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Let's think about the kids music artists who have released three easy-to-recommend CDs in the past five years. Hmmm.... Dan Zanes, Recess Monkey, Justin Roberts, Ralph's World, and... who? I mean, if you expand that time frame out a bit, you could add They Might Be Giants, Elizabeth Mitchell, maybe Laurie Berkner. But to be that consistent over that amount of time says something -- that's an all-star list of kids musicians right there.

So it means something to me when I say that with the release of his third album Dragonfly, I'd add Seattle's Johnny Bregar to that list.

On his first album Stomp Yer Feet!, Bregar was basically a slightly funkier and rootsier Raffi (a compliment in my book), giving old toddler standards a new spin. Bregar is still funky and rootsy, but with his second album Hootenanny and now with Dragonfly he's been gradually moving up in age and away from standards and towards originals. He's now given a song about feelings ("What Do You Do?") a funky spin with an infectious horn and piano line (and even a gratuitous They Might Be Giants reference). "Two Thumbs Up" is a rootsy song about, well, feeling good (and opening a roadside art stand). And sometimes, as on "Shoo Fly Pie" or his cover of the boogie-woogie "Ice Cream Man," he still recalls the traditional standards with which he started his kids' music career.

If there are perhaps a few less-than-perfect tracks -- I can't say I have much love for the reggae tune "Salt and Pepper" -- they're few and far between. Bregar tends toward the sweet (the midtempo "Dragonfly" and the wonderful and tender ukulele-laced "Blue Canoe") and a little towards the gently instructional ("Fireman With a Rocket Ship" or "Honey Bees"), so there's little "edge," if that's your style. But the musical arrangements and melodies are once more top-notch. Kids are used as leavener to the production, lending a slightly ragged (and appealing) chorus to some of the songs (or, on the album closer, "Una Sardina," the sole voice).

The songs here are targeted mostly at kids ages 4 through 9. The album's for sale right now only at Bregar's website, but will be available more broadly starting next week. You can hear samples of the tracks here.

Johnny Bregar hasn't made a bad kids' album yet, and Dragonfly is another fine outing, filled with songs whose lyrics will capture kids and melodies will capture parents. (And possibly vice versa.) Bregar might not be as well-known as those other artists who are turning out a high number of quality albums, but he should be. Here's hoping Dragonfly helps things along in that regard. Highly recommended.

Posted by SAShepherd at 08:28 PM | Permalink | Comments (2)

Is releasing a kids' music album in November like releasing a movie in January? Because December 31st is the deadline for having your movie considered for the upcoming Oscars, it's implied that studios dump all their really bad movies in January. So, if you just miss the October 31st deadline for Fids & Kamily, does that mean it's a bad kids music album?

Well, no, not at all, but curse Chicago's ScribbleMonster for making Fids & Kamily voters struggle over their ballots. Their new album, Songs With No Character, was officially released this week on November 4, but has been available informally since late October. Is it a 2008 album or a 2009 album? And, yes, people have been asking that question, which is one indication of this disk's quality.

I've mentioned in the past my mixed feelings about the cartoon voices that have appeared on past ScribbleMonster albums, and so from my perspective, the (almost-entirely) cartoon-free voices on this disk ("Songs with no character," get it?) already served as a selling point. And, really, a lot of the songs work just as well (though perhaps not necessarily any better) sung in a regular voice. ScribbleMonster and its chief songwriter Jim Dague has always been willing to impart wisdom via song -- the difference between them and a lot of artists who do similar things is that these songs are so insanely catchy that you don't mind the directness of message. I mean, "Doing The Right Thing Isn't Always Easy, Doing The Easy Thing Isn't Always Right" is about as straightforward as the title itself. It's also a groovy song, graced with horns. "It Could Have Been Worse," co-written with Monty Harper, has a silly, breezy tone that will capture both the young and old. And "With A Smile" can make even the most grizzled parent appreciate the value of smiling more.

Which isn't too say it's all sweetness and light and kindergartners only. "I'm A Utility Pole" is a totally dorky (and, therefore, winning) song about a totally dorky dance move. "Spare The Rock, Spoil The Child" is, hands-down, the best theme song for a kids radio show ever, though it rocks harder than your 4-year-old will. There's even a little weary cynicism in "No Good Can Ever Come Of A Sleepover" ("empty promises" isn't a lyrical turn of phrase you often hear in this genre). That's offset, though, by "The Song of LIFE," which, though going over the heads of the kids ("what's this 'LIFE' game?") will appeal sentimentally to their parents who remember the classic board game.

It's really a "family" album, which means that different songs will appeal to different family members, but I think kids ages 4 through 10 will most appreciate the songs here. You can hear some of the tunes at the band's Radio page, Myspace page, or CD Baby album page.

So, yeah, I liked this album. Whether it's the first really good album of 2009, or the last really good album of 2008 isn't really the point. It's a really good album. Definitely recommended.

Posted by SAShepherd at 09:02 PM | Permalink | Comments (1)

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 (1)

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)

You've probably noticed that I don't review a lot of "educational" CDs. There are a couple reasons for that -- first, I don't have much of a clue as to their pedagogical soundness. Second, and perhaps more importantly for the purposes of this site, the music usually just doesn't move me. We are about entertainment and community around here -- if your kids happen to learn something found in a textbook, too, well, that's just a bonus.

So let me describe Musiplication With Kat Vellos this way -- I don't envision myself listening to this on my own or after my kids have mastered the times table. But that doesn't mean it isn't good listening. Kat Vellos is a former teacher as well as a spoken word poet and with her first CD Musiplication has put together a sweet little collection of times tables set to music.

Yeah, you heard me -- "times tables set to music." Vellos breaks through the pedagogical boredom barrier that phrase implies in two ways. One, each times table (especially as you make your way into the higher digits) is presented as a story of sorts -- giving each multiple of 6, for example, a distinct family personality type in "6 Family Reunion" or crazy stories in "7's Tall Tales." You're still hearing the same basic repetition of the tables, but at least it's presented with verve; Vellos' spoken word poetry experience gives the stories shape. Second, Vellos' words are underlaid with some laid-back beats courtesy of the producer Batsauce. Layered with old-school funk and soul, it gives the whole CD a deliciously organic feel.

