanny program for families with young kids, and many of the songs sound like they are come from that program. Unlike a lot of CD collections from kids and family music programs, however, the collection actually holds together as a decent listening experience even if you've never taken a class with them. It's probably mostly due to the fact that there are some really good songs here. The traditional "Going To Boston" kicks off the disk, and like many of the tracks, there's a life to the recording that encourages you to sing along. The brass band sounds great on "When The Saints Go Marching In," as it does on "Muffin Man" (as noted above). The new tracks are no slouches either, with "Who Are You Not To Shine" -- a shimmery folk-rock song and worthy successor to "Anna Kick A Hole in the Sky" from the last disk -- and "Superhero Soup," actually one of the oldest songs in the Nields' songbook, but re-purposed here. Not all of the tracks are great, but, like I said, as a whole, it holds together well.

The second, slower disk is, unsurprisingly, less focused on singalongs and more focused on great, slower songs. I hesitate to call it a classic lullaby disk as there isn't quite a hush-ness that I associate with lullaby disks. Instead, it's more like a warm nook on a cold day, encouraging you to stay put and contemplate the day and maybe drift off for a tiny nap. (Or, if you're a kid, play with your Legos or read a book.) One of my all-time favorite ballads, "Wild Mountain Thyme," makes an appearance, with the Nields' dad, John Nields singing along (as on the first album, he sings on several tracks). The Nields also engage in some re-purposing here, as "Easy People," one of their most famous songs, gets a simple treatment. I think I like this disk slightly better than the "day" disk, but that's just a personal preference for the more classic songs.

The first disk is probably most appropriate for kids ages 2 through 7; the second disk is essentially all-ages. Right now, the disk only available through the Nields themselves (go here to order), though national distribution will start shortly). For samples, you're best off checking out the YouTube clips I've compiled here.

The Nields continue to make vital family folk music with humor and tenderness. Rock All Day, Rock All Night is an all-purpose collection of songs that will serve your family well in times both of play and rest. Definitely recommended.

Posted by SAShepherd at 09:21 PM | Permalink | Comments (0)

So, really, if you're pressed for time, you don't have to read this review of Alphabutt, the first kids' album from Kimya Dawson.

You can just look over at that album cover to the left and decide for yourself.

If you (or your kids) think that cutesy hand-drawn animals pretending to talk letters out of their rear ends are funny or cute or whimsical, you're going to like this album. If you think it's incredibly stupid, you're not.

For those of you needing a little more detail, or if you're not sure where your family stands on the important issue of speech and the mammalian gluteus maximus, read on.

Prior to this year, Dawson was probably best known as half of the duo the Moldy Peaches. Her kids music bona fides were pretty slim, limited to singing on the book version of They Might Be Giants' "Bed Bed Bed." (Though that's more than a lot of people who go on to release a kids album.) She sold an EP of 9 kids songs at her shows in spring 2007 (it was also called Alphabutt), but it was after the stunning popular success of the Juno soundtrack earlier this year (to which she contributed many songs) that she decided to go back into the studio and record more songs with her friends and family. The resulting album (including songs released on the EP) comes out this Tuesday.

Dawson's music at times has been called anti-folk, eschewing the polished craft of a lot of folk music, and that approach certainly is heard here. Toy pianos, choruses with many voices, the occasional indifference to pitch -- if you're looking for the smooth, everything's perfect sound of some kids music, you won't find it here. But to ask Dawson to make everything sound pretty would be like asking Madonna to play acoustic. Sure, it might be a worthwhile musical experience, but it'd be taking away everything that made the artist special to begin with.

The songs here are geared more towards a younger crowd, say, not yet in kindergarten. (It's not surprising to find out that Dawson's daughter just turned 2.) The title track is a little too precious (if you ever wanted to hear the word "butt" and "fart" a dozen times in a kids' song in the span of about a minute, here's your chance), but there are other tracks worth repeated spins. "I Like Bears" is a goofy song with a chorus that goes "I like bears / I like bears / I like bears a lot." It's a lot more catchy than you'd think from reading that chorus, and there are a lot of songs on here that very much sound like Dawson wrote them for her own daughter and purposefully kept them simple on record, sounding a lot like they probably sound in her own household. "Seven Hungry Tigers" is a somewhat more elaborate kids song with fun lyrics ("There are seven hungry tigers in my underwear drawer...") while "Happy Home (Keep On Writing)" matches a dreamy sound to a great chorus ("If you're breathing / you're still living / and if you're living / you are learning... just make sure your life's exciting." And on "Sunbeams and Some Beans," Dawson gets ever-so-slightly political, encouraging a character to "share beans" with others that don't have beans.

As I said, I think the album -- just shy of 30 minutes in length -- is targeted mostly to kids ages 5 and under. You can hear song samples at many internet locations (like here), but it's also possible that Dawson's label, K Records, will post songs for streaming soon.

As you may have surmised, Alphabutt is likely to be one of those love-it-or-hate-it albums. You'll either get it, or you'll think that it's a mess. I personally found it most enjoyable when Dawson reined in the goofiness just a tad -- at times, it's a beautiful album. More importantly, when I gave up trying to listen at a distance and instead joined in with the ears of a 2- or 3-year-old, singing along, maybe even out of tune, I enjoyed it more. I'm recommending the album, but take a look at that album cover one more time before you decide...

Posted by SAShepherd at 09:29 PM | Permalink | Comments (0)

I get lots of CDs, of course, and just like sometimes you'll see a whole of TV shows suddenly appear with the same theme, earlier this year I got a raft of lullaby/sleeptime CDs. I've collected some of the more interesting ones from that rush, plus a few slightly older ones that got overlooked the first time around.

That's right, folks, seven CDs. At least one of them's gonna put you (or your kid) to sleep but in, like, a good way. The list starts after the jump.

Continue reading "Seven Sleepy CDs: A Whole Bunch of Lullaby Reviews" »

Posted by SAShepherd at 08:22 PM | Permalink | Comments (0)

Let me start this review by suggesting that, for all its sins real or imagined, Disney Music purveys more original music for kids and families than any other label. It is possible to avoid a fair amount of that if you don't actually watch cable TV on a regular basis, but they put out a lot of music on a regular basis, and for all age ranges. Not to mention a back catalog the envy of just about anybody. How much you actually enjoy it all depends in part on your age, but I've got three recent Disney releases here, and at least one of them is worth your time.

I admit it. I'm old. Not, like, Social Security old, but old enough that if I use the phrase "OMG" I mean it ironically. I am old enough, however, to have a kid who, though she isn't quite out of the "kids music" phase yet, will start listening to music I haven't introduced her to.

So I understand quite clearly that the soundtrack to Camp Rock, the latest Disney Channel original movie, premiering on a gazillion different channels this week, is Not For Me. It is for kids just a little older than my daughter. They'll spend their own allowances on it, or maybe their parents will get it for them. And what they'll get is an attempt to duplicate the High School Musical magic, except this time in a slightly more rock-oriented retelling of Cinderella. The album features some tracks with Joe Jonas solo (he's got a leading role in the movie) as well as a Jonas Brothers track. There are some songs by 16-year-old Demi Lovato, who has the lead female role and seems to be Disney's leading contender for a Miley Cyrus with a less pop and more rock edge.

The songs are fine enough, and most of the songs won't drive you to change the station if you hear them on Radio Disney (OK, maybe "Hasta La Vista," ugh), but you're not going to remember them 15 minutes after they're over. There's nothing as memorable as "Breaking Free" or "Fabulous" or "You Are the Music In Me," all of which are decent pop songs. In the end, it's not really for me, but it never really was.

Continue reading "Review: OMG or LOL? Three Disney Disks" »

Posted by SAShepherd at 09:20 PM | Permalink | Comments (0)

Maybe it's been a long and sleepy week, but I'm very taken by this CD.

Songs For Sleepy Beings is the creation of Michigan's Gretchen Eichberger-Kudlack, who put together Half Moon, an old-timey string band which here plays a set of quiet-time folk music on the first half of this CD. Traditional lullabyes ("Pretty Little Horses") mingle with ever-so-slightly more current lullabyes ("Goodnight Little Gwen," attributed to Woody Guthrie).

The musicianship here is first-rate, with the Half Moon musicians hitting just the right balance of technical expertise and tenderness, saving the album from the mushiness which afflicts many lullaby CDs. The band rightly plays second fiddle (if you'll pardon the pun) to Eichberger-Kudlack, who has a clear, bright voice. Initially her voice seems too bright for a quiet-time CD, but the secret genius behind the CD's appeal is the tracking, as the music and arrangements grow ever-so-slightly dimmer with each track. By the time the CD hits track 7, "Baby's Bed's A Silver Moon," 20 minutes in, her vocals are much more appropriate for a sleepy baby. Following that is another 15 minutes of Eichberger-Kudlack playing familiar lullabyes unaccompanied (mostly) on piano (there's a couple tracks with vocals). By this time your child (or you) will probably be fast asleep.

The album is most appropriate for kids ages birth through 6. You can hear clips at the album's CDBaby page, or listen to some complete songs at the Half Moon music page. The packaging (featuring artwork by Jamey Barnard), I should note, is simple but very pretty.

I hear few lullaby CDs I can recommend whole-heartedly. Songs for Sleepy Beings is the exception -- it meets that high standard. Besides being a lovely gift for new parents, you might want to consider it for your own family. Definitely recommended.

Posted by SAShepherd at 09:10 PM | Permalink | Comments (0)

Meet The SqueeGees, the first full-length CD from the Los Angeles-area band The SqueeGees, could offer me a chance to be exceedingly lazy and simply copy the review from their debut EP, The SqueeGees. Well, maybe half the review. Because half of the CD was originally found on that debut EP.

Now, that's not a bad thing, perhaps, because that means the bubbly tiny nugget of a song, "Apples Oranges & Peaches," is back, as is "Nala the Chihuahua," with its snaky melodic line and harmonies. And "The Ol' WWW," which really isn't a kids song (though it's totally kid-safe) is back to amuse the parents.

Just as with the EP, the Squeegees are at their best when they're not as concerned with the point of the song, such as the dreamy "Bubbles." "I-D-E-A," a song encouraging more environmentally conscious thinking, almost overdoes it with the hitting-over-the-head. (More amusing is the Queen-esque breakdown that starts "So you think that you would like to drive a big car? / Have you seen the gas prices today?" and ends, of course, with "I like to ride my bicycle / I like to ride my bike...")

In fact, what struck me the most on listening to the full-length CD is how much care and craft has gone into these tunes, musically speaking. The SqueeGees generally play folk-rock, but there's a lot of interesting bits squeezed in here, like in the song above, or the harmonies in "Nala the Chihuahua." Along with Samantha Tobey's clear voice, they make the most of the songs here.

I'll peg the album as most appropriate for ages 2 through 7. You can hear some tracks from the CD at the band's Myspace page.

There's a lot to recommend in Meet the SqueeGees. I like the quirky ones more than the standard ones, but that might be personal taste. In either case, there's a high attention to sonic detail that kids musicians thinking of recording debuts could do well to emulate. Recommended.

Posted by SAShepherd at 08:10 PM | Permalink | Comments (0)

A while back, I wondered, "why are there not more great jazz albums for kids?" I could have substituted the word "good" for "great" and it still would have been a legitimate question. Still, the kids music jazz subgenre has picked up some steam since I wrote those words and with the recent appearance of a definitely great jazz album for kids, I thought it worthwhile to highlight some other new disks worth further exploration if you're looking to broaden the jazz section on your family's CD shelf (or whatever the iPod equivalent of that is).

Thirty Tigers' Jazz and Swing For Kids applies a big band (or at least one that approaches double digits) to 10 familiar kids' tunes. A glance at some of the titles, however, shows that they're mixing things up a little bit -- "Diddle Diddle Swing," for example, or the "Old MacDonald Jazz Remix" (a boogie-woogie which throws in a snippet of "Choo Choo Ch'Boogie" for good measure). Strong vocals ("Here Comes the Rain Itsy" gets turned into a Little Richard rave-up) and a sense of playfulness are the strong points on this 33-minute CD.

The Doug Beavers Rovira Jazz Orchestra's Jazz, Baby! is, in many ways, a similar album. All 10 songs here are traditional ("Twinkle Twinkle," "Shortnin' Bread," "Working' On the Railroad"), and the vocals take center stage. If there is any difference it's that the arrangements are stronger, with strong versions of "Twinkle Twinkle" and "Itsy Bitsy Spider" that take full-advantage of a 20+ member big band being two highlights. "She'll Be Comin' Round the Mountain" is done in a fun cha-cha style. It's a polished recording, and while it's not targeted at adult listeners, those listeners who listen with their kids certainly won't begrudge time spent in its company. (Listen to several tracks from the 33-minute album here.)

While those two CDs certainly have much to recommend them, by sticking to traditional and familiar early childhood songs, they don't necessarily lend themselves to repeated listening over a long period of time -- they're CDs you might dip into occasionally.

Are there CDs worth more than an occasional dip? Well...

Continue reading "Review Four-Fer: Jazz Albums For Kids and Families" »

Posted by SAShepherd at 08:20 PM | Permalink | Comments (3)

Here it is, the most eagerly anticipated kids music release of the year. They Might Be Giants' Here Come the 123s, to be released this Tuesday, February 5. Almost exactly three years after the release of Here Come the ABCs, was this release worth the wait?

Most definitely.

Unlike many CDs, especially in the kids' field, the songs and videos here have had a decent airing thanks to the band's popular iTunes video podcast. So assiduous surfers have had the chance to hear and see more than a half-dozen songs. Those songs are a good guide to the rest of the CD/DVD set in a number of ways.

"One Dozen Monkeys," for example, features lead vocals of TMBG associate Dan Levine's nephew Hannah Levine, indicative of how in general kids' voices are heard much more than on the previous disks. John Linnell's son Henry has some spoken parts in the funky, horn-assisted and Dust Brothers-produced "Seven" (a highlight of the album). They serve as a counterpoint to the music and the absurd story about sevens crashing a party.

"Even Numbers" is the loveliest animation on the DVD, but there are several other beautiful or distinctive videos that haven't yet been seen. It's where TMBG's attraction to animators and Disney's deep pockets pay huge dividends. Matthew Canale's "One Everything" has the friendliest and most anthropomorphic planet Earth ever seen. Hine Mizushima's "The Secret Life of Six" uses stop-motion photography to animate a mid-tempo look into six's secret life (it's like a numerical version of "D and W"). The Brothers Chaps of Homestar Runner fame are responsible for the rocking "Figure Eight." David Cowles directs a number of videos here. In other words, this is probably the best collection of animation the general public is likely to see this year. It's like a Sesame Street best-of.

Finally, "Nonagon" and "Apartment 4" are two really good songs, but they're by far not the only good ones. My wife didn't think there was anything quite as instantaneously distinctive as "Alphabet of Nations," but I think there are a number of excellent very memorable songs here -- the aforementioned "Seven," for example, plus the very danceable "Nonagon" and swirly "Apartment 4." "Figure Eight" rocks and has the awesome line "If you take a zero in your hands / And twist it / That's an eight." John Flansburgh's giddy vocals on "I Can Add" mimic the exuberance kids feel when they master something. ("I don't even know Spanish," Flansburgh shouts between verses, "but I'm gonna sing it in Spanish!") As a whole, I think the songs are better here than on Here Come the ABCs. They won't teach your kids how to add, but they'll probably at least get your kids more familiar with numbers if they're not already. (And the songs dealing with concepts -- "Zeroes," "One Everything," "Nonagon," for example -- do so fairly well.)

Two other comments: I don't think the three Disney-related songs at the end of the CD and DVD really fit in very well (nor are they quite as good, though "Heart of the Band" is fun), but I'm also the parent of a girl who was obsessed with the Higglytown Heroes theme at the end of the last album, so I realize that many kids won't care. Also, the clunky and user-unfriendly DVD menu from the last DVD has been much improved so that you can watch individual songs, just the songs, or the whole thing, including the occasional interstitials featuring the knitted John and John puppets, whose bits are every bit as loopy and improvised as their podcast appearances (probably because they were clearly filmed at the same time).

Any band with a fan base as broad, age-wise, as TMBG sort of mocks the idea of an age range, but I'll peg the targeted age range at ages 2 through 7. This album (about 45 minutes in length) will be found just about everywhere, including Amazon, which features extra tracks. ("One Two Three Four" is an OK song and video, but not an essential addition to your collection if you're trying to decide where to order the album. I haven't heard the live tracks yet.)

In case it's not obvious, I think Here Come the 123s is an excellent collection. It's a worthy successor to Here Come the ABCs and in many ways even exceeds that fine album. Fans of They Might Be Giants in general or that album in particular will thoroughly enjoy Here Come the 123s. It's a strong batch of songs and the best set of videos you'll see all year. Highly recommended.

Posted by SAShepherd at 08:09 AM | Permalink | Comments (1)

When you release as many albums on a regular basis as Putumayo Kids does, it makes it hard for the reviewer to come up with new things to say about the CDs. Celtic Dreamland, released in November 2007, continues Putumayo's run of artfully-produced disks. It's the third in its "Dreamland" series, and even the 4-year-old in your family could figure out that it's an album designed for sleepy-time. You may want to explain to your kids how Celtic music -- typically music with Irish or Scottish lineage -- is distinguished from other musical styles, but Putumayo's typically descriptive liner notes may help in that regard.

The music is definitely relaxing, although it may be a bit too sunny in parts for it to be a perfect lullaby album. (I actuallly prefer Ellipsis Arts' collections when it comes to pure lullaby CDs.) There are a number of traditional (Celtic) lullabies here, but as is the case with many Putumayo disks, the foreign language (in this case, Gaelic) in which a number of the songs are sung helps mask those cases where the song isn't really a lullaby. If I had to pick a favorite (or most lullaby-ish) song in the collection, it'd be Susan McKeown's rendition of the traditional Irish lullaby "A Phluirin Mhilis," McKeown's voice and acoustic guitar a lovely combination. (The last 3 tracks, led off by McKeown, are probably the best here.)

As a putative lullaby album, I'd put the age range here at ages 0 through 5, though as with most Putumayo Kids disks, there really isn't an age range. You can hear samples of the 32-minute disk at the album's webpage. Putumayo's still working its way toward an excellent album of pure lullabies, but Celtic Dreamland is a good collection that serves its purpose as a mellow-time introduction to the genre of Celtic music. Recommended.

Posted by SAShepherd at 08:32 AM | Permalink | Comments (2)

Laurie Berkner might just be the biggest superstar in kids' music. Plenty of artists can claim the hipster cred, a number of artists (or at least characters) certainly have the merchandising going on, but Berkner's the closest thing to a superstar (who's a real person) the genre has.

Which explains why I still feel the need to review a CD of hers that is, oh, 9 years old at this point. Victor Vito, Berkner's third album, was released in 1999, just about the time that the genre really started to come back. For some reason, it never became a staple in our household the way her first two CDs did, and I as I complete my Laurie Berkner review work here (for the time being), I went back to see if I could figure out why.

