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Here's a sign of how oddball a CD is: when you cover a Talking Heads song on your kids' album, and it might just be the least weird song on there.

Thank You For Joining the Happy Club is an oddball CD, and I mean that as a high form of praise. It's the debut kids' CD from central Pennsylvania's Billy Kelly, and it's totally winning in its goofiness. How goofy? Try this, a snippet of animation for "People Really Like Milk":

And it goes on like that ("People really like drinking / From a really big thing that goes moo"), getting sillier all the while. It is a novelty song, perhaps, but it is a perfectly-constructed and produced one, possibly my favorite song of the year. The rest of the CD follows that pop-rock template, if not quite reaching those giddy heights. The title track invites you to "tell your dog the join the happy club" (with a perfectly timed woof) while having the background singers provide the "doo-doo-doos" after Kelly sings that "there aren't any dues." While the hyper (and genre-jumping) "I Don't Know!" sounds like early They Might Be Giants, most have the tracks have a warmer, usually joyous Barenaked Ladies vibe, particularly on songs like "Springtime: It's My Favorite" and "(Let Me Tell You) What I Like About You." And, yes, there's a Talking Heads chestnut, "Don't Worry About the Government," which in its straightforward reading is OK for kids, if a bit mystifying for them. (Hey, at least it's not "Stay Up Late.") Kelly and his band, the Blah Blah Blahs, make an appealing sound together; I particularly enjoyed the guitar work, which reminded me a bit of Adrian Belew in spots.

Now, there's no good reason to have two self-referential songs about song construction -- one is plenty for a kids' album (one is probably plenty for any album). And Kelly has a tendency to resort to spelling in his lyrics. (I'll admit, though, that the song title "S-N-O-W-M-A-N (Snowman!)" is pretty funny.) You take the good with the overdone good, I suppose.

The album will be most appreciated by kids ages 6 through 10. You can hear several songs from the 32-minute album at Kelly's Myspace page. For now you can purchase the album here.

Thank You for Joining the Happy Club is an album for slightly older kids, those who enjoy snappy wordplay and goofy imagery. I could see younger kids being puzzled by the hullabaloo and it's a bit too cute by half at points, but I think there are going to be some families who absolutely love love love this disk. Join the Happy Club? Sure, I did -- I might even run for president. Definitely recommended.

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

However you feel about Dan Zanes' music, it's hard to say that he hasn't managed to follow his muse in his career as family troubadour. Interspersed with excellent albums designed for the whole family, he recorded excellent albums covering songs from Carl Sandburg's American Songbag and sea tunes. And then he recorded an entire album in Spanish.

Really, the fact that Zanes' latest album is a bunch of gospel and gospel-inspired tunes with the slightly ponderous title The Welcome Table: Songs of Inspiration, Mystery, and Good Times should come as no surprise to any long-term listener of Zanes' music. The biggest risk Zanes takes in recording this album is alienating a portion of his audience who will be disinterested in the Christian worldview.

Or, rather, that's how it might appear to someone who hasn't heard the album. Because if there's one constant thread running through all of Zanes' albums it's a sense of tolerance and equality, and this album is no different. Yes, it's an album that mentions big-G God several repeatedly. And just as Nueva York! may not have been as easy for a listener to "get" if they didn't speak Spanish, if a listener doesn't speak the particular language of the gospel songs, they may find this album more difficult to grasp. (I personally had that problem with Nueva but don't really with this album.) But it's also an album that includes a Jewish song, readings of biblical passages in foreign languages, and several songs that don't mention a higher power at all. It is, in short, a Dan Zanes gospel album in every sense of the phrase.

There are, as best I can tell, 5 previously-released songs here including the title track with the Blind Boys of Alabama, leaving 10 new songs for your listening pleasure. Lots of traditional gospel tunes reworked in Zanes' Americana/folk/rock style, with particular highlights being "Jesus on the Mainline," "Up Above My Head," and "Home In That Rock." I also really liked the Spanish hymn "Himno Guadalupano." They're all lots of fun -- mostly "good times" with only a little bit of "mystery" thrown in. But I'd be remiss if I didn't mention my favorite track here, the album closer "We've Been Down This Road Before," a song about working together through tough times that Woody Guthrie or Pete Seeger would be proud to have written.

Once again, a Dan Zanes album makes a mockery of my insistence of putting age ranges on album reviews, but I think kids ages 5 and up will more easily grasp the social justice (or spiritual) messages here. You can listen to the songs at Zanes' page here. I should also note that the album is a benefit for the New Sanctuary Movement, an organization which "protects immigration workers and families from unjust deportation."

Zanes' passion in his music has always been community -- our "common welfare as human beings," as Zanes puts it in his liner notes. The Welcome Table is another solid album in his musical argument in favor of community and equality. Even if you're not sure the album is for you, if you're a Dan Zanes fan, you're going to find it worth your time. Definitely recommended.

Posted by SAShepherd at 07:58 PM | Permalink | Comments (0)

It seems like kids music is the new "side project" for an increasing number of musicians. What better way to deflate expectations and clear out a little creative room than by deciding to create music for the elementary school set? I don't mean that negatively at all -- in fact, it's that "anything goes" approach that helps to make the genre vibrant.

It's in that spirit that I'm calling Bunny Clogs, the kids music project from the Honeydogs' Adam Levy, a "side project" in the best sense. Now, Levy already has a side project -- the I-never-thought-I'd-be-typing-this-name-in-this-blog band "Hookers $ Blow" -- but Bunny Clogs' first album More! More! More! has been 5 years in the making, recorded with Levy's two daughters and a host of guests (and featuring some pretty cool album art from his son). So it reflects a fair amount of thought and craft.

At its best, the album recalls the family-friendly community-celebrating vibe of Dan Zanes, such as on the midtempo "Midtown Greenway," which extols riding a bike through town and features Semisonic's John Munson on bass. "Song For Powderhorn" celebrates another part of Minneapolis (and benefits the local V.O.I.C.E. Music Saves Lives program doing work in the Powderhorn Park neighborhood). There are a lot of songs about food, with very little in the way of lessons (though there are some snuck in there). Sometimes the album is plain silly -- "Velveeta Girl and Squatsy" is a bunch of (danceable) nonsense while "3 Dogs and a Pancake" is a bunch of (not-entirely-danceable) nonsense. And sometimes the album marries the old (Woody Guthrie's "Car Car") into a new, strutting hand-clappable classic -- "Are We There Yet?," the best song on the album.