While younger kids might enjoy the stories here, the target audience is clearly slightly older kids, ages 7 through 10. You can listen to samples at the album's CDBaby page. Because it's trying hard to teach times tables, it doesn't quite reach the "listen anytime" nature of something like TMBG's Here Come the 123s -- if you know the times tables, you probably won't spin this too much. But it does its job with as musically pleasant a background as you'll care to hear. It's about as good an "educational" CD as they come.

Posted by SAShepherd at 03:34 PM | Permalink | Comments (2)

With the release today of their One Day Soon EP, San Francisco's The Sippy Cups have followed the lead of other, more adult-oriented bands, who consider EPs an integral part of their musical release pattern. The five songs here were recorded as part of the band's sessions for their upcoming 2009 release, and is the first new album from the band since October 2006.

So are the songs worth the wait? Well, mostly yes. "One Day Soon" kicks off the album, a mid-tempo number about growing up (or at least older) that would have fit perfectly on the generally more rocking Electric Storyland. So would have "Ladybug Beat," at least if it had been plugged in (it's acoustic here). I've already talked a little bit about "The Day After Halloween,", which is a bit of departure from the Sippys' normal metaphor-filled and fanciful songwriting. Its melancholy nature is a perfect fit for fall -- it's a Halloween song that isn't just for Halloween, and is my favorite track here. "Listen With Your Eyes" is a sweet lullaby (though there's a bit too much going on for it to be effectively used an actual lullaby). The only false step is "Effervescing Elephant." Ironically for a band which started out primarily playing covers of '60s era psychedelic songs, this Syd Barrett cover falls flat. It's supposedly a live staple of the band, but this off-the-cuff version just doesn't have any oomph.

The album will appeal mostly to kids ages 4 through 10. The album is about 14 minutes long and, perhaps most interestingly, is available only as an iTunes download. At $3.99 for the whole album, it's pretty cheap. It's a small but decent collection of tracks which can only serve to heighten anticipation for their upcoming full-length. Newcomers to the band can probably wait (or go back to Electric Storyland forthwith), but fans will definitely enjoy this, too. Recommended.

Posted by SAShepherd at 09:02 PM | Permalink | Comments (0)

With several albums for adults under their belts, you would be forgiven for thinking the New York band The Mighty Weaklings was just cashing in on the kids music trend with the recent release of their first kids album You Can't Rock Sittin' Down. That wouldn't be entirely fair, seeing as singer/bassplayer Matt Vogel's been a Sesame Street puppeteer for a dozen years and they've already had a video on Jack's Big Music Show.

This album will seriously appeal to families with a powerpop weakness. "The Monster Under My Bed" tells about a kid who's best friend is a monster, and rocks in doing so. The album's best song, "The Grumpy Song," features a banjo-inflected bluegrass tune, vocals Sesame Street/Muppet Show/Fraggle Rock puppeteer Jerry Nelson, and a chorus of kids (and adults) shouting "I'm Grumpy" in such a way that is guaranteed to put a dorky grin on the listener's face.

The album as whole has a very strong Muppet Show vibe -- interspersed among the 9 songs are 5 skits. At times I thought the skits were pitched squarely at me the thirty-something parent and wouldn't entertain the younger listeners at all. The knowing humor didn't really match the earnestness of the rest of the songs like "It's Sunny When You Share" (get it?), the imaginzative "Rocket Ship" (from Jack's, and the try-try-again theme of "Fallin' Down." You could easily find the materials for an episode or three of The Mighty Weaklings Show inside the album -- it's not hard to picture a TV show, even without puppets.

The 33-minute album's pitched mostly at kids ages 4 through 8. You can hear samples here or listen via the player embedded past the jump. Despite some awkwardness from the skits themselves, the songs here are solid kid-friendly power-pop. Your kids will find that You Can't Rock Sittin' Down ranks high on the "rock" scale and low on the "sittin' down" scale. Recommended.

Continue reading "Review in Brief: You Can't Rock Sittin' Down - The Mighty Weaklings" »

Posted by SAShepherd at 02:20 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)

Like many people, I first became interested in kids music when I first had kids. Which meant that my first exposure to the genre (as a parent) was to lullaby CDs, or to rendition of classics sung by families for years and years.

It was not to songs about the produce aisle's remarkable similarity to junior high, the inventor of concrete, or elbows.

So I guess what I'm saying is that the first kids album from Central Services and their not-so-mild-mannered alter ego The Board of Education isn't for those parents whose kids are just learning to walk. Heck, it's really not even for those parents whose kids are just learning to read.

But if your family's got one of those kids who've blown past those learning-to-read barrier with flying colors a long time ago, Central Services Presents... The Board of Education might be their new favorite CD.

From the pop bliss of the opening track, "Rise and Shine," the album is pitched right at that 9- to 12-year-old kid who's probably the smartest kid in class. School is the central part of their life, learning something so freakin' cool, even if the rest of the day doesn't quite measure up. (Unsurprisingly, one of the band's main songwriters, Kevin Emerson, used to teach elementary school science, and now has a book series, Oliver Nocturne, for kids ages 9-12.) The second track, "Beverly the Village Misfit," about a young girl who looks up at the skies and realizes the planet is in grave danger even though nobody believes her, includes the lines "Maybe you've had occasion to feel like this / When something you're so sure of / Is dismissed by all your friends / Despite the overwhelming facts you have to prove that / You are very right."

I mean, if that isn't a description of a brainy but perhaps socially awkward tween, I'm not sure what is. And that's not the only song that captures that feeling. "It's awkward in the produce aisle / The salad bags they don't smile / Anymore / The mushroom looks the other way / The cucumber bristles," goes one of the lines in "The Lonely Tomato," which has been one of my favorite songs period for the 18 months I've been listening to it. In telling the story of a tomato, which is unsure of his position in the grocery store -- "Oh, where do I fit in?," as the chorus goes -- the song not only captures perfectly life as a tween, it loads every bit of production into it, with horns, pop hooks, and silly voices (yes, the cucumber has a speaking part).