It's certainly not because there aren't good songs here. The title track is a stone-cold, know-it-from-the-first-spin classic. An earwormy tune, silly (but understandable) rhymes, it's one of those songs that you could retire happy knowing you just wrote that one song. But it's joined by a number of other great originals -- the simply lullaby "Moon Moon Moon," the stomp-encouraging "Boots," the quietly hysterical "The Goldfish," with its classic line, "Wait a minute, we're FISH!" Berkner also focuses somewhat on kids' feelings, as on "The Story of My Feelings" (natch) and "I'm Not Perfect." It's not easy to write songs like that which take a necessarily direct approach for preschoolers and have it not sound incredibly dull to adults, but Berkner succeeds. And Berkner's renditions of traditional songs such as "Froggie Went A-Courtin'" and "Zodiac" -- where the fat man is not from Calgary as Raffi suggested long ago, but from Tennessee -- show off her fine voice and simple but organic musical arrangements. (This may be the album that most closely shows off her debt to Raffi's path -- she is indeed a worthy successor to his mantle.)

If there's a downside to the album, is that it's too long. The album is exactly 60 minutes long, and it seems about twice as long as it needs to be. There are two pretty good 30-minute CDs (or one incredible one and one decent one) to be found here, but at an hour, there just aren't quite enough great songs or musical variety to sustain interest over the entire time. I also don't think it's quite as goofy as her first two CDs, which was one thing I always appreciated about them, but that's probably a personal taste thing.

As with Berkner's other albums, this one is targeted at kids ages 2 through 6. Samples of the tracks are all over the web. Tens, if not hundreds, of thousands of families have made Victor Vito a common part of their family's musical rotation. And while our family might not be among those, I'd be a fool not to recognize how many excellent songs can be found here. Definitely recommended.

Posted by SAShepherd at 07:27 PM | Permalink | Comments (1)

Austin's Biscuit Brothers are best seen on TV or live. There's a definite theatrical sensibility in the episodes you can watch on selected PBS stations or on DVD, and they've been performing live even longer. (The live shows were the inspiration for the TV show, in fact.)

As good as those shows are, though, trying to capture the essential Biscuit nature on CD is a little tougher. Their previous disk, Old MacDonald's EIEI Radio, sounded a little bit like a (long) TV episode, with a little emphasis on the educational component of the TV show. It usually worked OK, but there were points where it seemed like there were some visuals missing and it wasn't as entertaining as watching the show.

Now, with their just-released Family Favorites, they're taking a slightly different approach, essentially forgoing attempts at direct education and an episodic structure, and putting together an album of fun songs, some of which were originally recorded for the TV show, some of which are new for this album. While the result is definitely not like the show in its overall structure, the album does a fine job of capturing the Biscuit Brothers spirit, energy, and humor.

The album starts off with a great version of the "Wabash Cannonball" -- its soaring chorus is a high point of the album -- and proceeds to wander through some time-tested tunes. Irving Berlin ("Alexander's Ragtime Band) and George M. Cohan ("Grand Old Flag" and "Yankee Doodle Scarecrow" -- OK, that last one has been modified a bit from the original) help the 20th century make an appearance, while "Old Dan Tucker" gets a smooth, polished performance from the band. Indeed, one of the pleasures of the CD is listening to the Brothers' fine voices and Allen Robertson's musical arrangements in song after song. And while the Biscuit Brothers' primary musical approach is renditions of folk songs, they're talented enough to make the alphabet song sound a bit like the Fifth Dimension on "Alphabet!"

And, yeah, Tiny Scarecrow, one of my favorite kids' show characters of all time (and one who gets high marks from my kids, too), gets his share of air time -- he's appropriately goofy on the "World's Shortest Dance Break," he negotiates the rapid-fire lyrics on "Tiger Rag" -- so that pleased me. In the let's-make-a-silly-rhyme "Schnitzelbank," he makes a Rene Magritte reference about floating apples -- high and low in the same song.

These songs are really an all-ages setlist, but given a couple of the titles, let's put the target range at kids ages 2 through 9. You can hear clips from the 34-minute album at its CDBaby page.

If you're already a Biscuit Brothers fan, you've probably picked up Family Favorites by now -- and if you haven't, you should. For those of you who aren't sure about the Brothers, I think this is a fun album you can enjoy even if you've never seen the show -- it's the best audio introduction to the Biscuit Brothers. Recommended.

Posted by SAShepherd at 07:40 PM | Permalink | Comments (0)

I have come to think of Morgan Taylor, the creator of Gustafer Yellowgold, as the exemplar of the Kids New Wave, the term I have coined just now to encompass the genre and the artists responsible for its resurgence, especially in the past five years. A background in making music for adults, the unplanned shift into making music for kids, the occasional difficulty in figuring out where the distinction lies between the two -- the New York-based Taylor fits all of these categories. By no means is Taylor the only artist these apply to, but he's done a great job creating a musical path all his own, on his own terms.

Taylor's second foray into the world of Gustafer Yellowgold, the DVD/CD set Have You Never Been Yellow?, released this week, is every bit as wonderful as the debut Wide Wild World and shows that Taylor has a fabulous career ahead of him.

What distinguishes Taylor from many other talented kids' musicians is his visual artistic skills, which are obviously on prime display on the DVD. If you're not familiar with the Gustafer "animation," I can try to describe it, but it's easier to just show you. Here's the leadoff clip from the DVD/CD, "Pinecone Lovely"

As you can see, it's animated in only a minimal sense -- the camera pans and scans, zooms in and out, and various components of picture move around, and that's about it. But it's very absorbing to watch. Taylor does the drawings but does get some help with animation aspects. While the animation on Wide Wild World was fine, the pictures and animation here are crisper and sharper -- the difference is small but noticeable.

Of course, the animation could be done by Pixar and if the music (and images) were dull, you wouldn't care. Luckily, that isn't the case. As a group, I think the songs are stronger here than on the debut. "Pinecone Lovely," with its ode to nature ("Pinecone Lovely / To thee I sing") and sing-along chorus, I think finally fulfills the promise of the karaoke audio option that is once again present on the disk. "Beard For All Seasons" has a touch of Beatles to it while "The Bluebird Tree" gives Ralph Covert's "Hideaway" a run for its money for the title of "Best Song About Needing Time By Yourself." There are some tracks I think are only OK musically, but there's definitely no filler. Pop and power-pop, well-played, with some brass instruments providing some sonic boost, particularly on the closer, "Dream In Green."

And the images are strong, too. The aforementioned "Bluebird Tree" has some of the most stunning visuals (the title is literal) on the disk, while "The Mustard Slugs" pairs amusing images with the silly math story. And, yes, "Punching Cheese" is the sequel to Wide Wild World's "I Jump On Cake" and every bit as funny. In fact, the whole disk feels ever so slightly lighter than the original, if only because the videos here seem a little more like vignettes rather than part of a story (Wide Wild World has a slightly stronger narrative drive). That's neither good nor bad, just that if you're looking for something with a concrete beginning/middle/end, you'll be disappointed here.

I should also note that the DVD comes with, yes, an audio commentary. Morgan Taylor does the honors, of course, and it's definitely worth a listen for an adult Gustafer fan (or older child with the patience to listen to someone talking over the music for 30 minutes). Finding out which Steve Martin movie helped inspire "Aye, Aphid" or which '70s band "Dream In Green" apes was a cool bonus. Repeating spins probably aren't necessary, but it's worth at least one run-through.

Kids ages 2 through 7 are most likely to enjoy the animation (and songs) here. In addition to "Pinecone Lovely," you can also watch the clip for "Birds" here. (Gustafer's two YouTube pages are here and here.) Or listen to "Beard for All Seasons" and "The Mustard Slugs" at his Myspace page. For being from the sun, Gustafer's adapted quickly to our modern technological modes of communication, no?

Gustafer Yellowgold's Have You Never Been Yellow? is a fabulous DVD/CD set. Taylor has a gift for memorable images both visual and musical and I'm looking forward to many more images from him in the years to come. This set is highly recommended.

Posted by SAShepherd at 08:44 PM | Permalink | Comments (4)

May as well get it out of the way -- yes, it's that Meredith Brooks.

But a decade after that big hit (and what seems like a lifetime ago) Meredith Brooks has released a kids album, If I Could Be... that is 100% kid-safe. The album has been out there since last year but got its formal release late last month. It's a sugary pop blend that might surprise those listeners who, like me, might have expected a slightly more rock approach based on our memory of that one song. (And who might not have followed Brooks as she continued to write and record over the past decade.)

Because Brooks is a parent of a preschool-aged son, it's not surprising that the tracks are primarily geared lyrically at that age group. Brooks succeeds best when she simplifies the lyrics -- "Dance, Shake, Wiggle!" spends a good 50% of the song repeating those words in the album's most infectious chorus. It will be difficult for kids to resist that one. "What's Your Name?" has a fun chorus, too, with lyrics designed for kids to shout their name.

If there's something that keeps Brooks from kicking Laurie Berkner off her perch at the top of the preschool musician pile, it's the lyrics. Brooks has a tendency to be too wordy for preschoolers, I think, sometimes forcing a line for the sake of a rhyme. Sometimes I felt she was writing for 3-year-olds using lyrics a 6-year-old would understand. "In My Chair" is an exception -- the more I listen to it, I think it's a very well-crafted song, though the line "I love my chair / And it loves me" cracks me up every time I hear it. (Y'know, it's not so unreasonable to think a preschooler might think of a chair in that way.) Regardless of my quibbles with lyrics, the music here is well-produced -- it's high-quality pop music, a step above the person-with-a-guitar-or-bad-keyboard production of a lot of music for this age.

I think the music here will be of most interest to kids ages 2 through 5. You can hear samples from the 38-minute album at its CDBaby page. For those of you looking for a rock-guitar-focused album, you will probably be disappointed by the CD. But this is a decent album of pop tunes with a number of fun cuts. Perhaps as Brooks' son grows up and Brooks experiences some not-so-easy times with her child, maybe we'll get another album with a harder edge. Recommended.

Posted by SAShepherd at 01:47 PM | Permalink | Comments (1)

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.

Posted by SAShepherd at 08:31 PM | Permalink | Comments (2)

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.

Posted by SAShepherd at 08:46 AM | Permalink | Comments (0)

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.

Posted by SAShepherd at 08:22 PM | Permalink | Comments (0)

I receive a lot of CDs every week, some good, some bad, but not so many DVDs. I expect DVDs to become a much bigger deal in the world of kids' music here in the next couple years as artists look to connect with their audience in multiple ways, beyond just recorded music and concerts. It's also a way to help artists develop more of an identity nationally. (It's also a way to generate additional revenue, but that would be a rather crass way of putting it, I suppose.)

For the moment, however, the number of DVDs is still more accurately a trickle rather than a flood. Musicians Jim Cosgrove and Eric Ode each released a DVD relatively recently, and it's worth a glance to see the results of some of the early settlers of the kids' music DVD field.

Continue reading "DVD Review Two-Fer: Jim Cosgrove / Eric Ode" »

Posted by SAShepherd at 08:24 PM | Permalink | Comments (0)

Years from now, when there are sections in amusement parks called LaurieWorld, in which you can ride the "Buzz Buzz" bumblebee ride (you must not be any taller than 48" to ride) and eat a "We Are The Dino-Chicken Nuggets Family-Pack," younger families might wonder when exactly it was that Laurie Berkner became a kids' music superstar.

The answer, of course, is her appearances on Jack's Big Music Show, the Noggin televison show centered around some music-loving puppets, which first aired in September 2005. The more logical (or obsessed) of the families might then try to figure out what CD might have led the producers to think that Berkner would be such a good fit for the show. Those families' searches would lead them to Berkner's 2002 album Under A Shady Tree.

One of the ways in which kids' music is different from most other genres is that its primary audience -- the kids -- don't really care about artistic progression or the order of album releases. Your kids probably can't tell you what order Berkner's CDs were released. But you can tell that Berkner's stretching out musically a bit here. She adds horns to the mix on "This Hat." "Mahalo" has Hawaiian influences, natch, while "Boody Boody Ya Ya Ya" has a pensive, non-major-chord sound. In short, the songs and arrangements here might be the most intriguing Berkner has written.

They are not, however, instantaneously catchy, or at least compared to the high bar Berkner had previously set. There is no lightning-bolt of a classic like "We Are the Dinosaurs" or "Victor Vito" here. "Rhubarb Pie (Hot Commodity)" has some sweet harmony, but it's no "Doodlebugs." "I'm Gonna Catch You," "Who's That?," and "Running Down the Hill" are fine enough, but the title track is one of those too-simple songs that parents will tire of quickly. The album's 52-minute runtime doesn't help matters -- there are too many songs here that are interesting but not necessarily must-hears.

The album is most appropriate for kids ages 2 through 7 and you can find it pretty much anywhere CDs are sold.

If I sound negative here, it's because I think Berkner set such a high standard for the genre with her earlier CDs, particularly her first two CDs. There are still a number of good songs here, and if your family liked Laurie Berkner's earlier work, you'll probably enjoy this. Under A Shady Tree is not where I'd start out exploring Berkner's music, however. It's recommended, but not essential. (But your kids will probably love the "Running Down the Hill" play area of LaurieWorld.)

Posted by SAShepherd at 02:15 PM | Permalink | Comments (0)

I’ve long believed that Putumayo’s strength -- at least in its kids’ music releases -- is compiling good, if not entirely challenging, mix CDs. They’re not trying to compile an anthology -- if they throw in a few good songs you’ve never heard of amidst the familiar ones, then they’ve succeeded in their modest goals. On that count alone, their new Animal Playground disk, released this week, is a typical Putumayo release, mixing some familiar animal-themed songs in with the unfamiliar in a combination that will make it easy for a parent to pop in the CD and for the kids to enjoy.

On the familiar side is Asheba’s “No More Monkeys,” which I will admit to loathing. I like some of Asheba’s music, but there’s something about the slightly hyperactive rhythm of this particular track that sets me on edge and my finger for the skip button. I know, the kids love it (so much so, Putumayo’s included a video for the song on the disk), but I don’t. Somewhat less familiar (but more enjoyable to me) is the Wee Hairy Beasties’ “Animal Crackers,” a fun and bouncy leadoff track.

I've also thought that Putumayo's popularity (as opposed to their strength) has a lot to do with flattering mostly white middle- to upper-middle class people that they have a funky, global perspective. (Putumayo may just have best CD covers in the record business in that regard.) But just because that might be true doesn't mean that Putumayo's not good at finding fun tracks from around the globe. They are, and this album is no exception. The Be Good Tanyas, a Vancouver band which had never really interested me before, gives the album its best track, a gently bopping song anchored by the chorus’ phrase “The littlest birds / Sing the sweetest songs.” (It’s the “Sheep” of this album, for those of you who recall Putumayo’s last Playground disk, Folk Playground, and its standout Zoe Lewis track.)

The foreign-language tracks are fun, though, really, Putumayo could have put these songs on a future collection called, say, Robot Playground or Sports Playground and you or your child would never have known the difference. I doubt many parents will use Putumayo’s liner notes; Ze’ Renato’s swinging “Cantiga do Sapo” is Brazilian tune apparently about a frog, though it could just as well be about a dog, or rapid inflation in South American economies. A couple exceptions -- the 30-year-old track “Nella Vecchia Fattoria” from the Italian group Quartetto Cetra is unmistakably “Old MacDonald Had a Farm.” And Ladysmith Black Mambazo does a peaceful “Mbube,” better known here as “The Lion Sleeps Tonight.” They might be in foreign languages, but even your 3-year-old who’s limited to a 100 words of English will recognize and enjoy those tracks.

Given the language barriers on many of these tracks, the 36-minute album is pretty much an all-ages affair, though the English-language tracks make it more of a disk for 2- to 7-year-olds. You can hear samples of the tracks here.

Animal Playground is a decent collection of music and one that most families will listen to and find some favorites in. You might be able to make a better mix tape, but it’ll probably be in far fewer languages. That’s not a good reason to get this (or any) album, but it’s not a bad thing, either. Recommended.

Posted by SAShepherd at 05:00 PM | Permalink | Comments (0)

There was a time where not every kids’ musician had a Myspace page or was prepping a music video.

I’m talking, of course, about the late 1990s.

In the late 1990s, the only record company that seemed to anticipate the forthcoming resurgence of kids music was Smithsonian Folkways, which in 1998 issued the Smithsonian Folkways Children’s Music Collection, a 26-track CD culled from the venerable institution’s massive collection of children’s music recordings.

How venerable is the collection? Well, you need look no further than the four artists leading off the set -- Woody Guthrie, Ella Jenkins, Pete Seeger, and Lead Belly, who represent the most important kids’ musicians of the first three-quarters of the 20th century, the 1927 Yankees of kids’ music. Their tracks here are representative of the artists’ work -- Jenkins’ take on “Mary Mack,” a song she made her own, includes enthusiastic children’s participation, and while Seeger lends his sweet, clear voice to “All Around the Kitchen.”

There are other tracks here from Guthrie, Jenkins, and Seeger, but there are some other great tracks here from artists you’ve probably never heard, or even heard of. Lord Invader with the Calypso Orchestra turns in a rendition of “Merrily We Roll Along” guaranteed to get your family dancing around (or at least bobbing their heads). The Canadian folksinger Alan Mills has a gentle Animal Alphabet Song from the early 1970s. And “Hey, Coal Miner,” co-written by troubadour Larry Long and a 6th grade class in Alabama, combines both social history and fun chorus (“Hey… coal miner!”) into one infectious mix. While releases from the 1950s predominate, the album covers releases from the ‘60s all the way into the ‘90s.

There are a mix of age ranges here, some songs appropriate for kids as young as 2, with the upper range easily heading into double digits. As is always the case with Smithsonian Folkways releases, the liner notes to the album are an essential component of the release. You can hear samples at many online stores or you can also visit this page and the "Children's Music" program (#16) for another audio introduction to the overall collection.

This isn’t a perfect album to listen to straight through -- it’s more of an anthology than a mix tape, something you’d dip into occasionally, or to find some artist or song you want to explore further. Still, there is relatively little of the sense that you're listening to something "good for you" -- it's much more a sense of "fun for you." And there’s no better overview of 20th century children’s music than this album. Highly recommended.

Readers who find that the number of songs that they and their family enjoy off that album is fairly high may find themselves interested in another release of kids and family music which predates even the music on the Smithsonian Folkways collection. Yazoo Records’ The Story That The Crow Told Me, Vol 1, released in 2000, is a collection of rural American children’s songs recorded in the 1920s and ‘30s. Richard Nevins took 23 recordings from the original 78s and remastered them for the collection.

There are some definite gems collected on the CD. One has to believe that Dan Zanes had listened to Chubby Parker’s version of “King Kong Kitchie Kitchie Ki-me-o” before recording his own take -- Parker’s version has its own swing. Fisher Hendley & His Aristocratic Pigs (yes, that was their name and isn’t it awesome?) do a fun western-style “Hop Along Peter.” And Lew Childre’s “Horsie Keep Your Tail Up” has its own bluesy charms.

To me, the disk as a whole suffers somewhat from a certain sameness in musical approaches -- one song begins to blend into the next over its 67-minute runtime. I think the segment of fans who like the genre of music will really like this disk, maybe even more so than the Smithsonian disk, but it’s not going to be for everyone. I would note that the remastering is every bit Smithsonian's equal, but the liner notes are lacking, with only a few lyrical excerpts.

The album’s appropriate for all ages, but kids ages 3 through 7 will probably appreciate it more than others. You can hear samples here.