Not every track is perfect -- I can't say that I ever need to hear the drum machine-aided "Butter" more than once a year at the most -- but Levy's use of a whole bunch of different styles and instrumentation (check out the middle eastern touches on "Pharaoh Pharouk's Phyrst Phood Phyramid") makes even less compelling songs more fun to listen than most kids songs.

The album is most appropriate for kids ages 4 through 10. You can hear tracks at Bunny Clogs' Myspace page, or also pick it up at eMusic or Lala.

More! More! More! is clearly a labor of love for Adam Levy. It wasn't recorded to cash in on the kids music scene, it was created for the fun of it. Families who listen to the album with the same sense of joy that went into making it will get a kick out of this. Definitely recommended.

Posted by SAShepherd at 08:42 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 (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 (0)

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 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. Update: Those of you living in the physical world can now enjoy the album...

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 (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)

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)

It's Memorial Day here in the United States, so I thought this review might be appropriate.

Maine's Josephine Cameron is not an artist that typically would get much coverage on a kids' music website. That's because even though Cameron spends some of her time teaching songwriting to kids, she doesn't spend her time recording songs for kids.

But just as her last album, Close Your Eyes (review) was a mellow CD that could pull double-duty as a lullaby album, so too her latest album, American Songs Vol. 2, could be a good folk song primer for slightly older kids. The album, released in late 2007 and a sequel to the first volume, released in 2002, consists of a number of traditional American folk songs mixed in with a few originals. Cameron puts just enough of her own spin on the more familiar songs to make them fresh without depriving them of the strengths that have made them classics. "Oh Susanna" is dialed-down a notch, emphasizing more of the sadness of the distance between the returning soldier and his love. "This Land Is Your Land" gets all the verses, with Cameron's ebullience at the end showing through.

There is pleasure in the discovery of less-familiar songs, such as the waltz of "Gum Tree Canoe." And on "Evangeline" (co-written by Cameron and co-producer Anthony Walton), Cameron retells Longfellow's tale of Evangeline and Gabriel. I also really liked Cameron's, Walton's and arranger Carter Little's bluesy setting of Sterling A. Brown's poem "Long Track Blues." Cameron's slightly high-pitched voice (think Susanna Hoffs) is set off nicely against the understated guitar and mandolin work.

I would be surprised if young kids enjoy this album much, but older kids, say those 8 and older, might enjoy listening to these songs. You can hear samples and download tracks here or at the 42-minute album's CDBaby page. Also, I highly recommend Cameron's notes on the songs, which are incredibly detailed. It's always nice to hear musicians thinking about how to record traditional folk music in a way that preserves what makes the song a classic but also brings the musician's own sensibilities to the song, thereby making it new once more. With American Songs Vol. 2, Cameron's done that. It's not necessarily a kids' album, but it's a good album.

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

High Meadow Songs is a collection of tracks from artists in New York's Hudson Valley to benefit High Meadow Arts, a local non-profit providing arts education for children and families.

When getting a bunch of local musicians together for a benefit album, it doesn't hurt if your definition of "local musicians" includes Elizabeth Mitchell, Dog on Fleas, and Medeski, Martin & Wood. And if the CD just consisted of the tracks from those artists or collaborators, you'd have a pretty nifty 9-track album. Dog on Fleas turn in a very Fleas-ian (and local) "Buffalo Gals" and sound a bit like The Band on "Jenny Jenkins." Mitchell covers Jane Siberry's sweet "When Spring Comes," while MMW offer their reworking of "All Around the Kitchen" (accented with kids' voices) from their upcoming Let's Go Everywhere CD.

Luckily there are a number of other tracks worth it for someone who's not from the area -- for example, Rebecca Coupe Franks & Her Groovemobile offer an original jazzy instrumental, "Ella Skye," and Abby Hollander and a whole bunch of High Meadow students perform Mark Morgenstern's story-in-song "Hudson River Girl." The album isn't so much an album of "kids music" as much as it is an album of kid-friendly folk music, "folk" defined rather broadly, as the album also includes a song from a musical comedy based on Beowulf ("True True Friend") and a couple of tracks from drummers Fode Sissoko and Toby Stover. As with any benefit album, especially a 65-minute one such as this one, the quality (or interest) of the tracks is not uniformly high, but the high points outweigh the rest.

You can hear the first three tracks in their entirety here or listen to samples at the album's CDBaby page. It's probably most appropriate for kids ages 5 and up. High Meadow Songs will appeal most to fans of Dog on Fleas and Elizabeth Mitchell, but I think any listener (or family) who's a fan of folk music will find many pleasures here. It's a testament to one particular community's creative vibrancy. Recommended.

Posted by SAShepherd at 12:59 PM | Permalink | Comments (0)

In the comparatively small world of kids music, I'm not sure there's been an album that has shook up the genre recently as much as the Jellydots' debut CD Hey You Kids!. At time it rocked, other times it was gently sweet, but it seemed to resonate with parents who might never have given the genre a second thought.

So how exactly does one follow up such a standout release? You pretty much have two choices -- follow the template exactly, or throw away the mold. For Doug Snyder, chief Jellydot, the answer was more the latter than the former and you can hear the results on Changing Skies, the followup CD currently available in digital formats and available on physical CDs in the not-too-distant future for old fogeys like me.

How is it different? Well, the primary difference is that the subject matter is definitely geared towards older kids. It's not that Hey You Kids! was necessarily a perfect album for a 3-year-old -- it was definitely more for 6-year-olds and older. But songs about dropped cookies and going to camp, and treating each other with respect were definitely for kids. On the new album, though, Snyder often writes songs about 14-year-olds, or even their older siblings. "Remember Me" is a beautiful song which conjures up every memory you never had about a tenth-grade romance with a girl who moved away. "Art School Girl" is a dryly humorous reggae-tinged track about a young woman who moves away from Austin because she thinks life will be more exciting elsewhere and ends up working in Starbucks. Your 3-year-old might bop her head to the tune, but won't really care about the lyrics.

The album isn't totally a missing My So-Called Life soundtrack -- "Big Swingset," for example, is about, well, a swingset and moves briskly in 7/4 time (a meter which, I assure you, is not found on most pop-rock albums), while "Sad Robot" is a slower track about a robot who'd much rather be zooming through space. And for those of you who loved the lullabies at the end of the first CD, Snyder doesn't disappoint here, either -- "When You Were Born" and "Pretty Little Baby" evoke Paul Simon and Elliott Smith in tenderness. So, yeah, there are some songs for the youngsters, but the overall vibe is for kids older than them.