On it goes, combining great pop hooks (or pop pastiches) with obscure subjects like the invention of pavement ("Know Your Inventors"), punctuation ("The Many Uses, and Dangers, of Commas"), and volcanoes ("Volcanoes and You"). If this all sounds like a modern Schoolhouse Rock, you'd be right. There's even a song called "8 Is A Number." If there's any difference between that classic series and the songs here it's that Schoolhouse Rock would often take a more minimalist approach, while the band piles everything on here. It's unlikely the dripping-with-sarcasm-but-totally-peppy "Ice Ages Are Fun!" would ever make the cut on Schoolhouse Rock. Humor is common in kids entertainment; sarcasm, however, isn't, but if you're 12 years old, yeah, you're OK with it.

Sometimes it's too much, actually, "Volcanoes and You," for example, mixes funk with a faux educational film, and while it sounds kinda cool, it's too baroque to actually to be more than a trifle. And lest you think the band can't show some restraint, the last track (save for the hidden track) is a gorgeous lullaby "August Lullaby" that's lovely and sweet. Another simpler track or two like that interspersed among the wilder, goofier parts would have served it well.

While younger kids might bop along to the hooks, kids are really going to have to be at minimum 7 years old to get into the lyrics. You can hear songs at the band's Myspace page or samples at its CDBaby page. For the moment, it's only available as a digital download (at CDBaby, Amazon and iTunes, but will be released in physical format later this year.

Long-time readers of this website won't find my enthusiasm for this album too surprising, because I've been talking about a number of these songs for a long time. After settling down with Central Services Presents... The Board of Education for many listens, I can hear why it's not an absolutely perfect album -- there are going to be some families it doesn't move. But for some families, this is gonna be one of those albums they listen to over and over, and, like Beverly the Village Misfit, they'll tell everyone who'll listen about it. That this album rocks. And they'd be right. Definitely recommended.

Posted by SAShepherd at 01:14 PM | Permalink | Comments (2)

Though there are many charms of kids music, subtlety is usually not one of them. Not that that's a bad thing, mind you, but most kids' music is direct and to the point, especially lyrically.

Which is what makes the music of the Kansas-based band The Terrible Twos not like most kids music. The band, which is the kids' alter ego of the Matt Pryor's band The New Amsterdams, has never been interested in making simple kids music. (Pryor once famously -- for the kids' world, anyway -- branded the music of Barney and the Wiggles as "incredibly annoying crap." There are a legion of kids who would disagree, though the parental vote may be much more evenly split.) For some kids in the age range suggested by Pryor's band's name, the music will fly right over their heads, though they may bop along to the often uptempo melodies.

Older kids (and their parents), however, may find the more indirect lyrical approach of the band pretty appealing. On their second album, Jerzy the Giant, the Terrible Twos tell tales of people and emotions. On a few songs, such as the winning, near-perfectly constructed album opener, "Old Man Miller," the band tells a direct story (this one about the growing friendship between the song's narrator and an elderly neighbor) while using metaphor and simile to embellish ("Old Man Miller was a porcupine," Pryor sings, a line that will cause confusion in the toddler-aged set). Other songs are much more impressionistic in nature, such as the oooohing "Elliott Oooh" or the sweet "Amelia Minor."

The songs here range from the folky end of the pop spectrum (the shuffling "Archibald McAllister," about a particularly stinky boy) to the rocking end (the latter part of "Lily Names Everything Sandy," the title of which is pretty much self-explanatory and describes a very real -- for Pryor, anyway -- parental frustration). "Jerzy the Giant" (the song) is a breezy pop-rocker, while "Olly Olly Oxen Free" has a soaring chorus. The only song that set my ears on end was "Great Big Poop," which I place in the category of songs that break up otherwise outstanding albums -- file it alongside "Fitter, Happier" or "Underneath the Bunker." (Having said that, it's the most direct song on the album, and may be the one that your youngest kids may most relate to here. And, Pryor's daughter Lily, who co-wrote the song, also helped out on "Elliott Oooh," so perhaps she gets a pass.)

The album is most appropriate for kids ages 4 through 9. At 29 minutes in length, the 16 songs here zip by, none more than 2 1/2 minutes in length. You can preview the whole album here.

The Terrible Twos continue to write great family-friendly songs. Jerzy the Giant is a fabulous album, thirty-feet-tall with sweet melodies and kid-appropriate lyrics. Even if your kids love the Wiggles, one day they'll outgrow them, and when they do, there are many far worse albums to graduate to than this one. Highly recommended.

[Note: Just to reiterate the possible conflict of interest, I was asked by Vagrant Records, which released the album, to premiere the album stream. I wouldn't have done so if I hadn't wanted to have a lot of people listen to the CD, based on my feelings above. But now you know, in case you hadn't before.]

Posted by SAShepherd at 07:52 PM | Permalink | Comments (0)

When you receive as much kids music for review as I do, you have to guard against certain biases. Given the glut of material, what tends to get reviewed is either stuff that's in the traditional folk/pop/rock vein, but very good (see: Justin Roberts, Ralph's World, Laurie Berkner, Recess Monkey, etc.); not in that folk/pop/rock vein (see: hip-hop, country, jazz); and stuff that's just so out there that you have to tell someone about it if only to show what risks people are taking these days. (And then you have Dan Zanes, who in the Venn diagram of those 3 categories is the only one who intersects all three.) With the last category especially, there's some risk that the uniqueness of the material is outweighing, you know, the actual interest to the kids.

So let me be clear, The Thin King, the debut CD from the San Francisco band Me 3 falls squarely in that 3 category. I mean, sure, it's got songs that would definitely be considered rock ("I Don't Know," perhaps, or "Apple," which is an appealingly crunchy and lo-fi mid-tempo rocker). But the more familiar-sounding styles are melded with subjects very focused on the natural world (hence "Apple," or "Tulip," and "Cows"), not in an educational way (which would be pretty conventional), but pretty much in an observational manner. (In this case it sounds a lot like Mr. David, or maybe a little bit like if World Party did a kids CD.) There are lots and lots of questions on the album -- "I Don't Know," for example, or "Cows." What is the album title, after all, if not a play on the word "thinking."