As you might gather from what’s already been written, if you’re just dipping your toes into kids music that was recorded, well, to be honest, before you were born, you’re better off starting out with the Smithsonian disk. But for its particular narrow genre, The Story That The Crow Told Me holds its own against the Smithsonian disk. The total audience may much less broad for this CD, but it's got its own charms. Recommended.

Posted by SAShepherd at 12:15 PM | Permalink | Comments (2)

Beware the music of a new parent.

Clouded by the biologically necessary attachment to a newcomer to the family, a normally rational person and musician can be fooled into thinking that these feelings are somehow unique to them, that nobody has ever felt like this before about their child. Which leads to rambling output that doesn't really say anything new. (Wait a minute. I'm talking about child-centric blog writers. No, wait, I'm talking new parent/musicians.) If you're going to sing about it, you'd better bring something new to the table.

So it was with a sense of relief that as I listened to It's A Big World, released last week by the duo Renee and Jeremy, that I realized that the duo had generally avoided recording parental pablum (or, when necessary, put that pablum in tasty form). The duo consists of Jeremy Toback, who released a couple of major-label solo albums in the '90s and formed the band Brad with Stone Gossard of Pearl Jam, and Renee Stahl, who has also released a solo CD of her own. When they recorded the album, Toback's son was a year old and Stahl was pregnant with her first child. They recorded quickly (the room was soon to become Stahl's daughter's nursery) and deliberately sought out a raw, lo-fi sound.

The promo materials name-check Jack Johnson as a reference, and it's an appropriate one. (For a more kid-centric reference point, think Elizabeth Mitchell, especially the slow songs off her earlier kids' CDs.) There's little more than an acoustic guitar accompanying Stahl's and Toback's vocals, and especially on tracks like "Welcome To This World" (on which Toback sings lead), you'd be forgiven for thinking it was a Johnson-penned (and played) piece. The lyrics on that track, which ostensibly are a welcome to the world for a new child, work just as well for new parents too. But new parents will probably respond to the rest of the album's lyrics, which focus on a child's sense of wonder with the world around them and a parent's sense of protection and care for their child.

There are some stellar tracks here, most notably "Night Mantra," a gorgeous song which sounds like a somewhat happier Aimee Mann track and features Stahl's and Toback's best vocals. "Powder Blue," an original lullaby written by Stahl which would have fit in perfectly on the Innocence Mission's Now the Day Is Over, is a great addition to the lullaby canon. Oddly enough, while many uptempo albums end with a slow song or three, this album, which is essentially a lullaby (or at least a quiet time) album, ends with its three most vigorous songs at the end. Bulked up with just a little more production, "Sleep My Love" and "Shoorahlaywho" could easily be hits on adult alternative radio.

Less successful are the time when the lyrics don't say very much. The leadoff track, "Miracle," begins with the wonderful lines "Are you the sun? / Are you the moon? / Are you the watermelon bug in June?" but ends up with the lines "You're a miracle / uh-huh / A little miracle / Oh yeah." If the song were two minutes long, that part would be tolerable, but dragged out over the song's 4-minute length, it's, well, not so much. And while I appreciated the overall mellow vibe of the CD, the exceedingly slow version of Bob Marley's "Three Little Birds" makes Mitchell's version sound positively raved-up in comparison.

I'm going to peg the age range for this 39-minute album at ages 0 through 5, picking up again at maybe age 30. You can hear three songs at the duo's website, plus an additional track at their myspace page. (At the moment, you can purchase the album at CDBaby.)

If the review sounds negative, it's only because there are enough stellar songs here that I could hear the stone-cold classic this CD could have been. (Frankly, I can't wait to hear what they come up with after another couple years of parenting.) But even if the album's not perfect, I guarantee you that this album would make a great new-parent or baby shower gift. While it's really targeted at the parents more than the kids, it'll make great quiet-time music for the whole family, even when (or especially when) your child has moved from giggling to throwing very verbal tantrums. Definitely recommended.

Posted by SAShepherd at 06:06 PM | Permalink | Comments (5)

You know, it's a shame that the ice cream truck industry seems to have withered away. (At least it has in our neighborhood.) Who can resist ice-cream-on-demand? Well, perhaps the industry's demise can be traced to the lack of variety in ice cream songs, with parents and kids rushing indoors at the slightest hint of another overly familiar ice cream truck song.

Friends, Michael Hearst is here to do what he can for the industry with his recently-released Songs for Ice Cream Trucks. Yes, it's 31 minutes (could that have been intentional?) of all-new ice cream music, which sounds just like those ice cream songs of old, only better. Hearst uses a variety of vintage instruments -- glockenspiel, thermin, and a Casiotone -- to create his musical soundscapes, and they sound just like the trucks you know and love.

I preferred the slightly peppier pieces, like the opener "Ice Cream!" or "Tones for Cones," though possibly my favorite flavor, er, song was the slow and oom-pah filled "What's Your Favorite Flavor?" The title scans so well to the opening melody of that song that I wonder if there aren't lyrics to all these songs here. (As it is only the closer, "Before I Drive Away," has vocal accompaniment.) The downside of the album is that the songs begin to melt together -- it's better at creating a mood of happiness and occasional wistfulness than at being a great musical album.

Virtually instrumental in nature, this is truly one of those "all-ages" albums. You can listen to tracks at the album's Myspace page or samples at the album's page. (Order the album here.)

I love ice cream, but even I have a limit, and I think that will be many people's reaction here -- Michael Hearst's songs have an undeniable allure, but taken in one sitting the album will probably be too much for many fans. Still, Songs for Ice Cream Trucks achieves its own little piece of perfection and in small amounts (ie. mix tapes or shuffle play) is quite refreshing.

Posted by SAShepherd at 07:26 PM | Permalink | Comments (0)

There are many types of kids' music albums, but one genre that's been mostly avoided is the very personal kids' music album. Now, there are a number of musicians who feel compelled to record intensely personal lullabye albums upon the arrival of a child into their family, but those generally end in, if not disaster, at least a goopy mess. Is it possible to make an album that draws upon a particular artist's life but speaks to many families?

All Together Singing in the Kitchen, from the Massachusetts based Nields sisters Nerissa and Katryna, shows one way that can be done. In the Nields' case, they've drawn upon their lives growing up listening to and singing these songs, yes, all together in the kitchen. The album is a collection of primarily folk tunes that the Nields learned singing with their father John Nields along with their mother. John has a clear voice with a bit of a warm warble; it reminds me of Dan Zanes compatriot David Jones. His voice makes a nice contrast with the more distinct voice of the Nields sisters. When they sing together, such as on their soulful rendition of "Oh, Mary, Don't You Weep," it's a sweet, joyful noise. An even more joyful noise comes when the Nields sing with a local group of kids on three of the tracks -- the way the kids shout back "YES MA'AM!" in the call-and-response of "John, the Rabbit" makes me smile every time I hear it.

To some extent, I couldn't listen to the album without thinking of other versions of particular songs that I liked slightly better -- say, Dan Zanes' and Father Goose's version of "Hi Ho the Rattlin' Bog." And there are times when the personal nature of the album -- three generations singing "All Together Singing in the Kitchen" is more inspiring perhaps than truly compelling upon repeated listenings. But that's as much me bringing my own personal singing experiences to the table -- there's no reason why someone who wasn't as familiar with some of the tracks here wouldn't latch on to these versions. And the Nields do give back a modern folk classic of their own -- "Anna Kick a Hole in the Sky" is a great song about resilience and life.

In true Dan Zanes age-desegregated style, the album is appropriate for all ages, but let's say you've got to be at least 2 to get a lot out of it. The 43-minute album, which has been available regionally since last year, but is getting a national release next week, is available here or here. No samples available yet, but Bill and Ella had them on last week.

Like many hootenannies, All Together Singing in the Kitchen was probably most fun for the people making the record. It is a credit, however, to the Nields family that they've put together an album that is not only inspiring but also lots of fun to listen to. Definitely recommended.

*****

Note: I'm cooking up something related (in part) to this CD which I hope is ready for prime-time by next week. Stay tuned...

Posted by SAShepherd at 08:20 PM | Permalink | Comments (1)

OK, to begin with, no, that's not the best album cover I've ever seen ("What exactly is she looking at?," you might be thinking). But parenting is about not judging things by their cover and expecting everything to be perfectly designed, because if you do, you'll be disappointed and miss out on some cool stuff.

So My Precious One, the third album from New Jersey-based Miss Amy does have some cool stuff. Unlike her first two CDs, which took a fairly uptempo approach, this CD, released last year, is a collection of quiet songs and lullabies. It's also my favorite of her three CDs. As lullaby albums go, it deftly sidesteps the traditional list of lullabies, only including "Twinkle Twinkle Little Star" and "The Water Is Wide" as familiar melodies here. While some songs don't work so well (the whistling on the cowboy-inspired "Get Along" being a prime example), there are some sweet arrangements here, particularly the wordless vocals on "Soft As the Snow" and "Goodnight Sweetheart." I also like the sly humor of recording a lullaby called "Are You Ready To Rock?"

These are for the most part actual lullabies, so I'll peg the age range here at ages 0 through 5. You can samples from the album (which also raises funds for the March of Dimes) at its CD Baby page or hear her rendition of "The Water Is Wide" at her Myspace page.

There's no reinventing the wheel here, Miss Amy's My Precious One is simply an album of lullabies that melds tasteful arrangements with a nice voice and sweet melodies. As lullaby albums go, this is a pretty good one.

Posted by SAShepherd at 08:38 PM | Permalink | Comments (1)

Take a toy instrument-obsessed guy, mix in some classic kiddie records, and through in a whole both of sampling technology, and what do you get?

Twink.

The brainchild of Mike Langlie, Twink is his project for mixing together samples from kiddie records a good half-century old with modern samples and drum loop. Langlie's third Twink album, The Broken Record (2005), showcases the results.

Sadly, this is one of those ideas that doesn't sound quite as cool as it sounds, if you know what I mean. In other words, I had high hopes that the recontextualized sounds would result in something eminently listenable, sort of a Odelay for the kids. And, you know, sometimes it works out exactly like that. "Pussy Cat" is a nifty tune, mixing a whole bunch of kitty-related lyrics with a Tin Pan melody on top of a bunch of drum beats. I also liked "Hip Hopera," which as you might expect from the title sets "March of the Toreadors" to a hip-hop beat.

But more often than not, the funky mixtures don't hold up so well as songs in repeated listenings. So many different snippets are crammed in that the songs themselves don't hold together well. The spoken-word tracks are not particularly compelling. The tracks are interesting, perhaps, intellectually, and it might be fun to play "spot the snippet" with your kids, but as a listening experience, it's a definited mixed bag.

The album is definitely an all-ages affair, but I think younger kids, ages 2 through 6, might enjoy it more so than others. You can hear samples from all of Twink's albums at Langlie's Music page.

Langlie's putting together a full band for his upcoming album, so I've got higher hopes for that album. I think it might have some of the consistency between tracks that this album doesn't really have. While The Broken Record shows a very creative mind at work, it doesn't necessarily compel the listener's ongoing attention in the long run.

Posted by SAShepherd at 08:05 PM | Permalink | Comments (1)

I don't know if the New York-based band The Deedle Deedle Dees are the most erudite kids' musicians currently recording, but they certainly wear their erudition on their sleeves more proudly than anyone else. One listen to their 2nd album, the recently-released Freedom In A Box (2007), will make that abundantly clear. Here is a random sample of topics covered and phrases used on the album: sampan ("Is that a boat? It's a Chinese boat!"), aphids, the Niebelungenlied, Teddy Roosevelt's charge up San Juan Hill, and the short arms of a tyrannosaurus rex.

And that's just scratching the surface.

Led by Lloyd Miller and some fellow NYC-area music teachers, the Deedle Deedle Dees are, as you might suspect from the short list above, a little obsessed with history, and it's the history tracks that initially grab your attention, telling the story of Nellie Bly's trip around the world ("Nellie Bly") and of Teddy Roosevelt's transformation ("Teddy Days"). And if you're not familiar with the band, I know what you're thinking -- that sounds really dry. But you'd be wrong, because what makes these songs different from most kids' history songs is the rollicking and earthy musical approach. The could-be-a-hundred-years-old "Nellie Bly" starts out with a "doodley-doo-wah" singalong that instantly lodges in your head while "Henry Box Brown" tells the compelling story of Brown, who mailed himself to freedom in a box, with "This Side Up!" printed on the side (the "This Side Up!" being another great singalong). "Henry Box Brown" is probably the best of the history songs here. Some listeners may find the lyrics overly precious at points, and the other songs succeed to varying degrees depending on how much they're telling stories (I think the country-rock "Aaron Burr," which retells the story of the Burr-Hamilton duel, is pretty awesome, but "Teddy Days" just tries to cram too much in, lyrically). Some listeners may find the lyrics overly precious at points,

Now, the band isn't just obsessed with history, and only about half of the 13 tracks on the 39-minute album are history songs. There are nature songs, for example, including the midtempo folk-poppy "Vegetarian Tyrannosaurus Rex" and "Obedience School," which is just about the most punk kids' song you'll hear all year. There are simpler music/movement songs, too (the very simple "Play Your Hand" or "Drum!"). While the band may mix all the songs together in concert, on the album it doesn't blend perfectly -- it just seems to lurch back and forth. Your thoughts may vary, but I'd've probably ordered the tracks differently.

Musically, however, it's all good, with the band taking a mostly Americana/rock approach, throwing in a few curves along the way (the Beck stylings on "Baldy," for example). The band sounds great together and along with their guests the album has an appealing raggedness. (Except on the completely awesome "Major Deegan," a beautiful, slow paean to New York City's traffic -- that fever dream of a song is not like the rest of the CD, but it's a perfect final song.)

Given the range of topics here, the album is appropriate for kids ages 2 through 12 (parts of some of the history songs will go over the heads of the youngest listeners, but are boogieable enough and with musical hooks enough for those youngsters to enjoy). You can listen to four full tracks at the band's Myspace page or samples of all the tracks at the album's CDBaby page. When you order the CD, you'll also get a coloring book with lyrics. That book, along with the information found at the band's Blogspot page for the album, serve as a great resource not only for teachers using the CDs, but interested families, too.

So here's the deal: if you teach American history in the K-12 system, you need this album. If you're interested in history, you need this album. But if history isn't quite your thing, you still probably need this album, too. Even the songs that don't work out are energetic and fun. It's one of the most ambitious and diverse -- not to mention fun -- kids' CDs of the year. Definitely recommended.

Posted by SAShepherd at 05:44 AM | Permalink | Comments (1)

The advantage to the reviewer of an 18-minute CD, such as the 2006 self-titled debut from Southern California-based duo The SqueeGees, is that you can listen to the album a lot before putting fingers to keyboard to write a review.

The result of those repeated plays, however, is that some of the odd edges of this CD get rubbed away. Which is too bad, because it's those odd edges that help the CD stand out. Take "Ivan the Terrible," for example, which leads off with the lyrics "His beard is long, his eyes are wild / He terrorizes the town." It encourages the listener to growl. But after hearing it eight, ten times, it no longer seems so outlandish (even for a song in which we find out Ivan is not quite so terrible). Too bad, really. In fact, it's the conventional lyrics here that are sort of dry -- it's when co-singer/songwriters Samantha Tobey and Roman Bluem don't worry about the "point" of the song that the songs are at their most vibrant (the listing of fruits in "Apples, Oranges, & Peaches," all the different sounds in "The Elements").

Musically, the duo pack a lot into what is pretty basic folk-rock. A lot of this has to do with the vocals -- Tobey has a clear and distinct voice that is very inviting, while Bluem has a dry vocal sensibility. (That sensibility fits perfectly with "The Ol' WWW" -- "Saw a picture of a jet on the internet / The ol' WWW / Bid on a Chia pet on the internet / The ol' WWW" -- which will probably go way over the head of the target audience but will amuse their parents.) But they also craft some nice melodies --- "Nala the Chihuahua" is particularly ear-wormy.

Despite the claim on the CD cover that the CD is for "ages 0 - adult," I think kids ages 2 through 6 are most likely to enjoy it. You can download a couple tracks and listen to samples of others here, and there's always their Myspace page or CD Baby album page.

The SqueeGees is an album which takes a slightly skewed approach to fairly typical children's music material. The album is sadly too brief, but it does make me curious as to what they will come up with next. I hope it's even odder than this CD.

Posted by SAShepherd at 08:26 PM | Permalink | Comments (11)

Lost amid all the talk of hootenannies lately is this crucial point:

They're not always all that interesting for the audience.

Sure, it can be a blast playing music with friends, challenging one another, exploring new music. Sometimes magic happens for musician and listener alike. But sometimes all you're left with is "Jazz Odyssey," of little interest to the people listening.

Tabletop People Vol. 1 & 2 (2005) is an album that grew out of a hootenanny and became a CD that many readers and families out there will absolutely love.

The core of Session Americana consists of six Boston-area musicians with many other gigs; the band itself is known for their roots-rock jams in increasingly large local venues. They recorded the album in the same way they play their shows -- gathered in a circle, with guests joining in. The band's long experience playing live shines through on the CD -- the music is accomplished but with a looseness that makes the joy (and, occasionally, sadness) stand out.

The album starts off with with an invigorating bluegrass take on "Boats Up the River," so propulsive that one of the band members shouts "Don't stop now!" midway through. And they don't, from a rootsy take on Jonathan Richman's "Party in the Woods" (led by former Richman bandmate Asa Brebner) to a gently swinging "Merzidotes" to the best version of "Froggy Went A-Courtin'" on record (emphasizing the "uh-HUH" part gives it a great singalong feel).

And that's just the first CD.

Yes, in the spirit of Wilco's great Being There album, this 59-minute album is split into two CDs. The second CD is listed as more introspective, a distinction that is somewhat hard to hear (there are introspective tracks on the first CD, too), but the split does make it easier to take just a 30-minute CD break. The second CD includes the languid indie-pop "Floppy Tulips," a rockin' alt-country' "Mr. Rabbit" (which, well, would have fit perfectly on Being There or A.M., musically at least), and the final two songs "Point of No Return" and "Trouble Wheel." These last two are not kids' songs by any stretch of the imagination -- they're the songs you hear at the end of the night when the kids, exhausted from dancing and playing around, are asleep in your lap just before you head home.

The album's appropriate for listeners age 2 and up, although there are going to be certain songs that the youngsters won't get -- not inappropriate, just not really geared for 'em. You can hear samples of all the tracks at the album's CD Baby page, but I'd recommend going to both their Myspace page as well as their own album page. Each have the same three (full tracks), but the former also includes "Mr. Rabbit" and the latter also includes "Boats in the River."

Fans of Dan Zanes, Dog on Fleas, and Elizabeth Mitchell will especially hold this album dear, but so will a bunch of other listeners. Sometimes hootenannies leave the listener a little flat, but at times they can be graced by magic. Tabletop People Vol. 1 & 2 falls in the latter category. Highly recommended.

Posted by SAShepherd at 06:02 PM | Permalink | Comments (1)

Over the course of just a few years, San Francisco-based Enzo Garcia has released nine albums of original and occasionally quirky folk reworkings of traditional and original kids' songs.