I'm going to peg the primary audience here at ages 9 and up. You can listen to samples and purchase the CD at CDBaby or hear a couple songs at the Jellydots' Myspace page. (Order it at iTunes here.)

In its own way, Changing Skies an experiment in creating a different path for family music, one that attempts to include all family members in the musical journey. Dan Zanes has blazed this trail most successfully, but with this album, deliberately or not, Doug Snyder is seeing whether or not a more rock-based approach might also work. I'm not sure everybody in a family will like all the tracks equally, but I'm pretty sure at least somebody will like each track in turn. And I definitely think the adults who liked Hey You Kids! will like this new one, too. Recommended.

Posted by SAShepherd at 07:40 PM | Permalink | Comments (4)

I have been a fan of Rhode Island-based Keith Munslow since hearing his fun 2005 album Accidentally (on purpose) (review here). But I hadn't heard any of his storytelling until giving his recently-released Dressed Up For the Party a spin.

I should have known his storytelling would be every bit as fun (and funny) as his music. There are just 4 tracks here stretching out over the album's 47-minute runtime, nicely sequenced. The opener, "Five Second Rule," is storytelling with some strutting blues bookending Munslow's observations on the eternal food/floor conundrum. It's an amusing appetizer to the main two stories here. The 18-minute "No Token, No Milk" tells the story of a school-aged Munslow losing the token he needs to get his carton of milk. It's the funniest story here.

It's followed up by "Marfa the Barfa," a more dramatic story (though not without funny points) with no music about a 13-year-old girl whose fondest wish of going out to sea with her fisherman father is thwarted by her throwing up over the side of her father's boat (repeatedly). At nearly 20 minutes long, you might think that it would drag or fail to keep the kids attention, but my kids (especially the 6-year-old) hang on to every word. I could see where both stories were going (or at least the major plot points), but in storytelling it's the details and the execution (listen to the squeak of Martha's brother's tricycle and its use), and Munslow's got those down pat.

The disk wraps up with the title track, an amusing musical number about a kid who doesn't want to, uh, get dressed up for the party. It's a light dessert to the disk. It shows off Munslow's musical chops, along with that of his co-producer, Bill Harley (a talented singer/storyteller in his own right, and a Grammy-winner to boot). With the exception of "Marfa," music is important to the tracks, and even in the comparatively non-musical "No Token," Munslow's use of the African box drum the cajon made my two-year-old dance like crazy.

The stories will be of most interest to kids ages 4 through 10. You can read the liner notes and lyrics at Munslow's page for the album or listen to samples at its CDBaby page.

Dressed Up For the Party is a solid album of storytelling with some sweet musical accompaniment. In pajamas at home, or in school clothes in the car, your kids will enjoy the disk and you will, too. Recommended.

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

When the Seattle band Recess Monkey aped (pun somewhat intended) the Beatles' Sgt. Pepper's Lonely Hearts Club Band album cover on their 2nd CD, Aminal House, it wasn't a random reference -- they really did sound a bit like the Beatles on that fine CD. So with their Sgt. Pepper's under their belt (and maybe their fun but a little rough-around-the-edges debut Welcome to Monkey Town standing in for Please Please Me), all that's left is to release a double album, right?

Uh, right.

Set to be officially released this weekend, Wonderstuff is the year's most ambitious kids' music album. A double-CD set (a first for the genre as far as I'm aware) telling the story of Everett the Wonderbee, who along with some friends, travel far and face danger as they seek the mysterious Gray which threatens the meadows where Everett and his friends all live. Oh, and the songs and the stories were created (and performed) by the band with the help of a bunch of elementary-school-aged summer campers. (Really. I sat in on the tail-end of one the days of camp as an invited guest of one of the campers.) So, yeah. Ambitious.

Although the band joked this summer that they were making their "Yellow Album," as I listened I thought more of another late '60s double-CD set from another English band -- the Who's Tommy. Though miles away from Pete Townshend's somewhat dark and disturbing storyline, Wonderstuff is, at its heart, also a rock-pop opera. It intersperses its songs with narration and dialogue from the characters which move the story along. These snippets, usually a minute or so in length, are often quite amusing (for both parents and kids, though not always at the same time). The story itself -- a hero quest worthy of Joseph Campbell -- will be of interest to kids. (I must say, though, I actually missed "Mayor Monkey" from the previous CDs, which is one of the first times I've ever actually missed a skit character.)

Of course, the heart of the album are the 20 songs here. There are a fair number of songs that one would describe as Beatlesque ("My Pet Rock" is one such song, featuring the album's best melody), but other styles get their day -- the later Beach Boys sound of "The Pool," the Byrds-ian jangle-pop of "Down Down Down," even the Who get a cut ("Round and Round"). Which isn't to say newer artists get ignored. Some of the tracks on the 2nd CD have to me a more minimalist Spoon vibe, the dour "The Gray" could be a cut from Stephin Merritt's Gothic Archies side project, and the boys give another shout-out to John Vanderslice in the power-pop of "Backpack." Lyrically, the songs are split between those that hew closely to the narrative (e.g., "Magical Meadows") and those whose relationship to the story is tenuous ("Down Down Down" is really about a roller-coaster ride). In other words, take out the overarching story and you'd have a completely different album.

It would also be probably 30 minutes shorter, and when you're talking about 81 minutes worth of entertainment that's currently on the two disks, that's a big difference. In fact, if there's one drawback to the CD, it's the length. It would sound great on a long car ride (the story is interesting enough to keep the attention of the listener), but it may be too long for many listeners.

The album will be most appropriate for listeners ages 5 through 10. You can hear samples at the album's CD Baby page. I also think you'll be able to listen at the album's website, but that function doesn't seem to be up and running just yet.

With Wonderstuff, Recess Monkey have recorded another album bursting with energy and good spirits. Even if you're not interested in the rock-pop opera, there are a bunch of fabulous songs at the heart of this album worth your time. Definitely recommended.

Note: The album's release party is this Saturday, Oct. 20, at the Experience Music Project in Seattle Center. If you can make it, go. I think it'll be ten tons of fun.

Posted by SAShepherd at 08:06 PM | Permalink | Comments (1)

Spend 2 minutes and 16 seconds, listening to "Educated Kid," the title track and leadoff single from the Bay Area trio The Hipwaders' latest CD, Educated Kid, and try not to move or sing along in some way. Go ahead, try.

See, can't do it.