Beyond that, you have odd little spoken-word interludes; the goofy trilogy of "Short Song," "Shorter Song," and "Shortest Song" (which, yes, is pretty much what the titles promise); and Pachelbel's Canon borrowed for "When It All Began." Oh, and just as you begin to think that band mastermind Jason Kleinberg is maybe a little self-serious, "Next Song" interrupts some mock serious banter with a request to "play the next song!," which results in Kleinberg mis-hearing and not playing the "necks song." In other words, the goofy 7-year-old humor fits in nicely among the more serious "thinking" songs.

So, yeah, the 41-minute album's geared mostly for kids ages 6 through 10. You can hear some songs both at the band's website and their Myspace page, and samples of all the songs at the album's CDBaby page.

The Thin King is one of the more unusual-sounding kids music albums of the year. It also happens to be a lot of fun. While it's not the most conventional of CDs, with its imagery and musical melding of styles, it'll certainly capture the imagination of some families. Recommended.

Posted by SAShepherd at 02:12 PM | Permalink | Comments (0)

Over the course of four albums, the Seattle trio Recess Monkey have gone from nice little side project to full-fledged rock stars to the Seattle-area kid-set. Take three guys with elementary education experience, mix in a healthy dose of songwriting chops, and add a bit of humor, and it's not too surprising they've built up such a devoted fanbase.

Their latest CD Tabby Road, officially released this week, gives no indication that their star will wane anytime soon. As you might expect from the album title, the band are big fans of the Beatles. (Longtime fans will not be surprised, given that Aminal House featured a Sgt. Pepper's homage cover, and the 2-CD set Wonderstuff was nicknamed the "Yellow Album" for its all-yellow cover.) There's definitely a '60s-era vibe throughout the CD, especially on tracks like "Robin (Sugar Goblin)" and "Kitty Sister" -- the former is probably an unrecorded Beatles track the band found and decided to pass off as its own, the latter also recalls the Beatles in a melody with some harmonizing and a gymnastic vocal line that's completely infectious.

Unlike Wonderstuff, which moved into the '80s even with its influences, Tabby Road stays much more in '60s-inspired sounds, hewing more closely to a pure pop sound. A totally engrossing pure pop sound, to be sure, but there's less power-poppy crunch here. Topically, the band continues its fascination with pets (including the tender "KC in the Clouds," about a pet that's passed away), friendship ("S-L-Double-E-P-Over"), and kids' rites of passage ("Birthday Bite"). They also mimic the second side of Abbey Road with a whole "Monster Medley" that's, well, insanely catchy (check out the album's "Boogie Monster" with its "whoop-whoop" singalong -- you and your kids will find it impossible to put your hands in the air or move side to side) and totally not scary. The medley doesn't blend quite as well as the Beatles' version, but I did like the repetition of the bridge line from the medley's start in "Under My Bed" in "Monster Truck," the last song (before the quiet "Wolfman," which isn't quite as short as "Her Majesty," but oh well).

If you're wondering what's changed from the prior albums, well, it's probably the tightest of the band's albums and, because it wasn't recorded as part of the "camp weeks" that the two prior versions grew out of, with slightly fewer kids' voices (though they still show up). Those of you who thought Wonderstuff was all a bit too much at 80 minutes long or who thought Aminal House was just a bit too all over the place will appreciate the 40-minute brevity. I missed some of the goofiness that marked those earlier albums (more Mayor Monkey, please!), but what's sacrificed here is replaced by a focus that serves the band well. Every track is solid. (And, yes, there's a John Vanderslice reference. I will be disappointed if the next album doesn't feature John Vanderslice himself as the John Vanderslice reference.)

Kids ages 3 through 8 will most appreciate the songs here -- you can listen to four full tracks (including "Boogie Monster") at the band's Myspace page or sample all tracks at the album's CDBaby page.

Over the course of four albums, Recess Monkey has slowly staked its claim to being the best kids music band in the business. Tabby Road is jam-packed with first-rate songwriting, matched by strong musicianship and kid-focused subject matter. These guys are great, and so's the album. If you're not familiar with the band yet, you should be and you may as well start here. Highly recommended.

[Ed. note: Just to get the potential-conflict-of-interest statements out there, I'll note here that I'm presenting them in concert next month here in Phoenix (which means that my take is, uh, $0). I wouldn't present 'em if I didn't think they were really good. But just so you know.]

Posted by SAShepherd at 08:51 PM | Permalink | Comments (1)

Egg is the creation of LA-based audio engineer Jeff Fuller who wrote some songs with his young daughter Annabella, wrote some more songs himself, and recruited some other moms and dads to record the songs for an album.

Reading over that description might not necessarily fill you with hope for the album -- good intentions and enthusiasm being a poor substitute for, you know, musical talent and songwriting skills -- but luckily their debut album Sunny Side Up has enough of that musical talent and songwriting skills to make it a fun listen.

The band mentions Cake as one of their musical reference points, and I can hear that, at least in the somewhat spare arrangements that rely a lot on drums and, on a couple tracks, trumpet. But I hear more of a West Coast Brady Rymer. It's roots-rock mixed with a little country and with a more sunny (album title pun unintended), wide-open feel. The album has a loosey-goosey sound (I mean that as a compliment here) and it serves as an appealing musical background for lyrics that are squarely aimed at the preschool set. In part this probably partially reflects the influence of Fuller's daughter, but it's nice to hear songs about shuffling down the hall (the angular "Flip Flops") or summer ("Summer Today") that retain that kid's perspective. "Hiccups" is a goofy, make-the-kids-laugh song, while the last two songs ("Airplane" and "Goodnight") are tender ballads.

Kids ages 3 through 7 are most likely to enjoy the songs here. You can hear sound clips from the 26-minute album at its CD Baby page. Egg's Sunny Side Up will have no small appeal to families who prefer their kids music (if not their eggs) a little bit scrambled. Recommended.