The recently re-released Green is a good example of Garcia's work. One of the primary things I find so appealing about the series is the fact that electronic keyboards, which in many artists' hands is the great bane of children's music, are long absent. Instead, on tracks such as "What Do You Do?," Garcia employs a toy piano. I'm not necessarily a huge toy piano fan, but Garcia's fondness for using instruments you don't typically hear (on albums of any kind) means getting to hear familiar songs in unfamiliar ways. And so on "This Old Man," Garcia is joined by Tom Waits' occasional side man (and budding kids' musician in his own right) Ralph Carney on slide clarinet. Garcia and Carney also team up on a rousing "Drunken Sailor," which spares no lyrics in the tale of the punishments for the inebriated crewmate, Garcia's rolling of the "r's" on "rusty razor" echoing Carney's tenor sax.

There's no track on here that's quite as engrossing as "Hold My Hand" on his Pink CD, but the round on the traditional "My Paddle's Keen and Bright" comes close. (I also liked Garcia's "Dee Dee.") Even more than Pink, Green will be most enjoyed if you participate along with the music. The disks were created to accompany Garcia's weekly music classes, and so if you move around (or accompany with shakers and tambourines) the music here, you'll get the most out of the album.

The songs here are most appropriate for kids ages 1 through 6. You can hear samples at the album's CD Baby page.

Enzo Garcia is right in the middle of the great folk music tradition that encourages music-makers to take traditional tunes and make them their own. On Green, Garcia continues to help families hear old tunes in new ways (and maybe even start to make them their own). It's as good as any Garcia album to introduce you to his music. Recommended.

[Note: Bryan at The Pokey Pup notes that they're currently running a special offer where if you buy Green you can get LMNO (Red) for free. Easy-peasy. Click here for more...]

Posted by SAShepherd at 04:39 AM | Permalink | Comments (2)

Talk about double lives -- Los Angeles-area-based Gwendolyn Sanford spends some of her time scoring the second season of the Showtime series Weeds, while simultaneously performing music for preschoolers as the uni-monikered Gwendolyn in Gwendolyn and the Good Time Gang.

It is very much to Gwendolyn's credit that her second album for kids, Get Up and Dance!, released late last month, is entirely irony-free. Somehow, though, the songs are eager without turning off the parents. For example, kids will enjoy her exhortation to "bounce and bounce and bounce" (ad nauseam) "around" on the leadoff title track, while parents will smile wanly at the recognition of the fact that this, yes, is exactly how their child moves. But somewhere in the course of the song, the music opens up, adding handclaps and becoming sonically interesting (without losing the kids). The rest of the album is like that, too -- the super funky "Eensy Weensy Spider," the disco freeze-dance of "Red Means Stop," and the best song never recorded for Grammar Rock!, "I Can Read." The listing of vegetables "Out in My Garden" is reminiscent -- in a good way -- of their debut album's "My Anatomy." I also appreciate the fact that the album doesn't end with a typical kids-album-closer slow song, but instead with the peppy "Sunny Day." It fits perfectly here.

She's having fun performing her songs, which are targeted right at 3- and 4-year-olds, and it shows here (you can almost hear the laughter on a couple of tracks). The band's sound has expanded since their self-titled debut album, and, like their Northern California counterparts The Sippy Cups, are especially mining the sounds of 30 to 40 years ago for inspiration. The band (which includes her Weeds scoring partner Brandon Jay) sounds great. Nowhere to be found are the "characters" from the first CD (which is A-OK by me), though Gwendolyn's high-pitched voice and occasional spoken-word intros may turn off a few exceedingly finicky listeners.

The 27-minute album is most appropriate for kids ages 2 through 6. You can hear samples either at Gwendolyn's Listen page or at the album's CDBaby page.

Save for a track or two, this is probably not an album you would listen to by yourself. But Get Up & Dance! will be one of those albums you'll be happy to pull out at your kids' request. They'll think it's great, and the energy and enthusiasm on the album will pull you in, too. Definitely recommended.

Posted by SAShepherd at 07:26 PM | Permalink | Comments (0)

The Portland-based artist Johnny Keener released Elephants Over the Fence, but there are strong echoes of South Carolina, Seattle, and Brooklyn in the CD.

The South Carolina echo has to do with the musicians on the CD. Backed by Emily Vidal on bass and Jason Greene (their alter ego is Yoyodyne, an adult pop group), Keener generally plays guitar reminiscent of Buddy Holly or Johnny Cash records. Hmmm... a trio reconfiguring itself to play kids music? Where have I heard that before? But there's no complaint as the trio gets a lot of mileage out of the mixture of traditional kids, originals, and offbeat covers here.

The Seattle echo is from the leadoff track, "Miss Mary Mack," which, just as on Johnny Bregar's Hootenanny! CD, starts with the voice of a young girl singing the song, though here young Zella sings for a full 30 seconds before the band and a chorus of preschool kids join in.

And the Brooklyn echo? None other than Dan Zanes, an obvious inspiration for Keener. While Keener clearly doesn't have the star power of Zanes (there's no Sheryl Crow on this version of "Polly Wolly Doodle"), Keener likes singing with kids and integrates them nicely on a few tracks.

The best cut here is the cover of Woody Guthrie's "Bling Blang," which features guitar work by Keener accompanying a swinging piano by Yascha Noonberg. The two originals aren't too bad (I liked "It's Too Hot!," all about going to the local swimming pool), but the two songs that are most intriguing are the covers of Jonathan Richman ("Here Come the Martian Martians") and They Might Be Giants ("Robot Parade"). The Richman cover is pretty good and just goes to show that a compilation of kids artists doing Jonathan Richman songs is long overdue. Keener also acquits himself nicely on the TMBG track, slowing the tempo a bit to a more stately parade-like pace, and adding some robot-like spoken-word interludes.

The 25-minute album is most appropriate for kids ages 2 through 7. Tracks may be available soon at Keener's website, but here, with Keener's permission, are two tracks for your immediate enjoyment:

Johnny Keener - Polly Wolly Doodle

Johnny Keener - It's Too Hot!

There is no wheel-reinventing going on here, but Elephants Over the Fence is an enjoyable listen, a smart-sounding CD with a loose energy appealing to kids and parents alike. Recommended.

Posted by SAShepherd at 07:45 PM | Permalink | Comments (1)

Nearly ten years ago, New York City musician (and parent) David Weinstone, dissatisfied with assorted kids music programs, decides to start one of his own. The result, Music For Aardvarks and Other Mammals, became a popular program in its own right in New York City, even expanding beyond New York City.

Over those nearly ten, Weinstone's put together 10 CDs of original material to accompany the classes. This week sees the release of Taxi, one of three compilations of material from the first 10 CDs. (It reflects favorites of both Weinstone and class attendees.)

I decided deliberately to listen to Taxi without finding out more about how the songs were used in MFA classes because I think the purpose of these CDs is to introduce the music to a much wider audience -- people like me who've never stepped foot inside a MFA class. So the question becomes, how does this hold up as an album?

And the answer is, pretty good. Weinstone is definitely willing to write directly to kids' interests -- getting candy at the end of a doctor's visit in "Lollipop Doc" or the eternal fascination of the belly button in "Belly Button Song". But that wouldn't mean much if he weren't able to wrap those topics in appealing lyrics and a diverse range of musical styles. "Dirt," for example, folds lines such as "I like dirt. / Dirt's what I dig. / I like pokin' around, / with a big old twig" into a loping, brass-band march. "Have You Seen My Nose?" mixes silly lyrics about discovering one's nose (and mouth) with a laid-back Brazilian melody. "Big Boom Whacker" is a nonsensical synth-heavy tune that survives an Ah-nuld reference. My favorite track, "Ruby's Friends," is a folky waltz about pretending. (And I haven't even mentioned the Santana riff.)

This isn't to say you can't tell the album's music class origins. Songs such as "Big Old Tree" and "Tango" have class participation and movement written all over them. And the "Hello" and "Goodbye" songs -- required for any kids music class -- are here, too. (They're perfectly fine to listen to.) But they don't overwhelm the album -- you could listen to them having never attended an MFA class and not feel puzzled.

I think the album's most appropriate for kids ages 2 through 7. You can hear snippets of all the songs at the album's CDBaby page.

While there are no songs here that absolutely stand out as immediate kids' songs classics, Taxi is a strong collection of kid-appropriate and parent-friendly songs. Whether you're hearing these repeatedly between MFA classes or occasionally in the CD changer, you'll probably find them worth your family's time. Recommended.

Posted by SAShepherd at 07:19 PM | Permalink | Comments (1)

It's Alan Lomax for the kiddos.

Released last year by the Alabama Folklife Association and given a new release this upcoming Tuesday, Bullfrog Jumped is a collection of folksongs sung by mothers, grandmothers, and other women in the summer of 1947, when they were recorded on front porchaes and in kitchens by Byron Arnold, a Professor of Music at the University of Alabama. There are some standards -- "Frog Went A-Counrting" and "Skip To My Lou," for example -- but many of these folksongs were new to me, or at least the melody or lyrics were. There are, for example, three different versions of "All The Pretty Little Horses," none of which quite sound like the wistful lullaby has become more than 50 years later. "Skip To My Lou" has about 10 verses, only 3 or 4 of which I'd heard before.

There are some stellar voices on the disk. Vera Hall, whose recording of "Troubled So Hard" was sampled by Moby on Play (and who was definitely familiar to Alan Lomax), has a great song, "Little Lap Dog," here. The voice that made me snap to attention every time I heard it was that of 17-year-old Mozella Longmire, who has 4 tracks on the disk, including "Little Sally Walker" and "Two Little Gentlemen From the Spring." Sixty years later, Mrs. Longmire is still singing in the choir at Mt. Triumph Baptist Church, and it seems to me someone needs to record an album of her singing folksongs. I'd buy it.

The songs are most appropriate for kids ages 0 through 6. You can hear four tracks here, two more here, and samples of all the tracks here.

With 42 tracks in about 36 minutes, sometimes the snippets of songs are just to short to be of much listening interest heard straight through. The a cappella nature of the album can also become a bit repetitive for an entire disk. But as a sampler and recording of songs familiar and much less so, the recording (which sounds great for a recording 60 years old) and the liner notes (of Smithsonian Folkways quality), should be in every library and preschool.

Posted by SAShepherd at 12:10 PM | Permalink | Comments (1)

With experience singing in Old Town School of Folk Music Wiggleworms classes, Chicago-based Ann Torralba would seem a logical choice for recording a CD targeted at the preschool set. And sure enough her debut kids' CD as "Little Miss Ann," Music For Tots, is geared for exactly those kids. A folk-poppy blend of traditional kids' songs, covers, and originals, the 22-minute disk is notable for its arrangements, which take out-of-the-ordinary approaches to familiar songs. Sometimes these arrangements sound great, such as on "You Are My Sunshine," which is given a different melody and jazzy percussion background, or "Pirate Ship," which employs a tin whistle to fun effect. Other tracks' arrangements aren't as endearing (the rhythm on the Pete Seeger-inspired "Edamame" was just, well, too angular, for example), but Torralba gets points for at least trying something different. (And I particularly enjoyed the Torralba originals.)

The disk is appropriate for kids ages 1 through 5. You can hear samples of all the tracks (and purchase the CD) here. With its reinterpretations of traditional songs, this disk would work really well in preschool programs. And while I don't think the CD will become the favorite of many families, Little Miss Ann's musical and lyrical re-interpretations on Music For Tots are good for the occasional sing-along for young families.

Posted by SAShepherd at 06:37 AM | Permalink | Comments (3)

Usually when I review CDs that aren't of the most recent vintage, it's because I want to go back and touch on a reasonably well-known CD and see whether or not it's stood the test of time (recognizing that that test might just be two or three years long). I've been writing reviews in one form or another for five years now, and even though I might not have reviewed everything, I've heard quite a bit, and heard of a lot more. But every now and then I stumble across a CD that makes we wonder how this escaped my radar screen.

Down at the Zoo falls into the latter category.

Even though I'm just now hearing the CD, it didn't completely escape notice -- it won an Oppenheim Toy Portfolio Gold Seal award. But this 2002 disk, from Austin musicians George Carver and Malcolm "Papa Mali" Welbourne (each with more "adult" recordings and bands), deserves greater attention, even almost five years later, because it's an excellent collection of family-friendly tunes.

The 35-minute CD includes 10 songs, all about the zoo or zoo animals. This theme, however, doesn't become at all tiring because the tracks are so strong. From the Cajun-styled opening title track all the way through to the final reggae tune, "Jammin' at the Zoo," Carver and Welbourne have crafted strong melodies and matched them with accessible lyrics. The pure country of "I Don't Like My Cage" touches on the good and bad of zoos for endangered species ("I don't like my cage / It's not where I should be / But it's all that's keeping my kind / from being a memory.")

On top of that, Carver and Welbourne have recruited an able group of musicians to join them on these tunes, which besides those mentioned above include the folk-blues ("They Got Feet"), big band ("Jungle Swingers"), and what a Tom Waits kids' track might sound like ("Snake House"). The band really tears it up on my favorite track, the soulful and funky "The Funky Yak."

The album's best for kids ages 2 through 7, though older kids may still dig it well past the age of 7. You can hear samples at the album's CDBaby page.

Better late than never? In this case, yes. Down at the Zoo may be five years old, but this fine album is worth a listen even today. Definitely recommended.

Posted by SAShepherd at 08:04 PM | Permalink | Comments (1)

The first region-specific release in its Dreamland series, Putumayo's Asian Dreamland collection was released earlier this month with, yes, a collection of lullabies from Asia. Coincidence or not, it's one of the few areas of the world that Ellipsis Arts hasn't covered in its collections of world lullabies.

Although I keep an open set of ears when it comes to music, after more than three decades of listening to it, I've certainly developed some preferences, and one of those is a general indifference to music from Asia. I think it's perhaps the stringed instruments found in many Asian melodies, which may be relaxing to some, but not to me. So it came as little surprise to me that my favorite tracks on this 32-minute disk were those that downplayed the stringed instruments, such as "Cradle Song," from the Tatarstan artis Zulya, or "Aka Tonbo," a Japanese lullaby sung by Aiko Shimada and Elizabeth Falconer. Instrumentals like "Asadoya Yunta," which features a shamisen, a 3-stringed instrument similar to a banjo, were less pleasant to me. As slow as the instrumentals were, they would definitely keep me awak.

But one of the advantages of youth is that the ears of the young haven't developed their prejudices like their stick-in-the-mud dads, and so it's possible your kids will be incredibly relaxed by this collection. At the very least, it's a user-friendly collection of traditional Asian tracks supplemented by Putumayo's always helpful liner notes (you think I could identify a shamisen by myself?) A collection of lullabies, it's most appropriate for kids ages 0 through 6, though I'm sure older kids interested in traditional Asian music would find this a useful starter. Listen to Real Player samples here. Again, this collection is not for everyone, but if you're willing to try something new, Putumayo as usual offers you a good place to start.

Posted by SAShepherd at 07:38 PM | Permalink | Comments (1)

Austin-based artist Sara Hickman has been making albums for well over 15 years now. I can remember owning a cassette with her self-produced debut Equal Scary People (who knows where that tape resides now?)

Several years ago, Hickman decided to record a kids CD inspired -- of course -- by the birth of her kids. And so in 1999, Hickman released Newborn, a collection of songs for "parents who have trepidation about singing to their newborns." Half collection of lullabies, half something more uptempo, the 40-minute album generally succeeds, usually in more the uptempo parts. A simple swinging version of "A-Tisket A-Tasket" or a gentle reading of Cat Stevens' "Moonshadow" -- pleasant to listen to. And Hickman gives her own "A Slice of Heaven" a nifty a cappella treatment. Less successful are the lullabies. I'm a parent who has no trepidation about singing to my kids, and the lullabies here intimidate me, actually. "It's Alright" is a song Hickman created for her 4-month-old daughter, and while the lyrics are sweet and give great comfort, Hickman's strong voice is a bit overwhelming. Maybe I'm wrong here, but it doesn't sound at all like the way I would sing to a colicky baby -- it's that version that I want to hear. The lullabies are fine (I've heard much worse), but they don't always sound the way lullabies might actually be sung.

Now, if the first album occasionally suffers from a bit of preciousness, Hickman's 2001 follow-up Toddler suffers in no way whatsoever in that regard. In about 43 minutes, Hickman records 31 tracks of silly songs, playground rhymes, and a few stories that do a much better job of showing how simple it can be to just sing for your kids. In writing notes on the CD, I repeatedly used the word "fun" to describe the tracks. From the instant-classic playground chant "I Like My Boots" (co-written by Hickman and 8-year-old Kristen Nichols) to the zippy "Weenie Man" to the ear-wormy melody of Hebrew folk song "Hiney Rakevet," Hickman seems to be having a blast. It's multi-cultural, multi-lingual, and a blast of energy from start to end. Unlike Newborn, Hickman also uses a few more instruments (on both albums, the playing is great).

Sara's choice of album titles makes it remarkably easy for this reviewer to peg the age range, though I'd go a little on the older side, 0-4 for Newborn, and 1-6 for Toddler. You can hear samples and read lyrics for Newborn here and a few samples from Toddler here.

Sara Hickman has crafted a couple nice CDs here. With some sweet melodies, Newborn might make a nice gift for a parent-to-be and is recommended, if only because it's not totally lullaby-driven. But it's Toddler that's definitely recommended -- it's the stronger album and will get much more use owing to the fun evident on the disk.

Posted by SAShepherd at 08:22 PM | Permalink | Comments (4)

When playing toddler standards, simplicity works wonders, but it's also nice to take a slightly different approach from the hundreds of recordings that have preceded you. Josh Levine for Kids, from New York City musician Josh Levine stands out from most by mixing in some Latin songs in with the English-language standards (and sometimes reworking those). For example, Levine turns the "Alphabet Song" and the "Hokey Pokey" into gentle mambos. (I liked the slight but snappy "I Am a Pumpkin," featuring the Venezuelan cuatro, in particular.) On the Latin side, the slinky "Tiburon" ("Shark") showcases Levine's keyboard work and "Mi Cuerpo Hace Musica" has nice percussion work from Levine and Guillermo Cardenas. Levine also lends his alto to his own music accompanying Edith Segal's "A Real Bouquet," a sweet song in praise of diversity.

Though the album encourages movement on the part of the listener, in general it exudes the mellow vibe of a lazy, sun-drenched afternoon. I kept on having "Getz/Gilberto" flashbacks -- I wasn't expecting "The Girl from Ipanema," really, but there's a certain timelessness to the jazzy Latin rhythms that will keep it from aging. I think the 22-minute album's most appropriate for kids ages 2 through 7. You can hear samples at Josh's music for kids page.

Whether you're looking for some slightly different takes on toddler favorites, to broaden your family's musical palette, or just for a nice, low-key 20-minute timeout, Josh Levine For Kids is a good place to start. Recommended.

Posted by SAShepherd at 07:40 PM | Permalink | Comments (1)

Originally released in 1961, Sam Hinton's Whoever Shall Have Some Good Peanuts is a classic beloved by many families. In August, Smithsonian Folkways re-released the album (for the first time on CD) so that a new generation of families could hear these stories in songs.

If the only thing Sam Hinton did in his life was direct the Scripps Oceanographic Institution in southern California for about 20 years, that by itself would be a full life. The fact that he's also an accomplished musician (reportedly knowing 5,000 songs) and artist (doing the drawings for the reknowned Rise Up Singing collection) makes me feel, well, that perhaps I could perhaps do a little bit more on the side. Or in my full-time job.