It's a great example of a pure power-pop song retrofitted just enough to allow the kids to groove to it, even get something out of it lyrically ("pursue your passion / do what you love / perservere / you'll rise above"), while retaining enough musical flourishes (the "uh-huh, uh-huh, uh-huh" of the chorus, the handclaps) to make the older power-pop fan smile broadly.

While the rest of the disk doesn't quite reach the sugary heights of the title track, there are a number of other good songs on the CD, which was released this week. "Little Baby Brother" has a snappy "ba-ba-bas," "whooooos" and a dead-on kids-eye view of a child's response to a little brother ("Please don't break my toys / And I'll love you forever"). "Aidan's Train" is a sweet Beatle-esque melody. A lot of the tracks have a very XTC vibe -- "The History of Declan Rae" sounds like something from XTC's later period while the angluar "Art Car" and "Speed of Love" have early XTC influences -- in other words, it sounds like a Futureheads kids CD. Guitarist and songwriter Tito Uquillas continues his fascination with sharing educational facts in some songs. It could drag the disk down but it usually doesn't -- the facts typically come off as "hey, here's this really cool fact!" rather than overly didactic and some songs ("History of Declan Rae," in particular) pull it off rather well.

Kids ages 5 through 10 will most likely appreciate the songs and subject matter on the 39-minute CD. You can hear (and download) four of the tracks at the band's Myspace page or samples of all tracks at the album's CDBaby page.

Educated Kid marks a big step forward for the band. In reviewing their previous, self-titled CD, I said "they're not at a Ralph's World level of polish and songcraft yet, but give The Hipwaders time. They may just get there. " Folks, they're getting pretty close. Definitely recommended.

Posted by SAShepherd at 08:05 PM | Permalink | Comments (2)

Can sequels upstage the original?

The Chicago institution Old Town School of Folk Music released its Songbook Volume 1 last year (review), and the title implied that more was on its way. But could what followed surpass that solid collection?

Yes.

Old Town School of Folk Music Songbook Volume 2 & 3, released last week by Bloodshot Records, is its predecessor's equal in every way, and betters it. Over the 2 hours and 20 minutes on the 2-CD set, the School's instructors and friends breathe fresh life into 42 mostly traditional folk songs. These aren't really kids' songs -- they're folk songs (of many sources, from gospel to sailing to bluegrass), written for general audiences. But with few exceptions they're totally OK for kids and families.

In many cases, the artists take a mostly traditional approach, with a healthy dose of banjo, fiddle, and and/or guitar instrumentation. But others take some risks -- the Zincs turn in a spare, quasi-electronica version of the traditional Shaker tune "Simple Gifts," while Scott Besaw engages in some multi-tracking to make his solo recording of "Nine Pound Hammer" sound very full. As sung by Mary Peterson, "Sportin' Life" could easily be a long-lost track from Patsy Cline.

And some of the tracks are just luminous. Laura Doherty's rendition of Donovan Leitch's "Colours" is simple and sweet. "Lonesome Road," as performed by Back Off the Hammer, would fit right in on a Gillian Welch/David Rawlings disk. Cat Edgerton's "Water is Wide" should find its way onto many a lullaby mixtape. If I had to pick a single track from the bounty here, though, it'd be Jacob Sweet's take on Stephen Foster's "Hard Times." The timeless melody and lyrics, combined with Sweet's voice and the harmonies, are enough to give the listener goosebumps. There are a few tracks I'll skip over because I don't like the vocal style, but those are definitely the exception, not the rule.

Even more so than the original, this collection is appropriate for kids, with very little in the way of subject material parents might object to. Call it appropriate for kids ages 4 on up. You can download Nora O'Connor's excellent recording of "Home on the Range" here, and listen to samples elsewhere on this fabulous thing called the Internet, about which you won't hear a single song here. I'd also note that you can get this album for less than $15 in most places. It's a great deal.

Songbook Vol. 2 & 3 is chock-full of renditions of classic songs that are part of the American song DNA that will please many an ear. If this is how good the sequel is, then Volumes 4 & 5 had darn well better be in the works. Highly recommended.

Posted by SAShepherd at 08:51 PM | Permalink | Comments (2)

In reviewing this CD, let me be clear from the start that ours is not, for the most part, a television-watching household. It's not really a principled stand as much as it is a reflection of our busy lives. We just don't have much time to watch TV if we want to do other things like, you know, bathe and eat.

Having said that, I do wish we had a little more time, because if we did, we might find time to watch Class of 3000, a Cartoon Network show co-created by, executive produced by, and starring Andre 3000 of the hip-hop duo Outkast as musician/teacher Sunny Bridges. Even if the animation was lousy, we'd still have the music to enjoy.

Released earlier this month, Class of 3000: Music Volume 1 features one song from each of the first season's thirteen episodes, plus the show's theme song. That theme song by itself is more adventurous than most kids' music, going from funk to jazz and even picking up a nursery rhyme along the way. (You can download a copy here, courtesy of Sony, or listen to a Windows stream here or a RealPlayer stream here.)

Luckily the rest of the CD is just as creative and funky. "Throwdown" could be a hip-hop hit. "Cool Kitty" sounds like it was written 40 or 50 years ago, with a snappy surfer/girl-group vibe. "Oh Peanut" is a slower track that shows off some more classical instrumental grooves (listen to a Windows stream here and a RealPlayer stream here.) "Life Without Music" is one of the better "educational songs" of recent years. And, hey, how often on a major-label kids' music release do you get the pure instrumental bebop jazz of "My Mentor?" Rarely, oh so rarely.

If there's a drawback to the album as an album, it's that some songs are clearly tied to the visuals. In some cases it's not much of a drawback -- while I might like to see the visuals associated with "Fight the Blob," the drumline march of the tune is so strong, it works fine a song told in music. In other cases, such as "UFO Ninja," I'm clearly missing something. I'm not saying you need to have seen the series, just that I think those who have might enjoy it (and understand the story-driven songs) slightly more. For those of you don't like cartoony voices, well, I'm usually right in that camp, but the vocal characterizations here are pretty strong, and I think you'll enjoy 'em. (I did.)

The songs are probably most appropriate for kids ages 5 through 10, though with the exception perhaps of the darker "We Want Your Soul," everything here is A-OK for youngsters, too. You can hear samples at your standard internet retailers, but I'd also recommend checking out the videos from the show, available at the show's website. You can hear many of the album's tracks there.