Posted by SAShepherd at 08:41 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)

It's not like we weren't prepared for the possibility of a Lisa Loeb kids' music album -- after all, she (relatively) famously joined with her old Brown University singing partner Elizabeth Mitchell to produce Catch the Moon in 2004. But it certainly took Loeb a while to get around to a kids' album of her own, and it's not quite what we might have expected.

Loeb released her new album, Camp Lisa, last week, and it's a considerably different album from Catch the Moon. Whereas that album was definitely targeted to the preschool set (it was packaged with a small picture book, after all), Loeb's album is a concept album that celebrates summer camps.

I mean this in the best possible way -- Camp Lisa is an winningly dorky album. By that I mean it expertly blends earnest and original "camp life" songs with earnestly sung renditions of traditional songs and chants. I mean, the album leads off with the cheeky "Ready For The Summer," the theme from the movie Meatballs. While perhaps there's a small wink and nudge in Loeb's and Letters to Cleo's Kay Hanley's vocals, the group of kids singing along do so with gusto and without any irony. It's summer camp -- the more you through yourself into it, the more fun you'll have.

The original tunes here, including "Best Friend," "When It Rains," and "It's Not Goodbye" (which features a nifty segue into the camp chestnut "Make New Friends"), have an appealingly laid-back, '70s AM-radio vibe whose sounds will appeal to the parents of kids going off to summer camp and whose lyrics, should the kids settle down long enough to pay attention, might actually frame their camp experience. (The whole album is well-sequenced, working from heading off to camp to leaving it.) The traditionals -- "Woodchuck," "Peanut Butter & Jelly," and "Father Abraham" -- wouldn't be strong enough to merit a whole album on their own, but integrated into the other songs, they provide a nice contrast.

Loeb pulls in a whole bunch of help here, from Jill Sobule (on the dreamy "Cookie Jar Song") to Veruca Salt's Nina Gordon on the ukulele-accompanied "Linger." Kudos, too, to Loeb for a) getting Steve Martin to appear on her album, and b) asking him just to play banjo (which he does well on "The Disappointing Pancake").

Given that these are songs about going to camp, I'll put the age range here at ages 7 and up, though certainly a lot of the traditional tunes will appeal to the younger set, too. For the moment, the 39-minute album is only available at Barnes & Noble -- you can hear samples and buy the album here. (I should also note that in conjunction with the album's release, Loeb has also launched the Camp Lisa Foundation, a non-profit that will raise funds to help send underprivileged kids to summer camp.)

Camp Lisa does a very good job of evoking -- both prosaically as well as emotionally -- the summer camp experience, and I think that any family who's gone through that (or is going to go through that) will find this a very worthy album. But even if you're doing the summer camp thing, there are enough good songs here that you'll probably linger a little while with it. Recommended.

Posted by SAShepherd at 02:56 PM | Permalink | Comments (0)

Imagine if Kanye West decided his next album would be a bluegrass album. Or if Metallica felt they had a polka album in them. How would their fans react? How would the bluegrass or polka purists react? Most importantly, would the music be any good?

I'm thinking about those questions after having listened to Nueva York!, the latest album from Dan Zanes. The album, released yesterday, is Zanes' eighth "age-desgregated" album, the follow-up to his 2006 Grammy-winning album Catch That Train!. And, after slowly building up his rep as the godfather of family-friendly music for American families, Zanes has chosen to release an album songs from Latin America and Mexico recorded 99% in Spanish.

Zanes has released less obviously kid-oriented albums in the past -- an album of seafaring songs (Sea Songs) and an album of songs from Carl Sandburg's Songbag -- but those were released when Zanes had a little lower profile than he does now. So while Zanes probably couldn't act like Beck did early in his career, and release his higher-profile stuff with Geffen while releasing other, more challenging albums on small labels, he should still get credit of some sort for embracing this new album as the full-fledged follow-up to Catch That Train!

But back to the original question -- is the music any good? Yeah, it's good. The album starts out with insistent drums and the driving "El Pescador," which rocks as hard anything in Zanes' kid-ography, helped out by Marc Ribot on guitar. "Colas" mixes tuba into a a Mexican son joracho recorded with the Villa-Lobos brothers. "Pollito Chicken" is the closest thing to a "kids' song" here, with a kids' chorus helping out the children's rhyme.

On it goes -- through Daphne Rubin-Vega's turn on the beautiful la-la-las of "Alba Mananera," the Villa-Lobos brothers' forceful string playing on "El Pijul," and long-time DZ compatriots Rubi Theatre Company on the multilingual "El Canario." I certainly can't speak with any knowledge of how "authentic" the renditions are, but these mostly traditional songs probably don't sound like this today in their "home" countries, either. These renditions here are vibrant, full of life, with solid musical performances. More so on perhaps his other CDs, Zanes takes a little bit more of a backseat to his fellow musicians -- it's a more collaborative album than any of his previous efforts, which befits the learning and immersive nature of this project.

As good as the music is here, I can't say this is the perfect DZ album. At over an hour in length, it goes on for too long. Kids who have grown up on Zanes' albums may miss the absence of Father Goose and his silliness especially. And it's going to be hard for a lot of English-speaking families to fully "get into" the album when it's virtually entirely in Spanish. None of which the album bad as an entity unto itself, but for those families who stumbled recently onto Zanes via a Playhouse Disney video and haven't been listening for five years, it's likely to be a little bit confusing, at least.

While the album is another all-ages experience, it doesn't have quite the early-years hook some of Zanes' other albums have, so I'm going to put the target age range here at ages 5 and up. You can hear samples of the tracks just about everywhere online, or you can listen to "Colas," "La Piragua," and "El Botellon" right now at Zanes' Myspace page.

With Nueva York!, Zanes has crafted another album of fun, family-friendly community music. Going back to the question I posed earlier -- does it really matter who does a bluegrass album so long as the album is good? While the album is a less-than-perfect introduction to his music, longtime Zanes families will embrace this CD as just another part of his wide-ranging musical explorations. And hopefully it'll introduce Dan Zanes to a whole new set of fans. You'll listen, you'll dance, and -- Zanes hopes -- you just might even sing along. Definitely recommended.