Anyway, the 20 tracks showcase Hinton's clear voice -- he nimbly navigates fast songs like "Michael Finnegan" while giving character to somewhat more midtempo tunes like the gently bouncing "Mr. Rabbit" or sweet songs like "The Eagle's Lullaby." And his talent for vocal mimickry is adeptly shown on tracks such as "The Barnyard Song," on which he, yes, imitates many barnyard animals. (Given Hinton's "daytime" job, it's not surprising that many of songs deal with animals and the natural world.) Hinton accompanies himself on guitar; it's unobtrusive, but it's the lyrics and melody that are the stars here.

I think kids ages 2 through 7, along with their associated adults, will appreciate these stories in songs the most. You can hear samples of the tracks at the album's Folkways page. I also should note Folkways' typically excellent album package, which in this case features Hinton's excellent notes on the songs along with an introductory essay from Bess Lomax Hawes.

Whoeve Shall Have Some Good Peanuts is reminiscent of a Pete Seeger album, sharing a fine voice and a strong folksinging tradition. There is a looseness, however, to the interpretations that also reminds me of Woody Guthrie's kids' albums. If you have any affinity for the albums of those two artists, you will certainly enjoy this album. Recommended.

Posted by SAShepherd at 07:58 PM | Permalink | Comments (1)

Take away the cover art of a child sleeping next to their stuffed animal, and there's nothing about The Innocence Mission's 2004 album Now The Day Is Over that would compel its placement in a kids' music section. Having said that, the collection of standards and other songs done in lullaby style was performed with kids in mind. The cover art fits.

In a low-key jazz-influenced style, sparsely arranged and usually just with little more than guitar and bass to accompany her, singer-songwriter Karen Peris gives a hushed interpretation to the songs, lending to the dream-like quality of the recording. This semi-conscious quality is a good fit for many of the songs, such as "Stay Awake" or Henry Mancini's classic "Moon River" and extends to Don Peris' instrumental guitar work on Chopin's "Prelude in A" and Beethoven's "Sonata No. 8." The one original, Karen Peris' "My Love Goes With You," is a sweet lullaby, much closer to traditional lullabies than most of the songs on the 30-minute disk. One word of warning, though -- Peris' voice, though beautiful, has a distinct and somewhat nasal quality to it. I think most people will warm to it, but some might not. (Indeed, the songs I enjoyed less were the ones I'd heard hundreds of times before -- "Over the Rainbow" and "What A Wonderful World" -- and didn't think the Peris' distinct voice and rendition improved upon the original. The kids around you, of course, with no such baggage, won't care.)

As a lullaby album, it's targeted for kids ages 0 through 5, though there's no reason why you won't put it on yourself when the kids are nowhere around and you need some peaceful music. You can clips at the album's CDBaby page. Now The Day Is Over is filled with a sense of goodness that families can find respite in in the course of -- or at the end of -- a busy day. Recommended.

Posted by SAShepherd at 08:50 PM | Permalink | Comments (0)

There are two basic approaches to putting together a genre-specific compilation of music, approaches which for brevity's and wit's sake, I call Putumayo vs. Rough Guides. The former approach may not necessarily be an exhaustive look at a genre, but it sure results in a pleasant thirty-to-sixty-minute mix of music to someone unfamiliar with the genre. The latter approach is as much history lesson as mixtape and while you might not listen to it often, unless your expertise is such that you might have been asked to compile one of these yourself, you're bound to find something new and something really fabulous.

Bright Spaces 2 is Dan Zanes' Rough Guide to Family Folk Music.

Zanes compiled this 2006 collection, released last week, on behalf of the Bright Horizons Foundation. The Foundation sponsors the "Bright Spaces" program, which puts playrooms in shelters for children in crisis situations. He calls this collection a "musical scrapbook," and like many a scrapbook, it's a collection of snapshots (in this case, songs) that have significance to Zanes. His scrapbook might not be your scrapbook, but he's certainly taken a lot of pictures of family folk music.

Zanes pulls from artists young and old, famous and not. And unless your collection of family folk music is, oh, a thousand albums full, many of the tracks are likely to be new to you. Boston's Session Americana turns in a fabulously languid version of "Merzidotes," which is followed by "L'cha Dodi," a 16th century Jewish tune recorded by Craig Taubman. The Deighton Family, a real "family band" for whom Zanes has had many a good word, leads off the album with a happy "When You're Smilin'." And Zanes re-records his hit "Jump Up" with New York band Astrograss, putting a more muscular bluegrassy accompaniment to his tune -- I wouldn't buy the album just for that version, but it's good in its own right and different than the original. There are probably few tunes you already have in your collection -- Elizabeth Mitchell's version of "Little Sack of Sugar" and the Garcia/Grisman rendition of "Hopalong Peter" are the two most likely. If there's any downside to the collection is that it lacks some of the musical diversity that makes Zanes' own albums such adventures to listen to. The songs here fit more in the folk music mold, and if that's not your bag, you may be underwhelmed.

As an album of family folk music, it's really appropriate for all ages, though the tiniest ones may not be too interested. Call it ages 2 through 10. You can purchase the album at Amazon as well as on this page. You can hear the Astrograss/Dan Zanes track here.

In calling this the "Rough Guide to Family Folk Music," I've probably understated the mixtape qualities of Bright Spaces 2. There are good and excellent tracks collected here, and, if you have any affinity for Zanes' music-making, will without a doubt send you spinning off in at least one new direction you've not gone before. Recommended.

Posted by SAShepherd at 07:32 PM | Permalink | Comments (1)

If Smithsonian Folkways is looking for another kids' musician to join Elizabeth Mitchell on the label, I've got a suggestion: how about Enzo Garcia? His latest album, LMNO Music (Pink) (2006), has echoes of Folkways standbys Woody Guthrie, Pete Seeger, and Ella Jenkins, but makes the mostly traditional songs sound his own.

The San Francisco-based Garcia runs a music program, LMNO Music, for pre-elementary-aged kids and the album gives the listener some indication of what the classes might be like -- Garcia encouraging the crowd in a round of "Row Your Boat," or the hand-play of his original "Let's Make Pizza." In this sense, it's a very Ella-like record. On the other hand, Garcia's distinct voice and his banjo playing will remind the listener of Pete Seeger. And on the, er, other hand, his willingness to sing a cappella will remind others of Woody Guthrie. And for those of you with four hands, Garcia isn't content just to record traditional folk and kids' songs -- the album's standout song is the hypnotic "Hold My Hand," for which it took me several listens absorbing the layers of sound before I fully comprehended that it's another listener participation song.

The album is about as ambitious instrumentally as it is possible for a single artist to get -- the tinkling toy piano on "Oh, Oh the Sunshine," is about par for the course. While dependent on guitars and banjos to ground the songs, Garcia is a sound collagist, picking a choosing instruments to fill out the sound. If there's an oddness (in a good sense) to the music on the album, it's helped along by musical guest Ralph Carney, who's also recorded with another stellar sound collagist, Tom Waits.

The songs here are best for kids ages 2 through 6, though the creative approaches to familiar tunes throughout the album make it accessible to kids older than 6. You can sample tracks at the album's CDBaby page.

Garcia's willingness to extend the boundaries of what traditional music and new folk and kids music might sound like differentiates him from many solo artists. It's time for a new generation of kids' musicians willing to claim these folk songs as there own. Are you listening, Folkways? Recommended.

Posted by SAShepherd at 09:00 PM | Permalink | Comments (1)

I wouldn't be here if not for Elizabeth Mitchell. Not in a "here on this planet" manner of speaking, but here, writing about music for kids and families. A webforum's random note suggesting her kids' music debut You Are My Flower prompted an impulsive purchase; listening to the album, brief though it was, opened my ears to the possibilities in listening to (and making) music with kids. It and its successor, You Are My Sunshine, became beloved and well-worn recordings in our household.

I mention this for two reasons: one, to express my debt of gratitude to Ms. Mitchell for that first album; and two, to give you a sense of my bias heading into the review of Elizabeth Mitchell's 3rd solo CD for kids and her first for the venerable Smithsonian Folkways label, You Are My Little Bird (2006). The pairing is so obvious that it makes you wonder why nobody had thought of this sooner. Mitchell's previous kids' albums (including another album made with her college bandmate Lisa Loeb) always relied heavily on traditional songs discovered or made famous by such Folkways standbys as Woody Guthrie, Lead Belly, and Elizabeth Cotten. (She also liked covering Bob Dylan songs, too, part of the albums' unique charms.) The folk approach (homemade sound, often only accompanied by husband and musical partner Daniel Littleton) also made it sound very Folkways-like.

This album is loosely organized around the avian theme of the title, with songs such as the traditional "Little Bird, Little Bird" and the Spanish-language "Los Pollitos" (The Little Chicks). (The use of non-English-language tracks continues the trend seen in the Mitchell-Loeb Catch The Moon album.) The album also includes slightly less traditional (but no less avian) covers of Neil Young ("Little Wing") and Gillian Welch/David Rawlings ("Winter's Come and Gone"). Some songs encourage listener participation, such as on "Little Liza Jane," which names cities familiar to the artists, while one of the album's standout tracks, "If You Listen," a sweet folk-pop track, encourages the listener to search for certain sounds (birds, different instruments). If there's a key song thematically here, this is it.

Another one of my favorite tracks is the cover of the Velvet Underground's "What Goes On," which, well, rocks in a way few if any other Mitchell's kids' music tracks do. It fits in well with an album which takes the homemade sound of her previous CDs and builds upon it in different ways -- the significant (but not distracting) presence of daughter Storey, the gradual building of voices in the opener "Little Liza Jane," the banjo on "Little Bird, Little Bird" (recorded by another stellar kids' musician and banjo player, Pete Seeger).

I can't discuss this album without mentioning Mitchell's voice, which is the sweetest and best voice in kids' and family music today. The crystal-clear quality of her voice not only is pleasant to hear, it's also essential to understanding the lyrics so you can then sing the songs to the kids in your life. (In fact, if I have one complaint with the album it's that some of the non-Mitchell-penned liner notes take up valuable space which could've otherwise been used to print lyrics.)

Like the other Mitchell CDs, the sense of calm that permeates the album makes it appropriate for a wide age range, but it's probably best for kids ages 2 through 7. You can hear 5 of the songs (including "What Goes On" and "Three Little Birds") in their entirety at Mitchell's website (click on "Sunshine," then "Listen.") You can hear samples from all the tracks on the album at its Amazon page.

If, like me, you are familiar with Elizabeth Mitchell's work, you will not be disappointed by this latest album -- it retains the simplicity and homemade sound of the earlier albums while expanding upon it in new and delightful ways. If, like me a number of years ago, you are unfamiliar with Elizabeth Mitchell's work, You Are My Little Bird is an excellent introduction. The album is a gift to kids and adults alike. Highly recommended.

Posted by SAShepherd at 03:25 PM | Permalink | Comments (3)

If I had a dollar for every time my name was spelled incorrectly, we'd have replaced the flooring in our house long ago. So I understand the decision by Los Angeles-based musician Melissa Szilagyi to drop her surname and perform simply as Melissa. It's also very pop-star-like. Her debut kids' music album Here We Go (2006), to be released next week, is 29 minutes of preschooler-friendly acoustic pop that sounds not a little like kids' music star Laurie Berkner. Whimsical stories ("Have You Ever Seen?"), interactive songs (the sea horses counting down from 5 to 1 on "The Seahorse Song"), and subjects of great concern to 3- and 4-year-olds ("Going on a Trip," "Chocolate Ice Cream.") Add to that Melissa's warm voice and sharp additional instrumentation (guitar, mandolin, harmonica, assorted percussion) from New York-based musician Beau Elliott, and the album is a perfectly good little collection of songs. The originals are well-crafted; the few traditional songs are innovatively arranged. It's not quite at Laurie's level, though, for a couple reasons. First, Berkner's songs have a river of good humor flowing through them; these songs, though by no means humorless, don't have enough of those moments of loopiness that keep parents sane while listening to Berkner's music. Second, you realize how important Berkner's band -- the bass and the piano -- are to her albums. Here We Go would have benefitted greatly from even a couple songs with a full band. The album is most appropriate for kids age 2 through 7. Listen to clips here or here. I'm recommending this -- it's a well-done and enjoyable album. (And I'm hoping Melissa finds even more talented musicians for her second album!)

Posted by SAShepherd at 07:46 AM | Permalink | Comments (0)

The creation of music industry veteran Andy Hurwitz, the supergroup Baby Loves Jazz is just one part of the Baby Loves Music empire. With Baby Loves Disco well-established and Baby Loves Reggae and Hip-Hop yet to come, who knows if Baby Loves Grime and Baby Loves Trip-Hop are next on the list. Released tomorrow, Go Baby Go! (2006) is the first of the Baby Loves... genres to make it to disk and it's a good first, er, baby step for the series.

The Baby Loves Jazz supergroup includes John Medeski from Medeski Mertin & Wood, members from the jazz band Sex Mob, and other musicians with strong jazz backgrounds. The concept on this album is fairly simple -- take classic children's melodies and jazz-ify them. From the bebop version of "Old MacDonald" to the funk/soul of "Paw Paw Patch," the group puts their own take on the melodies and lyrics in the best jazz tradition. The vocals are especially strong on "ABC" and the fun original "Scat Song." Two of my favorite tracks are the slow and funky "Wheels on the Bus" and the frenetic title track, both of which feature kids on the choruses. (Listening to the kids shout "Round and round! / Round and round!" in "Wheels" puts a smile on my face every time.

The 18-track, 51-minute album is not without some less-appealing moments. The interstitials, which introduce different instruments, are fun, but are placed before songs that don't build on the instruments mentioned (e.g., "The Piano" is followed by "Paw Paw Patch," which is played on an... organ). It's not bad, it's just an opportunity missed. And, frankly, I can do without the last 3 tracks, which are intended to be a calming, gateway to sleepy-time, but instead just drone on for way longer than necessary. Take out the last two tracks, and you'd have a fairly zippy 36-minute album.

The songs will probably be most appealing to kids ages 2 through 8. You can listen to the modern sounds of "If You're Happy and You Know It" and tracks from the four simultaneously-released "Baby Loves Jazz" books here. Because it's being released by the well-regarded jazz label Verve Records, expect to find this in a lot of different places.

People who think jazz ended when Miles went electric in 1969 may not appreciate all the tracks here (and, to be honest, I'm mostly in that category myself). But there are enough solid tracks to keep you traditionalists happy and if you (and your baby) like your jazz mixed with more modern elements of funk and soul, Go Baby Go! is an excellent addition to the small canon of jazz for kids. Recommended.

Posted by SAShepherd at 09:32 PM | Permalink | Comments (0)

I would call Owen Duggan the "next Raffi," but the problem is, I already did that with someone else. And even if I no longer believed it (which I do), it would look pretty foolish of me to recant scant weeks later. So let me put it this way -- Owen Duggan is Raffi.

Or, to put it another way, Duggan's late 2005 debut album An Elephant Never Forgets is the album that Raffi could've recorded after The Corner Grocery Store, had he decided to continue mining the vein of classic kids' songs, folk songs, and other musical traditions instead of becoming increasingly concerned with ecology and children -- all Good Things, no doubt, but far from where Raffi started. But Duggan has the sweet voice (here's a man who needs to record "Puff the Magic Dragon") and talented backing musicians that makes Raffi's work so pleasant to listen to.

Duggan, a San Antonio-based music teacher, has put together a wonderful group of musicians to back up this collection of Duggan originals and classic tunes. The gentle humor of the album is evident in one of my favorite tracks, the zippy "The Ants," better known as "The Ants Go Marching." Duggan and his band gives the song an increasingly manic energy, which is released in a jazzy musical outro. I especially liked the brass work of Ron Wilkins throughout the album, but the whole set of jazz and folk musicians who back him up are top-notch. The music switches between gentle kids folk music (the Duggan original "The Elephant Song" and "I Got the Baby Blues"), covers of classics (Tom Paxton's oft-recorded "The Marvelous Toy"), authentic folk music (the energetic fiddle tune "The Green Meadow"), and jazz (the Ellington/Strayhorn "Happy Go Lucky Local"). Duggan closes out the album with a couple lovely lullabies, which seems to be the standard for kids' albums nowadays. (Almost makes me nostalgic for the Raffi albums, which sometimes ended up on an uptempo note.)

This album is targeted right at kids ages 2 through 6. You can hear samples here and order the disk at Duggan's website or the standard Amazon/CDBaby/iTunes trio.

If Raffi makes your eyelid twitch erratically, I really can't recommend the disk to you. But if you have an appreciation for Raffi's work, and are looking for something else besides to play, An Elephant Never Forgets is a nice collection, a little jazzier, a little poppier than Raffi, and every bit as well done. Recommended.

Posted by SAShepherd at 10:15 PM | Permalink | Comments (0)

Long before Laurie Berkner, long before Raffi even, there was Pete Seeger. His stepmother spent a lot of time recovering folk songs from historical neglect, and her stepson put many of those on record. He was incredibly productive in doing this for Folkways Records, recording 54 albums for them. One of those albums, originally released in 1960, Seeger's Song and Play Time, received a new release on CD in 2001.

More than anything, the thing that keeps Pete Seeger's albums far from the file marked "important-but-unlistenable" is that voice. Crystal-clear and sweet, accompanied only by his adept banjo-playing, and sometimes by nothing his conviction that folk songs are worthwhile, Seeger's voice invites listeners to sit down and listen. (His voice sounds great on this remastered album.)

Until, of course, he encourages them to join in the fun. Sometimes that encouragement is for physical activity, as in "Here We Go Loopy-Loo," the precursor to the "Hokey-Pokey." (Or, since the "Hokey-Pokey" has been around since possibly the Middle Ages, perhaps it's the successor.) Sometimes the encouragement is to sing along, as in the classics "I've Been Workin' on the Railroad" and "She'll Be Comin' 'round the Mountain." (The latter, I would note, includes a lyric about killing the old red rooster -- "hack-hack" -- which got left out by Raffi and Laurie Berkner. I like the addition and it certainly puts the next line -- "We will all have chicken and dumplings" -- in much better context.) And sometimes Seeger simply wills the listener to participate, singing loudly and clapping a cappella on "Captain Jinks."

Kids age 2 through 6 will most enjoy the songs here. You can hear samples at the Folkways page for the album.

At 41 minutes in length, the album may get a bit too repetitive to listen to straight through. But it'd probably fit right in a 5-CD changer on shuffle, either with Seeger's contemporaries or with your contemporaries. And the more you're willing to sit down (or stand up) with Seeger (rather than just putting him in the car's CD player), the more you and your kids will get something out of the album. Seeger's melodious voice and enthusiasm makes this worth exploring for you and the younger kids in your life.

Posted by SAShepherd at 10:33 PM | Permalink | Comments (0)

Why are there not more great jazz albums for kids? You have wonderful melodies infinitely adaptable to the improvisational technique that is one of jazz's trademarks, and yet the number of really good jazz albums geared for kids is small. Hayes Greenfield's 2002 release, Jazz-A-Ma-Tazz, is one of those few albums, great for introducing kids to jazz.