In the end, what I find so wonderful about Class of 3000: Music Volume 1 is that a major label gave an exceedingly talented musician the freedom to create an album that takes so many risks. In the jazz interlude of the theme song, one character says, "But, Sunny, radio doesn't play songs without words anymore," and Sunny says wearily, "I know..." It'd be a shame if the public doesn't hear these tunes, be it by radio or some other way. The album is a smartly crafted collection of kid-friendly funk, hip-hop and jazz. Definitely recommended.

Posted by SAShepherd at 09:06 PM | Permalink | Comments (1)

Would I be here on the web without Greasy Kid Stuff? Yeah, probably. Would anybody care? Well, I'm not so sure.

Way back in 1995, when Belinda Miller and Hova Najarian started their weekly Saturday-morning "Greasy Kid Stuff" broadcast on WFMU in the New York area, there may have been a number of kids' music shows on the radio, but none were doing what Belinda and Hova did. Sure, they played "kids' music" (cartoon theme songs, the Chipmunks, and a Sesame Street song made their appearance on a randomly-selected playlist from November 1997). But they also re-appropriated kids' songs played byadult artists (Elvis Presley, the Mr. T Experience and Tanya Donnelly/Juliana Hatfield on that same broadcast) and, even more subversively, artists and songs that had never been anywhere near a kids' show. It wasn't just Jonathan Richman -- it was the Phantom Surfers, the Go-Nuts, and Yo La Tengo.

In 2002, Belinda and Hova compiled their first Greasy Kid Stuff collection, filled with their broadcast's most popular songs from 7 years of Saturday-morning radio shows. This collection has a very goofy vibe to it that owes as much of its energy to Dr. Demento as it does 120 Minutes. Finding out from the liner notes that the very odd "There's a New Sound (The Sound of Worms)" was "without a doubt the most-requested song" on the show in the mid-'90s is a bracing tonic in thinking about what kids actually like to hear. Although I think the silly outweighs the rock, even the silly has a lot of rock to it (check out the surf "Ants in My Pants"), and the rock -- exemplified by the Mr. T Experience's cover of "Up and Down" from Schoolhouse Rock and the by-now-immortal "Jockey Monkey" from James Kochalka Superstar.

The sequel, released a couple years later, is more at the 120 Minutes-end of the GKS spectrum. With tracks from Cub, Supernova, and They Might Be Giants, the album has much more of an indie-rock feel. "Dictionary" is another great indie-rock track, done by Muckafurgason (two-thirds of which would later become the kids' band The Quiet Two. But the less-familiar names also turn in enjoyable tracks, most notably the surprisingly sweet (with pointed commentary near the end) "The Dinosaur Song," from Drew Farmer.

Both albums are appropriate for kids of all ages (unless you think kids shouldn't hear the "Mission: Impossible" theme as performed by chickens, then stay away from the original). But I think kids ages 4 through 10 will probably get the most out of the CDs. Samples are available at many fine internet superstores.

It's hard to choose between the two CDs (if, indeed, you have to choose between them), but I think my rough stereotyping above -- Dr. Demento or 120 Minutes is a reasonably fair one. There are some awesome tracks on both CDs and your family will like both, if for perhaps slightly different reasons. With news that a third collection is in the works, Belinda and Hova will get to share their many discoveries with a music world that's, well, finally, sort of, caught up with them. Recommended.

Obligatory conflict-of-interest note, which I forgot to include when originally posting this last night: Belinda and Hova have just started a new Greasy Kid Stuff blog at Offsprung, which is where I post, too. I could've written this review many months ago, long before they even joined the fold, but thought you should know.

Posted by SAShepherd at 08:27 PM | Permalink | Comments (0)

I will be upfront and say that although pirate mania seems to be taking over the world, I, thus far, have been immune. No eyepatches, no using pirate lingo, and only on the rarest of occasions do I drop an "Aaarrrrrrgggghhh." (Though that does give me tremendous satisfaction.)

I do, however, make an exception for the charms -- yes, charms -- of Captain Bogg & Salty, which for nearly 10 years has been performing kids and families in their home port of Portland, Oregon and in other parts of the world. They are a pirate band, though I think it's probably more truthful to call them a pop/rock/theatrical band with a very piratical attitude.

This is definitely noticeable on their third album Prelude to Mutiny, which was released in 2006. The album starts out with a more traditional vibe, led off by a rousing version of "Drunken Sailor." The next track, "Bosun Whistle," has a traditional sound, but also sounds a little bit like trip-hop -- call it "ship-hop." And its unsettled lyrics about an uneasy sky lead nicely into the third track, "Mutiny of the Hispaniola," which, as you might expect from the title, is an elaborate story song about a pirate mutiny. Captain Feathersword, this ain't.

The rest of the album, while not totally happy and cheerful, backs off from the darker side explored in those first three tracks. "The Loneliest Sailor" is a love song, believe it or not. "Doldrums," while exploring the not-so-happy occurrence of being trapped in idle waters, is married to a straight-ahead rock melody. "Dead Men Tell No Tales" is the best song AC/DC never wrote. And the good captain's deranged take on "Part of Your World," from Disney's The Little Mermaid is in its own special category of "must-be-heard-to-be-believed."

Darker in tone than its predecessor, the album lyrically is appropriate for a slightly older audience, perhaps kids ages 6 through 10+. Which isn't to say that younger kids wouldn't appreciate some of the tracks here, just that if you've got a three-year-old, I'd probably start out with Pegleg Tango perhaps rather than this. You can hear samples here.

If you hate pirates, then I wouldn't recommend this. (Though I'd ask you, why'd you make it this far in the first place?) If you or someone in your family loves pirates, or even if, like me, they're just fans of well-crafted rock/pop songs and stories in song, then Prelude to Mutiny is worth your time. Recommended.

Posted by SAShepherd at 08:45 PM | Permalink | Comments (2)

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)

There are singers, and there are entertainers. In the former camp, I'd put artists like Elizabeth Mitchell, whose interpreter of songs is rivaled by few in the kids music genre and who have glorious voices.

In the latter camp, I'd like to introduce Ashley Albert, lead singer, songwriter, and mastermind behind the New York-based The Jimmies.

Don't get me wrong, Albert has a nice voice and could be a very adept interpreter of standards, kids-oriented or not. But on her band's recently-released debut album Make Your Own Someday (Silly Songs for the Shorter Set), Albert's strengths are in thinking like a goofy 7-year-old and performing for said kid. (It's not for nothing that Albert's done voice work for cartoons and commercials.)