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

A number of months ago, someone e-mailed me and suggested I check out the kids music of Boston-area musician Wayne Potash. She said that he was (and I'm quoting here), "completely lacking in hip-ness... His band is called 'The Music Fun Band' which is one of the stupidest names I’ve ever heard of, and Wayne looks like a hippie freak wearing a fish hat.

However, if you can get past that, he’s an amazing musician for little kids."

Well, those of you who have read me for any length of time know that those are exactly the kinds of things I can get past. (I don't think I ever had a fish hat, but did have a bag that looked like a trout, so there you go.)

And if you can get past those things (and the not-terribly-inspiring album cover, too), his 2005 album Don't Forget the Donut! might just be up your alley. From goofy little songs like "Stunt Car" and "Wiggly Tooth" to breezy reworkings of classics like "When the Red Red Robin Comes Bob Bob Bobbin' Along" and "The Frim Fram Sauce," Potash has a relaxed attitude that serves the music well. He's not trying to remake children's music, he's just having some fun.

Not that the music isn't well-played. Potash mixes some jazz (the classic tracks above) with some bluegrass ("Hot Corn, Cold Corn", "Cindy") along with some poppier originals like the groovy "Lobster Dance." His duet with Suzanne Clark on "Down in the Valley" is -- dare I say it? -- better than Dan Zanes. I liked Potash most in his quieter, folkier moments, such as on "Street Sweeper," as opposed to the more '70s guitar-oriented stuff at the end of the album (it's about 8-10 minutes too long), but it's all done without pretension. (Proof of that is the ended-by-laughter version of "Haul Away Joe.")

Kids ages 3 through 7 will enjoy these songs the most. You can hear samples of all the tracks at the 48-minute album's CDBaby page. Yes, the album is 3 years old at this point, but he's also working on a new CD.

Wayne Potash isn't trying to set the kids music world on fire, he's just covering some good traditional and classic songs and writing decent original music. Don't Forget the Donut! might not become your family's most favorite album, but I can see it lasting in the CD player long after other CDs have worn out their welcome. As my original e-mail tipster said, "he doesn’t rock, exactly. He’s extremely uncool. And yet, he’s pretty amazing, either despite those things or perhaps because of them." I think those of you out there know if that applies to your family. Recommended.

Posted by SAShepherd at 08:06 AM | Permalink | Comments (2)

Ralph Covert has few peers when it comes to kids' music songwriting -- Justin Roberts?, the guys from Recess Monkey?, Molly Ledford from Lunch Money? -- the list is short. Over the course of six original albums in his guise as Ralph's World, the Chicago-based Covert created a body of work that holds up against any other kids' musician, work that helped convince Disney to sign Covert to its label.

The Rhyming Circus, Covert's first collection of new material since signing to Disney, does not give any indication that his skill in putting together of kid-friendly pop tunes has waned at all. The leadoff title track is filled with a nifty little series of rhymes, of course ("Bats in hats wearing suits and spats / And cats on mats what do you think of that / Fats the rat juggling some gnats / They’re all stars in the Rhyming Circus"). "Gotta Be Good" is a sunny pop-rocker, "Edward the Tap-Dancing Elephant" has a 21st century Tin Pan Alley feel, and so on down the line. Beatles references are woven throughout ("Happy Not My Birthday," "Abby's Alphabet Soup" and the funky "Do The Math" among them, the latter closing with an emphatic final "Day in the Life" piano chord). Oddly enough, "Folsom Daycare Blues," with Covert reworking the Johnny Cash classic, is the weakest track on the album; it's sort of a cheap joke that the kids won't get at all.

For those of you more familiar with the Ralph's World oeuvre, I'd say The Rhyming Circus more in the Peggy's Pie Parlor camp than his two subsequent albums, which had a more rocking feel. I consider Green Gorilla, Monster & Me to be in the vicinity of the top 10 kids' albums of the past 10 years, so if I'm not as enthusiastic about this new album, it's not a reflection of the album's quality as much as it is a reflection of my personal musical taste. (And I know that there's a strong segment of Ralph's fanbase that adores Peggy's Pie Parlor, which I like, just not as much as the two albums that followed.)

One other comment, this directed at Disney. I know they know what they're doing, but there are few kids' artists that create as fanciful a story through song as Covert (especially on this album -- just listen to "Rodeo Peg" or "King of the Alphabet" for two examples). Why, then, do the videos for the new album (the title track is available as a bonus on the disk, and the first two can be seen here) just feature Covert in a live setting with bouncing kids? It's mostly forgettable, or at least undistinguishable from countless other kids' videos, albeit with higher production values. Disney is missing a major opportunity to create something memorable by not recruiting former Covert cover illustrator Giselle Potter to design a few videos.

The CD will be of most interest to kids ages 4 through 8. You can hear samples across the internet, while Covert's Myspace page has a few tracks available for streaming.

The Rhyming Circus is another collection of top-quality (in every way) kids' pop-rock. Ralph's World fans will not be disappointed with the release, and those who aren't fans already should certainly give Covert a shot in the stereo. Recommended.

Posted by SAShepherd at 09:07 PM | Permalink | Comments (1)

I know that the kids' music genre is flowering when less popular subgenres such as kids' hip-hop or kids' country are starting to bubble up. I especially know that that's the case when those genres start producing albums that aren't just "kids songs done in a [fill-in-genre-name] style," but fully realized albums on their own.

Case in point: Easy, the debut kids' CD from Asheville, North Carolina's Cactus. He spends a lot of time rapping and playing with the music collective GFE as Agent 23, but who adopts the cool-kids name Secret Agent 23 Skidoo.. From start to finish, the album is totally geared at kids in its subject matter but is not dumbed down one bit in the creativity of its beats and melody. On its strongest tracks (and there are a number of them), Cactus blends smooth rapping with occasionally eclectic instrumentation ("Luck" features nice banjo work) and an all-positive message.