The vocals, unsurprisingly for an album of renditions of kids' songs, are front and center. Miles Griffith turns in a broad variety of vocal approaches and his often gravelly voice contrasts nicely with the sweet voices of Lisa Michel and Charenee Wade. Richie Havens also lends his resonant voice to two tracks, "Grandfather's Clock" and "Oh Susanna."

The album utilizes a broad range of jazz styles, from the gospel wrap-up to "Twinkle Twinkle Little Star" to the scat stylings on "Skip To My Lou" to the more contemporary jazz sounds of "This Old Man." Greenfield has also indicated -- and here's where my surface-deep jazz knowledge recognizes the names but not the particular albums -- that on "Grandfather’s Clock" they employ Latin swing (like John Coltrane's arrangement of "A Night Has A Thousand Eyes"), on "Old MacDonald" they use Thelonious Monk’s harmonic progression from his tune "Bemsha Swing", and on "Animal Fair" they superimposed Coltrane's classic "Giant Steps" harmonic motion. (Note: I have "Giant Steps" and I didn't recognize it, which says everything about me and nothing about Greenfield's skill here.)

What makes this album such a great introduction is the combination of vocals that are both skillful as well as engaging for kids (some tracks feature kids, but only as accompaniment) with instrumentals that are so often missing on kids-focused jazz CDs. Most tracks feature an instrumental break, with Greenfield's saxophone work taking the lead on the solos. The rest of his band swing solidly, too, making the whole 47-minute disc a pleasure to listen to.

It's really hard to put an age range on this disk, because I think most of the album works for adults just as well as for kids (with the possible exception of some of the vocal tracks where Griffith's voice is perhaps too cartoony), but I'll shoot for ages 2 through 12. You can see video clips and learn more about the project at the Jazz-A-Ma-Tazz website.

Jazz-A-Ma-Tazz is a fabulous disk, one that can serve as great introduction for kids to the broad vocal and instrumental palette used by jazz musicians. Definitely recommended.

Posted by SAShepherd at 06:31 AM | Permalink | Comments (0)

Review: A Play in One Act
With three characters: Dude 1, Dude 2, and Mr. Roommate:

Dude 1: Whoa, dude, that Sippy Cups song is deep!
Dude 2: Totally, dude!
Dude 1: I mean, it's about, like, life.
Dude 2: Totally.
Dude 1: It's like... a... uh... simile!
Dude 2: Simile? It is so not a simile, dude.
Dude 1: No, dude?
Dude 2: No, dude. It's a metaphor.
Dude 1: I'm not sure I agree with you, there, dude
Dude 2: Why not?
Dude 1: Well, look, there's this song, and it's about "Magic Toast," right?
Dude 2: Right.
Dude 1: And it sounds just like the Mamas and the Papas, maybe, or some psychedelic band from the late '60s, right?
Dude 2: Right.
Dude 1: So when they're talking about the magic toast and how it gives the boy a "lift," they're clearly making the analogy that breakfast is like life. And the toast is, you know...
Dude 2: Yeah, but what you're describing is a metaphor, dude. They're not using the word "like" or anything.
Dude 1: Hey, what you know about grammar, dude, could fit inside my...

Dude 1's Roommate, dressed as always in suit and tie, walks into the room.

Roommate: Oh, it's you again... dude.
Dude 2: Hey, man, what's your problem? You're always bringin' me down!
Roommate: Well, every time I come home from... what's that place called... oh, yeah, work, you two guys are sitting here eating grilled cheese sandwiches and having these abstract philosophical discussions.
Dude 1: We were not!
Roommate: Oh, really?
Dude 2: Yeah! We were having an abstract grammatical discussion.
Roommate: I don't believe it. What were you guys discussing?

Dude 1 explains the crux of the dilemma.

Roommate: Much as it pains me to say it, dude, your friend is correct. A simile is a figure of speech that expresses a resemblance between things of different kinds and is usually formed with "like" or "as." A metaphor, on the other hand, is a figure of speech in which an expression is used to refer to something that it does not literally denote in order to suggest a similarity.
Dude 1: Ah. Righteous, dude. You bring clarity.
Roommate: What I can't figure out is why you're spending the evening listening -- repeatedly -- to an album that is targeted to kids aged 2 through 7. I know, I know, it's appealing to a lot of adults, and the band's from San Francisco, but "Magic Toast" is neither simile nor metaphor... it's about TOAST! And while that song is OK (I confess to a weakness for the kazoos) and the "Snail Song" has a pretty awesome power pop finale, that's all the EP is. Two original tracks with the other two tracks just being the first two tracks overlaid with spoken word narrative.
Dude 2: Dude, you're just cheap.
Roommate: Uhhh... maybe you're right. Pass the grilled cheese sandwiches.
Dudes 1 and 2: Right on, dude.

Posted by SAShepherd at 11:13 PM | Permalink | Comments (0)

How best to describe the San Francisco-based The Sippy Cups? Perhaps they're what would happen if your favorite '70s cover band decided they just wanted to play for preschoolers. And added puppets and jugglers. On their 2005 debut album Kids Rock For Peas!, the seven-member ensemble (recorded live at the Rickshaw Stop in San Francisco) cover a wide range of '60s and '70s songs on the 47-minute disc, from the Beatles ("Dear Prudence") to the Velvet Underground ("Who Loves the Sun") to the Ramones, mostly ("I Wanna Be Elated"). You might ask, you know, those are pretty darn good songs -- in the original -- why in the world would I want to buy cover versions? Well, not that the Sippy Cups' versions are better than the originals, but the vigorous renditions of the songs and the occasional alterations to make them child-friendly (or child-friendlier) give them value in their own right. (They single-handedly rescue War's "Low Rider" from the clutches of beer commercials and "Jungle Boogie" from the clutches of Quentin Tarantino.) If the occasional song seems out-of-place ("Bennie and the Jets") or the live banter just slows the pace down, that's the risk one takes with a live package. (The presence of "Super Guy" will probably bring a smile to the parents' faces.) The songs are probably best for kids ages 2 through 6, though obviously any album covering the Beatles, Rolling Stones, and Neil Diamond will probably find fans whose ages reached double-digits long ago. You can check out some video clips here. Recommended, unless for some weird reason you think Lennon/McCartney (or, er, McCartney/Lennon) wasn't that great of a song-writing duo.

Posted by SAShepherd at 11:24 PM | Permalink | Comments (0)

It's hard to think about a time before "children's music" was even a genre, back before, well, if we weren't walking to school in the snow uphill both ways, at least before satellite and internet radio offered people thousands of listening choices. But there were a few artists that recorded songs for kids (if not exclusively) a half-century ago and for their continued presence on CD, we have the fine folks at Smithsonian Folkways to thank. Of the four major kids' artists on Folkways' roster (Ella Jenkins, Pete Seeger, Lead Belly, and Woody Guthrie), Lead Belly's collection of children's music is the most compact (read: easiest to review), and that's where I'll begin.

Lead Belly was born in 1888 and, according to the detailed liner notes in Lead Belly Sings For Children, Folkways' 1999 collection of his children's material, he claimed to have collected 500 songs over the 60 years of his life. From that perspective, Lead Belly was clearly important to 20th century American music and this collection should be considered "essential" for that alone. It's a reference CD of sorts. But I'm sure you have heard many "essential" albums that sat unused on your shelf for yours or went back to the library without even one renewal -- is this one of those albums?

Thankfully, there is enough great material that merits repeated spins by a modern audience. The album is grouped by type of song, starting off with children's rhymes and game songs from many years ago, such as "More Yet" and "Sally Walker," then sliding into blues songs (though those are certainly mixed throughout the entire collection). The spirituals collected here are given fine renditions as well, getting a group of children to sing with him on "Every Time I Feel the Spirit" and "Swing Low, Sweet Chariot." The collection ends with a series of work songs, many of which will be familiar to modern listeners, including "John Henry" and "Pick a Bale of Cotton." (Any interpreter of children's and folk songs worth his or her salt will have covered at least one of the songs here.)

My ears are spoiled by modern production values, and so I was pleased by the fact that these recordings, some of which are more than 60 years old, sound pretty good. Lead Belly's voice is appealing (I particularly liked the way his voice sounded on his slightly bluesier take on the chorus of "Blue-Tailed Fly (Jimmie, Crack Corn)") and his guitar work (it's generally just him and his guitar) is easily heard. (An exception to the "solo" rule is his lively rendition of "Pick a Bale of Cotton" with the Oleander Quartet.) A minor quibble with the disk is that Lead Belly's introductions (and there are many of them) sound a bit muddled compared to the songs themselves. When Lead Belly get a crowd of children to sing along, however, they sound great.

Children aged 2 through 10 or so would probably most appreciate the songs here (though different songs will appeal to different age groups. You can hear clips at the Smithsonian's site.

Given the broad historical overview of the collection, and the relative sameness of the songs, it's unlikely that Lead Belly Sings For Children will become you or your child's favorite children's music album. It's very likely, however, that you will find a few songs worth playing repeatedly and that it won't gather much dust on your shelf. Recommended.

Posted by SAShepherd at 07:35 AM | Permalink | Comments (0)

Pity the preschool children's musician. Forced to play the same set of familiar songs at least some of the time, yet Raffi (and before him, Ella Jenkins, Pete Seeger, Lead Belly, and Woody Guthrie) got there first and staked their claim. Few artists have managed to make a career out of playing the songs that the above artists perfected. (And believe me, many have tried. And failed.) Laurie Berkner is perhaps the only modern artist who's completely succeeded, and her fame is as much for her original music as it is for her rendition of traditional classics.

In walks Johnny Bregar and his late-2005 kids' music debut Stomp Yer Feet!. Bregar, a Seattle-based musician, played in local folk/rock band Big Spoon and found the selection of kids' music for his preschool-aged son wanting. His debut is a stellar collection of mostly traditional folk and other children's tunes, dusted off and given a fresh coat of paint.

The album starts off with "If You're Happy And You Know It," played with soul on an electric Rhodes piano ("just like Ray Charles used to play," Bregar writes in the song notes), and immediately all the characteristics of this winning album are revealed -- real instruments both familiar and rare, new sets of lyrics to traditional songs, and Bregar's rich and ever-so-slightly-raspy voice . The "Alphabet Song?" 12-bar blues. "Polly Wolly Doodle?" A little bit of Dixieland, a lot more bluegrass. "Waltzing Matilda" sounds as if it was recorded 60 years ago (but with much better recording equipment). And the ukelele just rocks.

All of which might get tiresome eventually if it weren't for the fact that the few originals on the 42-minute disc are pretty good, too. "Blah de la" might get annoying after listening to it 100 times, but its simplicity also makes it a perfect fit for the album -- even the youngest preschooler could probably get the hang of it and sing along. "Pancakes" is another simple cut, not much more than a chorus, but one that Matthew Sweet would be happy to record. And the one fully-realized original, "Moon," about wanting to touch things a kid probably shouldn't, is the song the Counting Crows will record when they eventually decide to stop recording songs for PG-rated movies and set their sights on G-rated movies.

The songs will appeal most to kids age 2 through 6. You can listen to samples here and buy the album either through Bregar's website, Amazon, CDBaby, or Land of Nod.

I hate to do this to the guy, because Bregar seems like a nice guy, but Johnny Bregar could be the next Raffi. Like Raffi, he's got the musical chops, the sense of humor, and a great voice. (If he's singing about whales 10 years from now, I can't be held responsible.) If you're looking for a collection of traditional kids' songs, and you either already have Raffi's collections or you can't stand Raffi's collections, you should really check out Stomp Yer Feet! -- Bregar's staking his claim to that niche of kids' music. Highly recommended.

Posted by SAShepherd at 09:30 PM | Permalink | Comments (0)

Kaleidoscope Songs Volumes 1 and 2, released in 2004 and 2006 by Alex and the Kaleidoscope Band would seem to have all the elements of a successful children's music album. Lyrics that target kids and their experiences, a large cast of musicians playing an even larger set of real instruments, and a fine, soulful voice in lead singer Alex Mitnick -- what's not to like? Well, despite all those advantages, there wasn't enough that said to me, "you won't mind hearing this repeatedly." This is partially the result of those lyrics targeted right at the 3-year-old audience -- they're not meant to speak to the parent ("I'm so glad to be alive / I like to learn new things / I like to notice all that I can," for example). The music itself is mostly mellow children's pop, and perhaps I was looking for a hook that never came. Only in a few songs did I find a spark -- "So Blue" and "Rock of Ages" both had a pleasant Van Morrison-vibe to them, while "Water Lily" is a gentle and appealing tune with touches of reggae. Those three songs are off Vol. 2 -- if you're interested in learning more about the band, I'd recommend starting there. You can listen to samples of some songs here. Your preschool-aged kids may like the two Kaleidoscope Songs albums, your preschool-aged kids' preschool teachers may find a lot of songs good for inclusion in lessons on the albums, but you, the parent, may not be so enthused by the albums.

Posted by SAShepherd at 11:34 PM | Permalink | Comments (2)

Josephine Cameron's 2005 release Close Your Eyes isn't really a kids' music album, but at its core it's an album of lullabies both traditional and original, and that's enough to a merit a review here. Based in Maine, singer-songwriter Cameron has a winsome voice reminiscent of Susanna Hoffs -- it's not my perfect voice for lullabies, but Cameron's phrasing and the understated jazzy instrumentals (piano, a little guitar, occasional drums) serve the songs nicely. The CD starts out a bit too loud and emphatic for proper lullabying, though Cameron's duet with Anna Vodicka on a medley of All Night All Day/Swing Low (Sweet Chariot) is enjoyable nonetheless. Starting with track #5, "Dream a Little Dream," however, Cameron puts together a mellow set of melodies, concluding with a lovely wordless "Lullaby" (co-written by Cameron and her producer Anthony Walton). (You can here clips of most tracks here and of the title track here.) Close Your Eyes is a nice choice and recommended for listeners seeking a lullabies album that avoids the standard fare and arrangements.

Posted by SAShepherd at 11:53 PM | Permalink | Comments (0)

Raffi generates such strong feelings in people, that it's almost impossible to review the April 2006 release of Quiet Time without addressing some knotty issues. I'm not going to tackle those knotty issues here, but here are 3 "nots."

1. This is not a new Raffi album.
2. This is not a Raffi greatest hits album.
3. This is not a bad album.

This is not a new Raffi album -- You know how you get excited about an episode of a TV show without an "R" behind it, thinking, "hey, this is a new episode!," then get disappointed to find out it's nothing but a "clip" show? That was what I felt on a small level when I realized that this wasn't an album of new Raffi songs; in fact, every single track on here is previously released.

This is not a Raffi greatest hits album -- As the title suggests, Quiet Time is laid-back and calming. So even though the 31-minute CD draws from just about every single album of new material Raffi has released over the past 30 years, it's hardly a "greatest hits" collection. (Which, Raffi's multi-CD collections and concert albums aside, he could sorely use.)

This is not a bad album -- Having outlined what this is not, let's talk briefly, then, about what it is. The album cover calls these "songs for a pause, a cuddle, or a nap," and I think that's a pretty accurate description. Although these are slow, relaxing songs, they are not, for the most part, lullabies. They're gentle songs, a good soundtrack for quiet times and activities. Raffi has a clear and wonderful voice, which serves these songs well. He is a great interpreter of traditional child's music. Your appreciation of the Raffi originals may vary. I found "Spring Flowers" to be a soothing song in which the vocals are almost as much of an instrument as the instruments themselves (it certainly doesn't sound like the music he recorded 20 years before). On the other hand, his "Blessed Be" is overly precious to me, and I find Raffi most appealing precisely when he's not being overly precious. Again, your mileage may vary.

I think the album will be most enjoyed by kids ages 1 through 5. Released by Rounder, the album's available at most online and the usual retail suspects.

This is not the first album I'd recommend for someone looking to start off with Raffi. But for someone looking for pleasant background music to a half-hour of downtime for their child, Quiet Time is a good choice.

Posted by SAShepherd at 07:14 AM | Permalink | Comments (0)

"Folk Playground is neither 'folk' nor 'playground' -- discuss."

The Putumayo label got its start a number of years ago putting together mix tapes for use in its clothing store. They have since abandoned the clothing store, focusing solely on music, and have developed a kids' music label, Putumayo Kids. The latest entry in the Putumayo Kids series of CDs is the 2006 release of Folk Playground, to be released on Tuesday.

The 33-minute CD may confuse folk purists while also confusing some parents new to the children's music scene. The key component in the definition of "folk" seems to have been whether or not acoustic guitar was included on the track. The "playground" songs -- "This Old Man," "Froggie Went A Courtin'," -- aren't necessarily "folk music" in execution (or, if they are, it sort of stretches the definition.) The term "Folk Playground" is marketing and stretches the definition of what's actually on here.

Now, if you are a devoted children's music listener, you may already have half the songs (or at least half the artists) already in your collection. The problem with the selections from the more familiar artists is twofold. In some cases, the selections are not very representative of the artist's work (Justin Roberts' "Roller in the Coaster," while a nice little song, is a less common type of song for him, compared to the rave-ups; Laurie Berkner has made a name for herself for her originals, not covers. Neither would be considered folk artists.) In other cases, the songs are more representative of the artists' overall work, but not necessarily a highlight from their catalog (Dan Zanes' "Hop Up Ladies," Trout Fishing in America's "Fill It Up," Elizabeth Mitchell's "Crawdad"). These songs are perfectly fine, but I could probably have come up with a half-dozen songs each that I'd've preferred to see on here. (I do think Brady Rymer's "It's All How You Look At It" is pretty good, though.)

Of the less familiar artists (kids' related -- Leon Redbone is hardly an unfamiliar artist), the clear standout song on the CD is Zoe Lewis' "Sheep," about her musings while seeing sheep from far above in an airplane ("I wonder what are you thinking as your little pink lips go round and round and chew / Does night time bring you dreams of spring, mutton, mint sauce, leg of lamb or stew? / (Sorry, sheep)"). It's a sprightly melody, sung with whimsy, and mixed with tin whistle, among other instruments. Forget about the less familiar artists -- it's the best song on the CD, period.

The album is probably most appropriate for kids age 2 through 8. You can download lyrics and listen to sound samples at Putumayo's page for the release.

In the end, after listing all my criticisms, you might be surprised to read that I like the CD. It's a case where the whole is greater than the sum of its parts. Putumayo's history as a mix-tape creator serves it very well here as Folk Playground is a CD which will serve as a very pleasant soundtrack to a session of coloring or game-playing. While there are few standout tracks here, the overall listening experience is nice.

Posted by SAShepherd at 07:54 AM | Permalink | Comments (0)

Released in 2003, the debut self-titled CD from Los Angeles' Gwendolyn and the Good Time Gang had its genesis in the 2000 movie Chuck and Buck.

Movies about stalking childhood friends 15 years later don't typically serve as the inspiration for forming a children's music band, but Beck drummer and music producer Joey Waronker asked unimonkered LA folk-rock singer Gwendolyn to contribute a song to the movie soundtrack -- out of that grew this entire album.

The entire album has the feel of a Saturday morning cartoon or kids' variety show. Gwendolyn sings with a somewhat high-pitched and nasally-pinched voice. In addition, there appear to be "characters" singing along on many of the songs (there are characters pictured on the CD case but the liner notes aren't clear). The entire thing just screams, "CUTE!"