Watch this completely infectious (pun mostly unintended) for "Do the Elephant," one of the catchiest songs on the album, and tell me that the Nickolodeon/Nick Jr. corporate behemoth shouldn't find some show to feature Albert and the whole band on a regular basis. It did wonders for Laurie Berkner -- it could do the same here.

Kinda like a cross between Gwendolyn and the Good Time Gang and AudraRox, except skewed at a slightly higher age bracket.

The songs themselves sound bright and tackle common kid-themes like clothes (the swinging "What's On Your Shirt" or the rocking "Cool To Be Uncool") and pets (the unusually-sweet-for-the-album "Taddy") with a variety of musical styles. Albert gets the double-word-score for combining a foreign-language song with a song about pets (in "Spanimals," on which I kept expecting Rob Thomas to make an appearance on the Santana-lite melody). And the album's opener, "What's That Sound?," isn't quite a classic name-the-instrument musical piece like "Mama Don't Allow" and "Peter and the Wolf," but it's pretty darn close. The rest of the band -- who, like Albert, have day jobs that indicate serious musical talent -- backs Albert with aplomb. (Whatever "aplomb" is.)

The album's not perfect -- Albert sometimes has a tendency to cram too many words into the lyrics (making them hard to understand) and some songs are just sort of "eh" -- but it's not for lack of talent or imagination. The silliness here will be most appreciated by kids ages 5 through 10, particularly if they have a "Weird Al" Yankovic album in their collection. You can listen to 4 full tracks at the band's Myspace page or samples from the whole album at the album's CD Baby page.

You may as well get Make Your Own Someday now, because eventually these songs are going to end up on some TV show somewhere. Then your kids are going to beg to you play The Jimmies over and over again in the care and rather than investing in some dubious technology that rips audio from a DVD video, you may as well just get the CD and save yourself the hassle. Recommended.

Posted by SAShepherd at 06:20 PM | Permalink | Comments (6)

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)

Once upon a time there lived a man with a kids' music website. The website was well-regarded, but even that had its downsides -- he received so many albums and artists worth discussing that to fully discuss them all would far exceed the time the man had available to him for his reviews.

One day his wife, a wise and gracious woman, suggested that he might combine fairly brief reviews of albums with some merit into a small grouping, or "bundle," thereby accomplishing his desire of writing about the albums without overly taxing his time.

And so the man was presented with three albums, all dealing with stories in and with songs.

The first album, Truly Hairy Fairy Tales, from New York musician Doug Waterman, most closely resembled the music the man typically reviewed. With a voice reminiscent of Jim Gill and a folky style and humor much like Jamie Barnett, Waterman retells familiar fairy tales like Jack and the Beanstalk and the Ugly Duckling. Most of the retellings are conventional and not very hairy at all, though some, like the amusing "Snow White and the Seven Dorks," earn the moniker. Sometimes Waterman puts a full band together with usually appealing results (the leadoff track "Big Bad Wolf" is a lot of fun, especially with its brass touches). Most likely to appeal to kids ages 5 through 10, you can hear some clips from the 51-minute album here. It's a bit long for listening in one sitting, but taken in limited doses (especially in teaching situations), there are some good songs here.

The second album the man had was Music Tales, the debut CD from Florida-based Musicians Out of the Box. This CD generally combines familiar stories (Goldilocks, the Arabian Nights) with mostly-familiar classical music arranged for string quartet, which serve as musical counterpoint to the words. The musical selections are mostly appropriate ("Carmen" for "Ferdinand the Bull," "Scheherazade" for "The Arabian Nights") and are well-integrated with the expert story-telling. The world premiere of "The Mysteries of Harris Burdick" based on a Chris Van Allsburg is pretty good, but I was lost without additional text (at least some pictures are provided in the liner notes. Frost's "Stopping By Woods on a Snowy Evening" isn't well-served by a selection from Vivaldi's Four Seasons, but the album closer, "Goodnight Moon," set to "Claire de Lune," is well-nigh perfect. The stories are appropriate for kids ages 3 through 9 (and stories for kids older than that. You can hear samples from the 66-minute album here. The album is an excellent mixture of classical music and storytelling.

Finally, the most traditional story-telling album is Tell Me A Story, a collection of folk tales from around the world, collected by Amy Friedman with musical accompaniment written by Laura Hall. For the most part, the music on this 71-minute CD remains in the background, opening and closing pieces and typically serving as transitional interludes. It's good, but the focus is on the actors' voices who are performing the stories in monologue. Some stories contain a moral of sorts ("A Sense of Theft"), some are more silly ("Anansis and Turtle's Feast"), and some of a hint of sadness ("The Selkie Bride," which will be familiar to anyone who has seen John Sayles' classic movie The Secret of Roan Inish). The performances are compelling enough to have kept my daughter's attention. The stories are appropriate for kids ages 6 and up. You can hear samples here. The album will satisfy listeners looking for a high-quality storytelling experience.

And with that, dear readers, the man ended his review, satisfied that he had conveyed to you the key points of these three albums. If forced to choose between the three albums, he might have had a slight preference for the Music Tales CD, but that is a story for another time and another place.

Posted by SAShepherd at 08:03 PM | Permalink | Comments (0)

I posted my review of If You Ever See An Owl from The Terrible Twos nearly a year ago. I've had a long time to think about the record, and given that time, I haven't changed my opinion one bit -- it's a fabulous record, a hoot (pun intended) for kids and adults alike. It's getting its long-awaited national release on Vagrant/Poquito Records next week so I thought this was a good time to reprint (and update) my review.

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The Terrible Twos are a side project once removed. Singer-songwriter Matt Pryor, of the emo band the Get Up Kids, formed the New Amsterdams as a side project with a more alt-country sound. With The Terrible Twos (the New Amsterdams to a man), Pryor has shifted his subject matter back maybe 15 years, targeting the young nieces and nephews of the New Amsterdams fans.

And with If You Ever See An Owl, Pryor and his band have crafted an album that will entertain those nieces and nephews along with their parents and aunts and uncles. Melodically, it's reminiscent of alt-country/Americana-pop artists like the Old 97s, Rhett Miller, and early Ryan Adams, with some Death Cab for Cutie and hints of Wilco thrown in for good measure. (Obviously, it's most like the New Amsterdams themselves.) Acoustic rock of tempos both fast and slow, melodies wrapping their way around your brain. The uptempo "When I Get To Eleven," about a boy's acceptance of growing older, makes counting to 11 a lot more fun than it has any right to be. The love song to a little girl named "Vivian" is worthy of lovesick Miller or Adams. And "A Rake, A Broom, A Mop, A Shovel," just like They Might Be Giants' "Violin" turns a very angular song into something enjoyable.