Sometimes that message is a little more overt -- "Luck" raps about how we make our own luck by knowing what it is we want; "Gotta Be Me" is about how everyone should have their own style, and that's OK. If the message is a bit direct, it's delivered with precision and flowing words. (Even his 5-year-old daughter Saki gets in on the act, very smoothly trading lines with her dad on "Family Tree.")

Perhaps even better are his songs that take a more imaginary bent. "Hot Lava" so completely nails the 7-year-old feeling of pretending on the fly (don't touch the floor! -- it's hot lava! -- jump from couch to couch!) that I'm not sure there is a better kids' song about the power of imagination. Songs about dragons, mermaids, and robots feature in the mix, too. It's very much story-telling with a compelling musical background.

I'm going to peg the messages and stories here as geared primarily for kids ages 4 through 9. You can hear samples of a number of the songs at the album's CDBaby page.

The list of really good kids' hip-hop albums is very short. Not only does Easy go to the top of that list, it should find a lot of fans among people who don't consider themselves big hip-hop fans. It's a really good CD, period -- lots of fun and certainly worthy of repeated spins. Definitely recommended.

Posted by SAShepherd at 08:31 PM | Permalink | Comments (0)

I'd like to think that my offhand comment 7 months ago ("Why has this band not recorded a kids' CD?") was the genesis of Snacktime, the first kids' music album from Canada's Barenaked Ladies. The band, after all, recorded the album in November and December of last year, a good month after my comment. I gotta tell you, if I was somehow responsible in some tiny way for the album, released tomorrow, that would justify a lot of my work here at Zooglobble -- this is one fun set of songs. (Note: I'm not delusionary enough to suggest that I actually am. But it's nice to dream, eh?)

Barenaked Ladies always seemed to me a little bit the yin to They Might Be Giants' yang when it came to geek rock -- while TMBG focused on absurdly catchy melodies, BNL's strength was more lyrical. From the goofiness of "If I Had a $1000000" to the wistfulness of "Brian Wilson" to the, er, I-have-no-idea-iness of "One Week" (which I will proudly admit to still adoring), the band always had a good narrative line and a fascination with words.

A fascination with words is a good thing to have for certain kids' albums, and it pays off well here. From the very first song -- "7 8 9," which takes the old kids' pun of a hungry #8 and #9's sad demise and turns it into a Western stomp that touches on Gordie Howe, Pluto, and canine (teeth) -- lovers of wordplay will rejoice here. There are several wordy classics here. On the soundplay of "Food Party" the band perfectly anthropomorphizes (sonically) tastes such as "sweet," "sour," and "bland." "Crazy ABCs" pretty much writes the final ABC song ever (sample line "G is for gnarly"). "Vegetable Town" is a slow, dreamy song about a place "Where we can ride the zucchini subway / Or watch the carrot planes land on the runway." "I Can Sing," on the other hand, is a zippy bluegrass tune which features lines like "I can dance I can dance I can dance faster / I tried to keep up but it was a disaster. / One more move and I'm gonna be the master! / So crank it up loud on the ghetto blaster."

Not every song works -- the title track, for example, mostly consists of musicians and actors (Geddy Lee, Lyle Lovett, Sarah McLachlan, Jason Priestly) phoning in their favorite snack foods, and after the first listen you're likely to skip forward (and probably once more, past "Popcorn"). But that's what happens when you put 24 tracks on a 54-minute album -- some are bound to be duds. And some songs aren't going to be of much interest to your kindergartner, but just means that songs like the awesomely rocking "Allergies" will make them convulse with laughter 3 years from now and make you hope that Dr. Demento is still recording his radio show, because it deserves to be there. (He is.)

The nice thing with all the silliness is it makes the more serious songs stand out more. "My Big Sister" encapsulates in just under a minute the woes of a younger brother and hand-me-downs. "Bad Day" is an "everything will be better" song that avoids sappiness.

The album will be of most interest to kids ages 5 through 9 and adults who got rid of their copies of Stunt a while back. [Raises hand.] You can hear some songs at their Myspace page or "Crazy ABCs" here.

By the way, you can also order the CD with a book from the band's own website. The book isn't absolutely essential -- it's just the lyrics to the songs with drawings from band member Kevin Hearn interspersed with the text -- but it's a solidly-bound hardcover, and I can't think of too many other kids' CDs where I would be more likely to read along to the lyrics with my kids than this one. It may be worth the extra $4 or $5 to you...

Snacktime is too long by half, kids will be bored by some of the songs, and "Humungous Tree" should probably be written as "Humongous Tree." And even with all that, it's still a great CD. It's not perfect, but the joy and spontaneity in its creation shines through. The Barenaked Ladies have crafted a CDs that will appeal to just about every family member, at least most of the time. It's a classic Barenaked Ladies album, just a little bit... smaller. Highly recommended.

Posted by SAShepherd at 08:52 PM | Permalink | Comments (1)

New York's Hayes Greenfield is the most vital person in the kids' music jazz subgenre. Through his Jazz-A-Ma-Tazz program, he brings his saxophones and a love of jazz to kids in concert. (And his 1998 CD of the same name which inspired that program is, with the possible exception of the new Medeski Martin & Wood disk, the best kids' jazz album out there, period.)

So clearly Greenfield's latest project, Music For A Green Planet, released yesterday, Earth Day, had the possibility of being another excellent album. Certainly many of the characteristics of his Jazz-A-Ma-Tazz disk appear here -- the never-dumbed down playing of Greenfield and his fellow instrumentalists, the broad range of jazz styles (a New Orleans strut on "This Little World of Ours," the South American jazz of "This Little World of Ours"). And once again, Greenfield brings aboard a bunch of fine vocalists, with Joe Lee Wilson and Melissa Stylianou getting the most lead vocal time. The kids' chorus is fun and never cloying (the hopping "The Sun" is a particular high point.) In sum, the jazz is first-rate.