As someone who tends to react allergically to cartoony voices and cuteness in general, I mentally prepared myself to actively dislike the album. It's a testament to the strength of the melodies and musical production that I can look past the characters' voices and focus on the melodic hooks.

Some of those hooks have lodged in my brain, and may never come out. "Anatomy" isn't much more than a spoken-word recitation of a whole bunch of body parts and their purpose, but the poppy chorus, "It's your anatomy," repeated nearly ad nauseum, is running through my head right now over and over. "Farm Animal Friends" has a nice loping country song feel to it. The song from Chuck and Buck, "Freedom of the Heart (Ooodily, Oodily)," isn't necessarily a kids' song, but it's got a kid-like feel and a very '70s pop sound and a chorus that goes "Oodily oodily oodily oodily oodily oodily fun fun fun." (I assure you, it's head-bopping.) The song "Little Monkey," for a character which appears to be an Elvis impersonator, has a suitably '50s Elvis-like sound. In addition to being catchy musically, the band (seven members in total) sounds good, too.

Lyrically, the 26-minute album deals squarely with typical preschooler concerns -- manners, sharing, washing, and bugs, among other things. The lyrics are direct ("Please" -- "When you say things with a smile / A little tiny inch becomes a mile / You can go far when you're cheerful / Because nobody likes someone who's tearful"). The earnest lyrics don't leave a lot of room for adult humor, but some sneaks in. (In the aforementioned "Anatomy," Gwendolyn mentions, "Hair / Everybody has hair / Well, except for my dad.")

Given the show-like approach of the music and lyrics, the album is most appropriate for kids aged 2 through 6. You can hear samples of music from their two albums and a full download of "Farm Animal Friends" here. You may want to double check that the characteristics of the CD I could see past you can see past, too. The album is available through their website or the usual online suspects.

Gwendolyn and the Good Time Gang had all the hallmarks of being a CD I wasn't going to like at all, but very quickly it wore down my defenses. It's a fun little CD with great melodies that's likely to engage your kids. Recommended.

Posted by SAShepherd at 10:49 PM | Permalink | Comments (0)

The Hollow Trees are a Los Angeles-based band who released their debut self-titled album in December 2005. Led by Greg McIlvaine and Laura Steenberge, the Hollow Trees drew inspiration from Dan Zanes in looking for ways to make family-inclusive music, making Zanes Pete Seeger to their Bruce Springsteen.

The Hollow Trees owes a debt to Zanes in a couple ways. Most noticeably is the inclusion of two songs covered by Zanes on his CDs -- "Polly Wolly Doodle" and the album closer "Buckeye Jim." Less noticeably perhaps, but more importantly, is the feeling of "let's get together and make a CD, and why don't you invite your friends" that permeates the disk. Now, Zanes clearly has more musically famous friends than the Hollow Trees (there's no Sheryl Crow on the Trees' version of "Polly Wolly Doodle.") But that doesn't make the Trees' version less fun. Indeed, my favorite cut on the album, their rollicking version of "Jack Was Every Inch a Sailor," sounds like there are about 15 people crammed into a living room with a microphone and would sound just great on a Zanes album. Songs like that, uproarious and boisterous, are where the Hollow Trees shine.

The rest of the album are faithful covers of other folk and bluegrass standards (some more familiar to me, others less so) done with care and competence. The originals (only 4 of the album's 17 tracks) are a mixed bag -- I liked "Forest Melody," which has a very 50's folk-rock sound to it and "Nelson," but found "Bunny Hop" to be a bit repetitive.

Like many folk/bluegrass albums, the notion of age-appropriateness is much less relevant than for other CDs, but I think that kids aged 2 through 7 would like this album the most. You can hear complete tracks from the CD at the Hollow Trees website, as well as order it there or from CDBaby.

The Hollow Trees is a fun album of folk and bluegrass for the entire family. If you don't care at all for folk and bluegrass, this album won't appeal to you. But for the rest of us, we'll enjoy the album just fine. Recommended.

Posted by SAShepherd at 11:17 PM | Permalink | Comments (0)

I initially approached Frances England's 2006 debut album Fascinating Creatures as if I were playing a game of "spot-the-influence." Did I hear Elizabeth Mitchell (who recorded a low-key and lo-fi debut CD a number of years ago)? Did I hear Cat Power or Yo La Tengo, a couple artists England herself cites an influences?

And after a couple spin-throughs, I thought that to play that game was unfair to England, who has recorded one of the most adventurous children's music albums in some time, quite unlike anything out there at the moment.

England wrote all 13 songs on the album and recorded it with her husband's cousin Billy Riggs. Lyrically, England covers the 4-year-old waterfront -- tricycles ("Tricycle"); trains, trucks, boats and airplanes ("Where Do They Go?"); and the fun of a blueberry pancake breakfast ("Blueberry Pancakes") -- without talking down to the listener. These aren't new topics for children's music, but lines like "Tell me where do all the big boats go? / As they crash against the wild, dark sea / With containers stacked both high and low / The captain steers towards land and safety" aren't a typical children's music lyric.

Musically, the first half of the CD is a low-key affair, primarily acoustic guitars and light percussion. But on "Charlie Parker," the middle song on the album, that the album kicks into a higher gear, adding electric guitar and drums. It's a little odd to hear a rock song about jazz greats (albeit with some scat singing), but it works. The next song, "Digging in the Dirt," about gardening (natch), is an even fuzzier rock song. Eventually the CD winds down again, returning to acoustic guitar and England's voice.

Although England's voice reminds me a little bit of the nasally twang of folksinger Iris DeMent (particularly on "Where Do They Go?"), it wasn't until I heard England rock out that I figured out who she reminded me most of -- Tanya Donnelly in her Belly years, alternative rock in which Donnelly's voice was used as another instrument along with the wall of guitar sound. England yodels, yips, and in general provides the musical variation on the simple instrumental backup.

The album isn't perfect -- the mix of instruments on the rock songs sounded a bit muddied to my ears, for example. And England can sometimes try to fit too many syllables into a lyric. (One of my favorite songs on the CD, the closer "Little Bright Star," doesn't do that, and shines -- pun unintended -- for it.)

But that's quibbling. Fascinating Creatures is a good album, a very promising debut. (My wife likes it, and she's a much harsher critic of these kids CDs than I am.) It's probably best for kids age 2 through 7. Right now the CD is available through CD Baby, where you can hear samples of each track.

Finally, the copy I received was attractively packaged in a slimline case and burned on a nicely printed CDR, which may or may not be the version available for purchase. Those of you looking for a more complete package as with CDs from more established artists may be surprised. But what my copy lacked in heft it more than made up for in the feeling that here was something that I could say was the start of something big, like it was a little secret known to only a few. But I don't think this CD or Ms. England will stay secret for long. Recommended.

Posted by SAShepherd at 07:05 PM | Permalink | Comments (0)

In order to write this review, I must reveal a shocking secret:

I shot J.R.

Uh, wait, sorry, I'm confusing my shocking secrets. That wasn't me. Let me try again.

We don't have cable television.

That's right. No cable, no satellite dish, just a big ol' antenna on the top of our roof.

Why is that so important to this review? Well, Laurie Berkner is the biggest superstar in the children's music industry and I think that can probably be traced directly to Laurie's constant appearances on Noggin, Nickolodeon's preschool TV channel. Her videos and appearances on Jack's Big Music Show introduced her to the country at large and had to have been a major factor in Starbucks' decision to inaugurate their entry into the DVD market with this DVD.

And it's something that's been completely irrelevant to my experience of Berkner. So I watched these videos with the eye of someone who hadn't seen these videos a hundred times. (Heard the songs perhaps a hundred times, but that's a different matter.)

Here, then, are some notes on the videos:
1. These are very simple videos -- the band, some kids, and the occasional graphics or set design. Michael Jackson's "Thriller" video, this is not. Of course, when you think of the target audience -- 3- or 4-year-old kids -- this is entirely appropriate.
2. The band has an appealingly friendly attitude in the videos. Brian and Susie mugging to the camera, and all three (especially Susie) not being particularly concerned with matching their instrument-playing to the music. This is not a criticism as it allows them to show themselves having fun playing music.
3. The band has taken all the colors the Wiggles don't wear in their outfits, found the brightest clothes in those colors, and wear them all simultaneously. By the way, if there's a cow farmer out there missing a purple or orange cow, I think Laurie slaughtered them to make her leather pants.
4. These videos are very similar but not identical to those that are actually on Noggin. (See the originals here. I actually watched those to check.) The band rerecorded the songs and the videos for this DVD, but kept both much like the old versions. Now, they're close enough that they're likely to fool the little ones, but for adults, the difference may generate a bit of cognitive dissonance a la the switching of Darins on Bewitched. [Edit: In the comments, Laurie's "PR Mama" points out, correctly, that not all of the videos on the DVD are actually shown on Noggin. That's correct, only 4 of them are (or, at least, only 4 of them are available on Noggin's website). I apologize for not being clearer in my text.]
5. The DVD is a bit like a greatest-hits album for Berkner, containing all of her big hits -- "Pig on Her Head," "Victor Vito," "Bumblebee (Buzz Buzz)". Berkner's knack for melodic hooks and fun lyrics are on full display. When a song doesn't quite work (for me, it's "Under a Shady Tree"), the video doesn't work, either. (In addition to being a boring melody to me the lyrics mention the grass under Laurie's feet when there's no grass around.)
6. Unlike many requisite new songs on greatest-hits albums, "Walk Along the River," is a great song -- it should be a pop hit. (I cannot, try as I might, get the phrase "I take a step / I take a step / I take another step" out of my mind.)
7. The DVD is about 30 minutes long with maybe another 8-10 minutes of "bonus" videos.

In the end, reviewing this DVD is a bit like reviewing the Lord of the Rings movie trilogy. You either like the movies or you have no interest, and a review isn't going to sway you either way. As an overview of Berkner's work, it's very good. As an occasional "babysitter" for mommy and daddy (raises hand), it will probably get your kids to jump up and interact with the TV. (And of course it's even more likely to do that if you join in, which I've done, too.)

Again, if you're unfamiliar with Berkner's work or the videos, check the originals out here. If you like those, you'll like the DVD. I like Berkner and I like the DVD.

Posted by SAShepherd at 07:23 AM | Permalink | Comments (0)

In the mid-80s, the writer/director John Hughes produced Pretty in Pink, in which the less-than-upper-middle-class main character (played by Molly Ringwald, natch) has to decide romantically between her best friend Ducky and a boy from the "right side of the tracks." To many viewers' great chagrin -- how could you not pick Ducky! -- she picks the golden boy. A few years later, Hughes basically rewrote Pink as Some Kind of Wonderful and reversed the ending, with the main character picking his from-the-wrong-side-of-the-tracks best friend as his romantic partner. It's a much more satisfying ending.

What does this have to do with Wiggleworms Love You, the 2005 album from the Old Town School of Folk Music. OK, aside from the fact that both Hughes and the Old Town School are associated with Chicago. Well, this new album is sort of like the "golden boy" character with all the advantages compared to the poor original, Songs For Wiggleworms. The first album sounded like it was recorded in an actual Old Town classroom, with time constraints reminiscent of parent-teacher conferences. ("I'm sorry, it's 6:45, it's time for the Sweeneys.") Very few of the songs had anything more than voice and acoustic guitar.

This new album is greatly expanded sonically. It sounds much better, and the instrumentation is, on some tracks, surprisingly full. Percussion, bass, stringed instruments of all kinds (banjo, mandolin, fiddle) -- heck, there's an accordion on seven tracks. It sounds much more like a "folk music" album. (All of this may be the result of the fact that an honest-to-goodness record company, Bloodshot Records, released the CD.)

So why wouldn't you want this CD? Well, you would... if you already had Songs For Wiggleworms. The problem is that they already got most of the great tunes on the first CD. There are fewer of the great "oh, I'm gonna sing that to my young'uns" songs. There are maybe 12-15 songs that meet that criteria on the CD, or about 1/3 of the 42 songs on the album. The other songs are obscure to varying degrees, usually dependent on how familiar you are with the early Raffi oeuvre. (I can't believe I just used the phrase "Raffi oeuvre.") That's not to say that there aren't some great tracks on the album -- "If I Was a Bird," the meta-rave-up "Mama Don't Allow," and the tailfeather-shaking "Looby Loo" are three standouts. But unlike the first CD, on which the listener could sing virtually every song, many without the CD, this CD may be great to listen to but isn't necessarily as user-friendly for taking that out into the daily world with your child.

This sounds like a mixed review, but it's really not. It's just that I think the first album's ragged charm is just so perfect for its intended use that this more polished sequel slightly disappoints. If you already have Songs, I recommend Wiggleworms Love You wholeheartedly. If you don't, I think the first album is the better starting point. The CD is for children aged 0 through 6 and is available through the links above, plus the usual online suspects.

Posted by SAShepherd at 09:14 PM | Permalink | Comments (0)

I think with kids' artists there's no such thing as a sophomore slump. There are plenty of artists whose second albums were just as good, if not better, than their kids' debuts. But something happens on album #3 -- delusions of grandeur, perhaps, or just boredom with the formulas -- it's good, but not as good as album #s 1 and 2. Victims of the slump include Ralph's World, Laurie Berkner, and, well, Raffi.

Don't get me wrong, The Corner Grocery Store, Raffi's 1979 album, is pretty good. It has some nice renditions of some traditional songs, including "Frere Jacques" and a very simple but pretty "Swing Low Sweet Chariot." For the most part, the instrumentation consists of the fairly simple arrangements of piano, guitar, and occasional backing band found on his first two CDs.

But there's something missing overall. Perhaps it's the lack of a really good Raffi original, like "Peanut Butter Sandwich" or "Oh Me Oh My." Perhaps it's "Anansi," which jettisons all the simple arrangements for something approaching cheesy instrumentation. I don't know. It's hard for me to put a finger on, but the whole thing just isn't quite as appealing to me. Still, for those you thinking that covering Leadbelly or Huddie Ledbetter or Woody Guthrie on children's music albums is a newfound trend, Raffi did them all (Ledbetter twice) on this CD. (He does add lyrics to some of them, so perhaps it's not quite so adventurous.)

The album is best for children ages 2 through 6. I recommend the CD, though not as highly as Singable Songs For The Very Young or More Singable Songs. You can find the three CDs packaged together (slightly cheaper) as The Singable Songs Collection. Available at the usual suspects.

Posted by SAShepherd at 10:56 PM | Permalink | Comments (0)

Most lullaby CDs are a little bit painful for the parents to listen to. Cheesy instrumentation and American Idol-style over-emoting. Not to mention the same ten songs on each CD. There's only so many ways you can sing "All the Pretty Little Horses." (Or at least there are only so many ways I've heard.)

Thankfully the purpose of most lullaby CDs is such that we parents will not listen to them. But there are times, especially early on in a baby's life, when a little lullaby background music is nice for nursings or bottle-feedings.

So the collection from New York City's Metropolitan Museum of Art entitled Lullabies: A Songbook Companion came as a welcome relief from the other poor lullaby CDs I avidly bought before our first child's arrival. The album is a family affair -- parents Richard Kapp (piano) and Madeline Kapp (vocals) and daughters Julianne Baird (vocals) and Mela Tenenbaum (violin and viola). So you have classically-trained musicians playing real instruments and knowing when that over-emoting goes so far. (It's on here, but it's kept mostly in check.)

And when you have 35 tracks on the CD, clearly there will be a few tracks that will be new to you. The selection reaches across the globe ("Fais Dodo," "Suo Gan") and includes some classical instrumental tracks (such as Schumann's "Traumerei") that may very well be the most relaxing and sleep-inducing on the album.

The CD is available either on its own or accompanying a book with assorted child-related art from the Museum's collection and the sheet music. The book also gives the briefest of backgrounds on each song; such descriptions are omitted from the CD's liner notes. Both are available through the Museum itself or online retailers. If you're looking for a lullaby-related gift for parents-to-be, you need look no further than this CD. They may even be listening to it themselves long after their little one is sleeping through the night.

Posted by SAShepherd at 11:00 PM | Permalink | Comments (0)

It is waaaay too easy to dismiss Raffi as the purveyor of bad children's music based purely on reputation.

That is, if you've never actually heard his early work. His first album, Singable Songs For The Very Young, is a landmark of the children's genre, a genre that arguably didn't exist in any meaningful way until Raffi came along. And his second album, More Singable Songs, while not earning any awards for album-title creativity, is no less vital.

The album title doesn't promise much variation from the first album, and the music bears that out, but in a good way. Raffi blends traditional kids' favorites ("Comin' Down the Chimney," "Six Little Ducks") with folk standards ("Workin' On the Railroad," "New River Train") and originals ("Shake My Sillies Out," "If I Had a Dinosaur"). There are very few "messages" in the songs, and even those are slid in ("Oh Me Oh My," which at the very end becomes as articulate an argument for self-sufficient singing as anything Dan Zanes has recorded). The instrumentation is generally simple, but bringing in, when the need arises, a tuba, say, or pedal steel guitar played by Daniel Lanois (or "Dan," as he was known in his pre-U2 and Emmylou Harris days).

The comments from my review of the first album apply here, too -- best for kids aged 2-6 and too short at less than 30 minutes. (I keep thinking that Rounder could make a lot of money by combining these two CDs into one CD and adding some bonus tracks for the completists. If there are Raffi completists, the notion of which strikes me as very odd.) This is another children's music classic. Available at the usual suspects online and off-.

Posted by SAShepherd at 10:52 PM | Permalink | Comments (0)

Jivin' in the Jungle is the first CD from Barking Gorillas, a two-person band from New York. It's filled with upbeat and musically diverse songs targeted at toddlers and preschoolers -- songs about riding on the train ("Riding on the Train"), fire trucks ("The Fire Truck Song") and playing all day ("Play All Day," natch).

There are parts of the CD I was less than fully enamored of -- "Spinning" uses some sort of toy piano that sets me on edge, as does "Poopie Pants." And maybe this is a personal thing, but on some songs, the lead singer's voice annoyed me.

But there are also some very worthwhile songs on the album. For example, my personal favorite, "The Park," sounds like the result of the Dead Milkmen recording a kids' song, and I mean that as a compliment -- it has a very punky energy and is lots of fun. "The Fire Truck Song" doesn't do much more than sing about fire trucks, but does that very well. And the two slow songs placed in the middle and end of the CD, are sweet, speaking more to the parents than the kids. (And, for whatever, on those slow songs, I really liked the singer's voice.)

A lot of the songs -- even the ones I didn't particularly enjoy on CD -- I can envision being lots of fun in concert with lots of kids around. In the car with just you and your wee one(s), your mileage may vary. Still, this is a promising debut album, and I look forward to hearing their next go-round. (Just lose the toy piano, please.) The album is available from CD Baby.

Posted by SAShepherd at 08:45 PM | Permalink | Comments (0)

The folksinger Woody Guthrie was a prolific songwriter. Best known as the composer of "This Land is Your Land," Guthrie wrote and wrote and wrote. (Billy Bragg and Wilco combined to make two enjoyable Mermaid Avenue CDs in which they took songs from his large store of unreleased lyrics and added new melodies.) In addition to writing many songs with a more political bent, he also released a couple kids’ albums in the mid-1950s. Both these albums have been released on CD by Smithsonian Folkways records.