Lyrically, the 32-minute album covers ground familiar to many kindergarteners -- math, burping and being polite, the problems of a birthday too close to Christmas ("Caroline, don't worry about birthday time / Don't think that on 22 / There's none for you / It's just not true" on the shiny "Caroline"). It's unclear if Barney was the inspiration for "We Can All Get Along With Dinosaurs," but a purple dinosaur stars in a treacle-free song about tolerance. Elsewhere the lyrics target the parents as much as the kids (the disappearing baby of "The Little Houdini," the kid in the driving "Pizza and Chocolate Milk" who says "Don't try to force me to eat vegetables I hate / You may think I'm kidding / That I won't win / If I keep screaming you'll cave in.") But throughout the album there runs a feeling of love and affection for the subject matter (and kids who serve as the inspiration) that distinguishes the album from many others.

Kids aged 4 through 10 are most likely to enjoy the subject matter and the occasionally slow-paced song. The Terrible Twos' e-card lets you listen to "Ladybug," "When I Get To Eleven," and "We Can All Get Along With Dinosaurs," while their Myspace page has "Ladybug" and three more songs. (Oh, and you can listen to samples of all the songs here.)

Due to unspecified release issues, the album was for a long time only available at New Amsterdams shows. I can only think of Wilco's troubles in getting their terrific album Yankee Hotel Foxtrot released after getting dropped by their own label. It took a great deal of effort before the album saw the light of day and attracted great praise, perhaps more than it otherwise would have. If You Ever See An Owl deserves not only a release but lots of fanfare to accompany that release, because this is an album that's going to make lots of kids and parents very happy. Now that it has the national release it richly deserves, let the happiness commence. Highly recommended.

Posted by SAShepherd at 05:59 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)

There are two kinds of critic-proof kids' music albums.

The first kind are albums from, say, Barney or the Wiggles or Baby Einstein. Setting aside whatever you (or, more importantly, I) think of the artistic merits of their music (and it's not necessarily what you think), clearly critical opinion won't move the sales meter one iota, up or down. (Note: I'd love to see what Oprah would do with kids' music, though.)

The second kind is an album such as this one, Road Trip, the second album from the Boston-area group Girl Authority, released earlier this week.

Now, seeing as their first album has reportedly sold more than 100,000 albums -- if not High School Musical-type sales, certainly more than enough to hold their own with the Dan Zanes and Laurie Berkners of the world -- there's something of the first kind of critic-proof-ness in here. But the bigger reason this album is critic-proof is this:

Your kids can -- and do -- buy this album.

Listen, if every parent who claims to be sick of the Wiggles just stopped buying their CDs, their sales would drop dramatically. Why? Because 3-year-olds aren't walking into their local Target, plunking down their credit card, and buying the latest CD.

This album, however, isn't targeted at you (or me). It's targeted at your 9-year-old daughter. Who, while she probably doesn't have a credit card (unless you've got a waaay different approach to parenting than I have), does probably have an allowance and could pick this up at the mall or ask you to get it the next time you order something online. And, let's face it, you're probably not going to listen to the CD very much as she'll listen to it in her room or with headphones on.

Still, you (or some well-meaning relative) might be interested in knowing, well, is it any good?

Continue reading "Review: Road Trip - Girl Authority" »

Posted by SAShepherd at 08:06 PM | Permalink | Comments (4)

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)

I lived in Minnesota for a portion of my "tween" years (though they didn't call them that then), and not only do I still have the Minnesota-shaped cutting board from my seventh-grade woodworking class to prove it, I still remember spending a portion of fifth grade learning all about Minnesota.

Now, I don't know if in these testing-crazed times states still spend time learning about their own states' geography and history, but in case the schoolchildren of Michigan no longer get class time to do so for their state, might I recommend A Curious Glimpse of Michigan? (See also here.)

Based on the book by Kevin and Stephanie Kammeraad and Ryan Hipp, the album features 49 tracks from a lots of musicians including Hipp, the Kammeraads, ScribbleMonster, and Danny Adlerman. As you might suspect with so many tracks and so many musicians, the music here is all over the map stylistically and enjoyably. In spirit, it reminded me a little bit of They Might Be Giants albums, especially Apollo 18, which included a series of brief song snippets which could be played together as "Fingertips" or played randomly throughout the CD.

Truth be told, the album might almost be worth the price just for ScribbleMonster's "I Wish I Lived In Michigan," 2 1/2 minutes of family-friendly power pop that, six months after I first heard it, I still haven't tired of. Almost makes me wish I lived in Michigan, just so I could say I lived in a state that inspired that song. (Wow, that song and Sufjan Stevens. Not bad, Michigan, not bad at all.) But beyond that, there are some other sweet tracks -- the funky "Over 635 Cities" channels Mike Doughty from Soul Coughing while Dany Adlerman & Friends' contribution "Cousin Jacks" sounds simultaneously early 20th and early 21st century. As for ScribbleMonster's "The Fur Trade?," they answer their own question ("Fur! Fur! Fur!"). And I liked the Schoolhouse Rock! blatant ripoff loving homage of "Capital City, Capitol Building."

At over 61 minutes in length, the album is a bit too much to absorb in one sitting. Not that any of it's bad, it's just... long. But it (like the book itself) is a fun thing to dip into here and there.

I think kids ages 4 through 10 will most enjoy the album. You can here samples of each and every 49 tracks at the album's CDBaby page or 4 complete tracks (including "I Wish I Lived In Michigan" and "The Fur Trade?") at ScribbleMonster's Myspace page.

A Curious Glimpse of Michigan is a hoot to listen to, and -- dare I say it -- a little educational. It's fun regardless whether you live in Michigan, wish you lived there, or have only had a brief layover in Detroit. Recommended.

(Note: Bill at Spare the Rock, Spoil the Child may still have a copy or two to give away.)

Posted by SAShepherd at 08:42 PM | Permalink | Comments (1)

Colorado-based musician Steve Weeks takes a decidedly different approach on his third kids' album, Rabbit Run, as he retells the classic 1960 novel by John Updike... for kids!

Uh, no.