What keeps this from being an absolutely necessary CD are the lyrics, which are set to familiar kids' tunes (e.g., "She'll Be Comin' Round the Mountain" becomes "We'll Be a PArt of the Solution"). Please don't misunderstand me -- the lyrics are generally witty and it's hard to argue with the need to reduce, reuse, recycle. The difficult part is that it's 53 minutes of the same thing -- it's all a bit too much, frankly. And while there isn't much talking down or straight lecturing, I'm not sure the concept of the carbon footprint is going to make much headway with the target audience. While not dull, the album isn't as fun as it could have been. I think the album would've been served better by a few more instrumental tracks or lyrics that just celebrated nature or being outside rather than stressing the message all the time. Less would have been more in this case.

I think kids ages 5 through 9 will most appreciate the messages here. You can hear samples at the album's CDBaby page or here. I do think Music for a Green Planet will be popular with (and I would recommend it to) any ecologically-minded class or family, plus jazz fans. While I'd recommend Jazz-A-Ma-Tazz over this album for an introduction to Greenfield's work, I do certainly hope it'll be less than 10 years before he makes another album for kids and families.

Posted by SAShepherd at 08:39 PM | Permalink | Comments (0)

It's unfair, but I'll start this review of Pop Fly, the sixth solo kids' music album from Chicago's Justin Roberts, by saying I think Meltdown, Roberts' fifth solo kids' CD is easily on the shortlist of best kids' music CDs of the decade. Clearly, I had high expectations for the new CD, which is being released today.

Never fear, Pop Fly is a hit. (OK, I promise -- that's the only baseball-related phrase I'll use here. Read on fearlessly, folks.)

If Roberts isn't the best songwriter in the rock/pop/folk heart of kids' music, he certainly doesn't have many peers. The new album has a number of outstanding tracks that again showcase his songwriting strengths -- nifty lyrics that flow effortlessly ("Pop Fly," "Kickboard, Baby, Yeah"), carefully crafted portraits of life at home ("From Scratch", "The Backyard Super Kid"), and an affinity for singalong choruses ("Stay-at-Home Dad", "Field Trip"). If some of the lyrics don't quite work -- a stay-at-home dad who kids' clothes don't match very well seems a bit cliched -- it's forgivable because so much else does.

Roberts' melodic and musical sense is once again ably abetted by fellow musician Liam Davis, who again produces Roberts' CD. The album sounds great, from the faux Dylan (and loose chorus) of "Henrietta's Hair" to the strings on "The Backyard Super Kid" to the mellow surf sounds of "Kickboard, Baby, Yeah." And, yeah, there are a bunch of horns, a Roberts habit from almost the very beginning. The alterna-pop sound mixes in hints of Fountains of Wayne and ELO, and every great forgotten '80s alternative hitmaker, along with Burt Bacharach. It's a heady mix.

The overall mood of the album is somewhat more reflective than Meltdown, and maybe for that reason I liked Pop Fly a little bit less. It's maybe a little bit more in the Not Naptime camp -- another fine album, but more downtempo than Roberts' best-known songs. The irrepressible protagonists of "Meltdown" or "Ten Little Cookies" don't make an appearance here. Again, the songs are excellent, they're just a little more mellow. And I think Roberts' best songs are the less mellow ones.

Having said that, my favorite song on the CD -- my favorite song of the year thus far, kids or adult -- is the tender "Fruit Jar". It's a stone-cold folk classic, with lines like "Life ain't no fruit jar / Stuck in a cellar / Sometimes you've just got to / Spin that old propeller / Watch it rise up / Way past the moon / And if love don't find you / You know it's going to be there soon." The song itself is beautifully constructed -- add the duetting voice of Nora O'Connor (who also appeared on Yellow Bus) and Davis' nifty guitar work, and it's one of those songs that should carry on far beyond this album. It's a tremendously affecting tune, and consdering how much some of Roberts' other songs have affected me ("Cartwheels and Somersaults," for example), that's high praise.

The album is most appropriate for kids ages 4 through 8. You can find Roberts' CDs in an increasing number of physical stores, but if you want to hear songs from the 37-minute album, you can hear "Pop Fly" by checking out Roberts' Radio or his (new) Myspace page (or check out snippets at your favorite online retailer).

Pop Fly is another masterfully crafted collection of songs which will have broad appeal just like the best in kids' literature. If Roberts has taken a slightly more mellow approach to his songs this time around, they're no less appealing. Highly recommended.

Posted by SAShepherd at 08:56 PM | Permalink | Comments (4)

There's nothing terribly fancy about Ditties for Kiddies, a benefit CD for the Little Kids Rock organization, which brings free musical instruments and music instruction to public schools. The CD comes in a small slipcase with nothing but the cover art on the front and song titles and artists on the back.

But, you know, so long as the music's good, I'm OK, and the music's good here. There's a wide variety of songs here, but a lot of them would fall in the "jamband" category. Compilation producers Deep Fried Pickle Project contribute their jug-band original "Picklejuice," while Hot Buttered Rum turn in a sprightly and bluegrass-y "Firefly." Other tracks, such as Greensky Bluegrass' take on "Boom Boom" (which Raffi's done) and ALO's "Mashed Potatoes" mine similar veins. Deadwood Revival's "Daisy" is a sweet Americana tune.

It's not entirely on the Americana side of roots music -- one of the most fun tracks is "Who Stole the Hot Sauce" by Chubby Carrier and the Bayou Swamp Band, a rollicking zydeco-influnced tune. And there's the electronica dance tune "Milk Man" by Zilla. But if you're not keen on roots music, you'll probably want to look elsewhere. (And if you're looking for a CD with a sound more directly targeted at kids, look elsewhere, too. It by no means is kid-unfriendly, but aside from a Melanie Dill track and a couple other tracks, it's really kid-friendly, not focused.)

The songs may be most interesting to kids ages 3 through 8, but, as noted above, the appeal is probably pretty broad. You can listen to track at the album's CDBaby page. In Ditties for Kiddies, the Deep Fried Pickle Project have put together a sweet little compilation CD that will appeal to a number of listeners, particularly those families who like the jamband/roots music sound. Recommended.

Posted by SAShepherd at 08:36 PM | Permalink | Comments (0)