Guthrie’s Songs to Grown on For Mother and Child is one of those CDs. It can be a fun CD for singing along with your child(ren). The titles (“Rattle My Rattle,” “I Want My Milk,” “I’ll Write and I’ll Draw”) are pretty indicative of the CD's topical concerns. (No, I could find no references to the labor movement.) The CD says the target audience is kids age 4-6, but I think kids as young as 1 or 2 would enjoy some of the songs.

A warning, though, the production is pretty simple, with many tracks only having Guthrie’s vocals accompanied by a guitar or a shaker. (There's a reason why I prefer Elizabeth Mitchell's or Wilco's versions of Guthrie's songs -- better vocals and/or better melodies.) If you like your productions polished or you dislike folksinging, this isn’t the CD for you. Over time, the CD has received less attention in our household for those reasons. But if you are more interested in folksinging, you may just find this to your taste.

Posted by SAShepherd at 08:35 PM | Permalink | Comments (0)

The Elvis of children's music would have to be Raffi. His own "Behind the Music" episode wouldn't be nearly as interesting as, say, Motley Crue's. But the category of "children’s music" didn’t exist in record stores before Raffi -- and this CD -- came along.

Singable Songs for the Very Young was recorded nearly 30 years ago. But it still sounds fresh today. Now, if you’re allergic to folk music, you may not like these CDs. The instrumentation is often simple -- a guitar, perhaps, or Raffi singing with no accompaniment at all. But sometimes there’s a full band playing, such as on "Willoughby Wallaby Woo" or "Old MacDonald Had A Band." The CD sounds great, and that may be due to the work of Daniel Lanois, who recorded the album. Lanois went on to do much more famous work creating a great sonic palette for U2's classic '80s era albums and, in the '90s, Emmylou Harris and Bob Dylan, among others. (So look at it this way -- even if you dislike Raffi, without him, maybe there's no "Where the Streets Have No Name," unless, of course, you also dislike U2, in which case I can't do anything for you.)

For the most part, Raffi sticks to classics and traditional songs. Raffi's own songs are split between "non-message" songs (e.g., "Going to the Zoo") and "message" songs ("I Wonder If I'm Growing"). With the exception of the "message" songs, kids 2 years old (or younger) through 5 years will enjoy the CD; some of the "message" songs are probably more appropriate for 3 year olds. If there's any drawback to the CD, it's that it's less than 30 minutes long. Then again, a little Raffi can go a long way.

One thing that is striking to me about Raffi's earliest albums is the utter lack of reference to the adult world. If you listen to children's artists recording today such as Ralph's World or Justin Roberts or Laurie Berkner (all very good), they will incorporate references to adult television shows or humorous lines targeted at the adults. No such thing in Raffi's work. It is all aimed at the kids' level. Not that it is ever condescending (the great error in bad kids' recordings). But Raffi is clearly not singing for the kids' parents.

I think there's a tendency to dismiss Raffi as an "annoying" children's artist. It's possible that his later work is the source of this frustration. But his earliest work, especially Singable Songs for the Very Young, are CDs your children will love and you will like a lot more than you expected. Highly recommended.

Posted by SAShepherd at 08:33 PM | Permalink | Comments (0)

With these Zooglobble reviews, I've focused on, for lack of a better word, "daytime" CDs. They're generally peppy, or a little bit folky, and definitely candidates for, well, the car. You know, you listen to the CD at home. You listen to it on the airplane. You listen to it in the car. If a CD can stand up to that repeated (ab)use, then there is definite merit to the album.

I've not talked about "lullaby" CDs because, by definition, neither parents nor kids should be actively listening to a lot of these CDs. The parents should be out of the room and the kids, well, they should be sleeping. They're probably not, of course, but it's nice to pretend, no? Whatever the case, kids are definitely not begging to "play that song again!" when referring to Brahms' "Lullaby."

But good music is good music, no matter when it's played. And my wife and I heard quite a few of these CDs when (she) nursed or (I) gave a bottle to our daughter.

The first thing you should know about lullabies on CD is that there are many CDs that have "lullaby" or "sleepytime" in the title that have no business being used during nap time or nighttime. Next to the "Mozart effect," it's probably the most-overused phrase in kids' music. (Next thing you know, they'll be advertising how these CDs have Bluetooth technology.) Just because the CD has music by Mozart doesn’t necessarily mean that it'll be calming and soothing during naps or feedings.

Naxos is a "budget classical" label and has a CD entitled Listen Learn and Grow Lullabies. The CD advertises that "each selection [on the CD] has been specifically chosen for its soothing and tranquil qualities," and while that sounds like a bit of marketing hoo-hah, this is a pretty "soothing and tranquil" CD. Because these are pulled from Naxos' other recordings, they avoid the saccharine nature of a lot of kids' CDs. You'll recognize the first couple selections ("Twinkle, Twinkle, Little Star" and the aforementioned "Lullaby") by name and some others by melody, but others will likely be completely new to you. They are, however, almost uniformly pleasing to the ear.

While marketed as a "lullaby" CD, nothing except the cultural knowledge of the first couple songs requires pigeonholing this CD as just for kids. Naxos' huge catalog means that it'll be hit or miss as to whether you can find it in your local music store; they're certainly available online.

If I had to pick just one lullaby CD that I would actually use for a child, Listen Learn and Grow Lullabies would be the one.

Posted by SAShepherd at 08:30 PM | Permalink | Comments (0)

Of all the well-known children's music artists currently recording, Laurie Berkner has made the most effort to rescue toddler/pre-school songs from the detritus of many years of neglect. She does this in two ways:
1) She has fun singing kids' classics.
2) She records new songs actually aimed at toddlers.

Berkner's first CD, Whaddaya Think Of That? shows her strengths in both types of recordings. This CD doesn't have many "cover versions," though her renditions of the "Alphabet Song" and (especially) "She'll Be Comin' Round the Mountain" are lively and joyful, with just enough "something new" to make the tired songs fresh. Her rendition of the classic "The Lion Sleeps Tonight" is also lots of fun. She makes these songs fresh and fun even though she's rarely accompanied by more than a guitar and (sometimes) piano.

But more than most kids' artists, Berkner writes songs for toddlers and pre-schoolers without many concessions to adults. Even the song most likely to draw a smile from parents ("Doodlebugs," for reasons that I'll not reveal here for fear of ruining the surprise) works perfectly for the kids. Unlike many songs that encourage participation but which are bland on record, Berkner's songs such as "What Falls In the Fall?" and "These Are My Glasses" work fine even if you're just listening. And "We Are the Dinosaurs" is an instant kids' classic, if there can be such a thing. Indeed, one of the strengths of Berkner's work for younger kids is that the songs are simple enough that parents (and kids) can sing them later on, when the CD isn't playing.

There isn't much difference between this CD and Berkner's follow-up Buzz Buzz. Whaddaya is perhaps a little more limited in instrumentation, but not by much. Basically, if you like one of the CDs, you'll like the other. (And I recommend them both.) The CD is targeted mostly at kids between the ages of 2 and 6. You can buy Berkner's CDs at her own label, Two Tomatoes, or online or in finer book- or children's stores.

Posted by SAShepherd at 08:28 PM | Permalink | Comments (0)

I've talked before about Elizabeth Mitchell's first CD for kids, You Are My Flower. It's a great little CD. If there were any drawbacks to the CD, it was that it was too short (less than 25 minutes) and perhaps too "folk-y" for some tastes.

One her second CD, You Are My Sunshine, Mitchell says, "Hey, you, Mr. Daddy-Guy, I hear ya. I'm gonna make it longer and mix it up for you."

Uh, OK, she doesn't really say that. Or, at least, not that I'm aware of.

But her new CD is both longer and more diverse. And why wouldn't you want a longer CD when it includes great renditions of kids' songs traditional and un-? The alphabet song done in dub-reggae style. A Bo Diddley blues (sort of). Mitchell ups the young parent hipness quotient by covering both Sesame Street ("Ladybug Picnic") and Schoolhouse Rock ("3 Is The Magic Number"). And the covers of some traditional songs with religious backgrounds -- "So Glad I'm Here" and "Jubilee" -- make me happy every time I hear them. The first half of the CD is fairly varied in tempo; the second half is much more "folk" -- very mellow.

The CD is probably best for kids under age 6, but it's truly one of those albums you may find yourself putting on even when your kids aren't around. If you at all liked her first CD, you will like this one. If you've never heard Mitchell, I'd recommend this CD somewhat over the first one. If you hated her first CD, then I just don't know what to do with you. You probably shouldn't continue reading my reviews. The CD is available at the usual online suspects and at her website, You Are My Flower. Highly recommended.

Posted by SAShepherd at 08:09 PM | Permalink | Comments (0)

It doesn't take much to turn a tired old chestnut of a kids' song into one worth hearing. Usually a little bit of enthusiasm does the trick.

Songs For Wiggleworms, from Chicago's Old Town School of Folk Music, has 38 mostly classic kids' songs crammed into one 50-minute disc and has enthusiasm in spades. You've probably heard most of these songs ("Row, Row, Row Your Boat," "If You're Happy And You Know It...", etc.) but a few our family didn't know before hearing this CD. Regardless of whether the songs are new or old to you, your child (and you) will enjoy these lively renditions, sung by assorted musicians at the school (even Ralph Covert makes an appearance). The enjoyment of the musicians is evident in the renditions, whose occasionally ragged nature make it sound like you're sitting in an Old Town class. Thankfully, accompanied by little more than a guitar, if that, the musicians also stay away from "Star Search" vocal acrobatics.

There are some French-language and Spanish-language folk songs, too, along with a few non-kids songs ("Twist & Shout") to go along with the English-language classics. My favorite song on the album is "You Are My Sunshine," whose lyrics are modified slightly to eliminate the darker overtones of the original. And the songs I don't like? Well, as I said, there are 38 songs on a 50-minute CD -- just wait a minute, there'll be a new song coming up shortly. This CD is targeted at kids from birth to age 4 or 5.

The CD was out of print for a while, but is available once more here at CDBaby.com. Trust me, I've heard a number of nursery school song CD collections -- this is one you'll actually enjoy and the only one worth getting.

Posted by SAShepherd at 08:13 PM | Permalink | Comments (2)

The simplest kids' songs are sometimes the most effective -- Old McDonald's farm is not all that complex of an environment, yet it's a rare toddler or even pre-schooler who isn't somewhat amused by the song, particularly if it's delivered with gusto.

The best songs on Laurie Berkner's Buzz Buzz exemplify that truth. My all-time Berkner favorite, "Pig on Her Head," is about Berkner's family, who has a whole menagerie of animals on their noggins. (Heck, it's the sequel to "Old McDonald Had a Farm!") "I Really Love to Dance" is about a young kid who tries lots of different things but keeps coming back to dancing. Those originals are lots of fun. The covers are also performed with fun arrangements, such as the guitar, bass, piano, and kazoo used to provide a jaunty "I've Been Working on the Railroad." And her version of "There's A Little Wheel A-Turning In My Heart" uses the whole "change-one-thing-in-each-verse" to great effect.

Slightly less successful for me were longer songs that I think are more clearly designed for an interactive performance (e.g., "The Pretzel Store," "Lots of Little Pigs"). They're longer, so they're not quite as good if you (and your kids) are listening to the CD in the car. But if you're at home, and can convince your kids to act along, they'd be cute.

This is a fun, (mostly) upbeat CD and is recommended for children aged 2 to 6 years.

Berkner's CDs are available at her website, Two Tomatoes or all the finer book- and music stores.

Posted by SAShepherd at 08:12 PM | Permalink | Comments (0)

Ralph Covert is a classic example of a musician who along the way to a career as a musician making music for adults stumbled into becoming a kids' musician and found he had a gift for that type of music. These conversions are not so surprising; coming home at 3 AM after playing clubs (then sleeping 'til noon) is perhaps not the best way for an artist to be a part of their kids' lives. So now he records as Ralph's World.

On Ralph's World's first kids' CD Ralph's World, the band showcases a broad range of musical styles, though it’s considerably tamer that one might expect from a band that includes a former member of the Smashing Pumpkins. Up-tempo, down-tempo, western swing, disco, whatever. There are lots of songs about animals (“Freddy Bear the Teddy Bear”, “Animal Friends”, “Tickle a Tiger”). And Covert isn't afraid to write songs that put his heart on his sleeve ("All My Colors," "Bedtime Girl").

But there are just enough sly adult references to keep the parents happy; “Take a Little Nap (The Disco Song)” reworks a classic disco tune. Covert’s daughter and friends make appearances singing backup (don’t worry, it’s kept in check). The album is targeted at kids aged 2 to 6. Recommended.

Posted by SAShepherd at 10:54 PM | Permalink | Comments (0)

In my younger days, I went to clubs to hear Rawk Bands. And in my much younger days, I watched Sesame Street.

It is no knock on this new DVD -- it's high praise, in fact -- that I could see clips from the DVD played at clubs and on Sesame Street.

My review from last week on the CD version of this album was interpreted in the comments section by a snarky friend as being a negative review. As a long-time They Might Be Giants fan, I prefer to think of my less-than-5-star CD review as a reflection of them just failing to meet the high standards I've set for them. And part of that was a result of some songs that sound like they were designed for the DVD that were less than compelling without visuals.

So, then, the questions is, "how are the visuals?" And the answer is, fantabulous. Really. The video for "Pictures of Pandas Painting," while not a favorite song of mine, has a hypnotic, psychedelic feel. The art in "C is for Conifers" is nothing less than, well, art. "Q U" is a quirky live-action bit with Q and U (I love the shot of them walking through Central Park, with the crowd completely ignoring them). The puppetry in songs like "Who Put the Alphabet (In Alphabetical Order)" is lots of fun and a little surreal (e.g., the guitar windmills of a nearly-punk-rockin' pink poodle). And with visuals, songs such as "Letter Shapes" are much more enjoyable. (One note: if you're interested in the DVD because you want to see the actual band, you'll be mostly disappointed as the "thumb puppet" Johns get almost as much screen time as the "real" Johns -- i.e., not much.)

Taken in one 50-minute sitting, it's almost too much, but these visuals would fit in perfectly as interstitials (between-segment shorts) in Sesame Street. They would also make perfect oblique sense played on TVs in a rock club between sets.

One other minor complaint -- the DVD menu doesn't have scenes by chapters. If you're trying to limit a child's viewing time, trying to get to a particular song (and then play it from there for, say, 15 minutes) takes more work than it should.

But these are minor complaints. Excellent DVD.

Posted by SAShepherd at 08:48 PM | Permalink | Comments (0)

As a follow-up to their popular and critically-acclaimed children's CD No!, Here Come the ABCs is a bit of a let-down only in comparison to such a strong disc. Part of this is probably due to the deliberate narrowing of subject matter of the new disc. How many different ways can you sing songs about the alphabet, a subject whose signature song was written by Mozart? But the relatively abstract nature of the lyrics allow TMBG to run amuck across the musical spectrum: jaunty ("E Eats Everything"), prog-rockish ("Pictures of Pandas Painting"), sometimes within the same song (the ballad/British Invasion/"Leader-of-the-Pack"-ish "D & W").

Since this CD was created with a companion DVD in mind, some of the songs ("Can You Find It?," "Letter/Not A Letter," "Letter Shapes") seem deficient without any accompanying visuals (I'll address whether or not that's actually the case in an upcoming review of the DVD). And unlike No!, which used a few songs from TMBG's "adult" career, the songs on ABCs are definitely more targeted at kids (thereby increasing the likelihood of odd stares from co-workers should you take the CD to work).

But that's not to say there aren't some standout tracks. "Alphabet Lost and Found" is a electronica-lite song about well, lost and found letters. "I C U" has some great wordplay (or, rather, letter-play). "C Is For Conifers" is a fine entry in the long TMBG tradition of educational songs and covers ("Mammal," "Meet John Ensor," "The Sun Is A Mass (Of Incandescent Gas)"). And "Q U" is just cute (or "qute," I guess).

Can I envision sneaking this off to work like I did with No!? Probably not -- it's not as strong an album in total. But if you (or your children) liked No!, there's no reason to believe you (or they) won't find Here Come the ABCs enjoyable as well.

Posted by SAShepherd at 06:45 PM | Permalink | Comments (0)

An increasingly popular approach to recording kids' CDs is packaging the CD with a book. In some cases, like Philadelphia Chickens and Rhinoceros Tap from Sandra Boynton or Bed, Bed, Bed by They Might Be Giants, the hardcover book is pretty big, and doesn't necessarily lend itself to play with a preschooler. But the ubiquitous "board book" format is beginning to become popular with recording artists.

Now, the first question with any of these book/CD combos is… "Where in the world do you file these things?" With the oversized hardcovers, it seems they get exiled to places far from the stereo or car CD player and just don't get much airplay. The board book versions (this CD, the Dan Zanes CDs) solve that problem by having books that are barely larger than the CD itself. Of course, filing them with the rest of the CDs means that they rarely get read. Oh, the waste!

Maybe I'm just too hard to please.

Well, not really. And this CD does have an advantage in that it is quite pleasing. Mitchell is known, of course, for her 2 children's CDs, You Are My Flower and You Are My Sunshine. Loeb is new to the children's music game, known best for, well, winsome pop. Together, they've made an album that isn't much different from Mitchell's two solo CDs, except that maybe it's a little more polished (but still somewhat winsome). It's also a little more international, as the album includes renditions of traditional Spanish, Japanese, and French songs. (They're pleasant enough, but don't have huge appeal to me.) That seems to be the Loeb influence; fans of Mitchell's out-of-left-field (though usually excellent) cover song selections for her kids' CDs will be pleased by the inclusion of Dylan's "New Morning."

The best track on the album by far is the title track, an original by Mitchell, Loeb, and Mitchell's writing partners. "Catch the Moon" isn't just a great kids' song, it's a great song, period. It's a gentle pop song that would be a minor Billboard hit in a more eclectic radio world.

The album is probably best for kids aged 2 years (or even younger) through maybe 5 years. The accompanying book is a nice addition. I would recommend the album to fans of Mitchell's other work, as well as to parents looking for a mellow, poppy, multi-cultural kids' CD.

Posted by SAShepherd at 11:34 PM | Permalink | Comments (0)

Elizabeth Mitchell helped found the rock band Ida with her husband Daniel Littleton. Unlike children's artists who have given up their "adult" careers or artists like They Might Be Giants, who are now doing both under the same name, Mitchell has kept her "adult" and "children's" careers separate. I have never heard Ida, so I have absolutely no idea what they're like, but You Are My Flower, the children's CD the two of them recorded together, is wonderful. If you like simple folk tunes polished up just a bit to take the roughest of edges off, you probably will enjoy this CD, which includes renditions of a couple Woody Guthrie children's songs. They also cover a song by the blues artist Leadbelly and two by the Carter Family, so you know it¹s not a typical kid's CD. (In fact, this was one of the first children's music CDs I would play even if there were no kids around. The entire album is pretty mellow, but lots of fun (my favorite songs are "This Little Light of Mine" and "Freight Train"). The CD is appropriate for kids from birth to 5 or so. My only complaint is that the CD is only about 25 minutes long (but, hey, it makes up for the kids' CDs that are way too long). You can find more information on Mitchell, this CD, and their follow-up at http://www.youaremyflower.org.

Posted by SAShepherd at 11:31 PM | Permalink | Comments (0)