Released earlier this month, Alphabet Songs Vol. 3 (Rabbit Run) is actually the final in Weeks' series of CDs drawing inspiration from the alphabet as its lyrical source. With 9 songs, one each for letters R through Z, Weeks adheres to the theme to varying degrees. The opening title track features Weeks' nifty bluegrass playing accompanying a story of how water flows from the smallest of tributaries (the "Rabbit Run") all the way to the ocean. The theme of interconnectedness is one that Weeks comes back to on other songs on the disk, such as Barenaked Ladies-styled-rap on "Someday" or the sweet mid-tempo folker "Yellowjacket," which had darn well better be on the next Putumayo Folk Playground collection, should one be in the works. (I also need to mention "Up!," another favorite of mind, a very positive slice of kids' folk-pop.)

Not every song works well. At 6 1/2 minutes long, "Take the Tinkertown Trolley" goes on too long, which wouldn't be bad if the musical accompaniment didn't sound a little cheesy. (Weeks plays every instrument by himself on the disk -- this song shows the potential limitations of such an approach. I tended to prefer his slightly simpler, more bluegrass-y tunes.) And while I give Weeks credit for going whole hog on "Xavier Xerxes Xenophane X," and certainly setting a record for most words starting with the "x" sound on a single song, it doesn't really hold up to repeated listenings. It's as if he decided that was it for the alphabet theme, as "Yellowjacket" and the African-accented "Zed and Zoey" have very few "Y's" and "Z's" in them.

The length and story-telling nature of many of the songs (what better way to get words starting with a desired letter than to create names?) makes the 42-minute CD most appropriate for kids ages 6 through 10. You can samples at the album's CD Baby page.

With a few less-than-perfect tracks, I don't think this will be quite the classic Rabbit, Run was as a novel. Still, there are enough strong tracks on Alphabet Songs Vol. 3 to make it a CD worth your investigation. And now that Weeks has completed his alpha-odyssey, he's hopefully figured what works best for him and is free to go wherever his muse leads. As the narrator sings at the end of "Zed and Zoey," "this is not the end." I hope not. Recommended.

Posted by SAShepherd at 08:34 PM | Permalink | Comments (0)

This is not your father's bluegrass.

I mean, I don't know whether or not your father listened to bluegrass -- mine didn't -- but I know for sure that this wasn't it.

On its Astrograss For Kids EP (2006), the New York-based band Astrograss takes bluegrass as a jumping-off point for jazz-like improvisation. (It's safe to say that were they to record "Wabash Cannonball" it wouldn't sound like many versions committed to record.) Add to that the fact that they've decided to set their tunes to the lyrics of Shel Silverstein, and the EP is one of the more unusual kids' CDs released this year.

I think the adventurous nature of the songs fits Silverstein's slightly skewed sensibilities, with poems about "Hungry Mungry," who's so hungry he ends up eating the entire universe, or "The Dirtiest Man in the World," about, well, you can figure it out. Probably the easiest song for kids to grasp is "Hurk," with a motley (in the best way) kids' chorus shouting lines such as "I'd rather play tennis than go to the dentist" -- it's a simple melody, with not-so-complex improvisation. I actually thought "Hungry Mungry" might be too long or too complex, but I can see the band live possibly keeping kids' attention throughout the entire story song. "The Generals" is gorgeously arranged, though perhaps a bit too slow to keep the kiddos' attention. (Again, live, it might be a different story.)

I think Silverstein's poetry is targeted mostly at kids ages 5 and up, so that's what I'll peg the age range of the music. You can listen to "Hungry Mungry," which I should note might actually be my least favorite track, as well as their sprightly version of "Jump Up!" with Dan Zanes here.

Astrograss For Kids is probably not the first album you'd think of to start a kids' music collection -- it's not quite as accessible, perhaps, as other albums. But if you're looking for something different for your family's collection, for acoustic music with a definite modern sensibility, this album may be up your alley.

Posted by SAShepherd at 08:26 PM | Permalink | Comments (0)

Let's get the song out of the way -- was there a better song this year that spoke to how kids and parents really interact than "Nerves?" The answer, in case you hadn't guessed, is no. And even though the hard-charging chorus is supposed to be the voice of the child narrator, most parents would probably admit they've felt that their children were getting on their nerves at some point during the week. (And the rest are lying.)

While "Nerves" is the song that stands out the most on Celebrate the Difference, the first kids album from Texas-based singer-songwriter Terri Hendrix, there are definitely other songs worth hearing. One of my favorites is the sweet, Tejano-styled "Lluvia de Estrellas," sung in English and Spanish (natch). But as shown by "Nerves," the angular techno-pop of "Invisible Friend," or the brass-band-accompanied "Yeah Yeah Yeah," Hendrix is willing to try out all sorts of song styles. (Sometimes the array of styles is almost dizzying.) Well-known Texas musician Lloyd Maines (who co-wrote many of the songs) accompanies her throughout, along with a number of other musicians making occasional appearances.

Lyrically, Hendrix's preaching of self-confidence in songs such as "Get Your Goat On," "First Place," and others tackles a subject that has been oddly left mostly untouched in kids' music. And as shown by "Nerves" and "I Want to be Your Friend" (a song about a new kid in the neighborhood), Hendrix can remember how kids think and feel.

While appropriate for all ages, I think kids ages 5 through 10 will be most receptive to the lyrics. You can listen to sound clips here.

Celebrate the Difference is at times almost too wide-ranging in its musical attack, so that as an album it's not as unified as others. But there are a number of great songs on here and the enthusiasm Hendrix brings to the material helps to underscore her messages of self-confidence. For that alone, the album is recommended.

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

I begin here by noting my tremendous affinity for Chicago's Old Town School of Folk Music, or at the very least, for the Wiggleworms CDs they've released -- longtime readers will know I'm a big fan. That doesn't even get to the School itself, which for fifty years has provided countless hours of musical instruction and performance for Chicago-area residents, old and young alike. Jealous? Me? Living hundreds of miles away? Just a little. (OK, a lot.)

So with great enthusiasm that I gave their Old Town School of Folk Music Songbook Volume One, released by Bloodshot Records (another Chicago institution, though not quite as old), a spin and held my breath -- could it somehow meet my expectations? And the answer is, well, yes. Over the course of 23 songs in 77 minutes, the album puts together songs well-known and not, from artists well-known and not. There's so much here to listen to that singling out a few songs seems unfair to the album, but life's not fair, which is itself a lesson that's heard on a few songs here. So then, three songs:

"Take This Hammer" -- Jon Langford gives an exuberant reading of this folksong, first collected in 1915, his raspy voice accompanied by his guitar and Rick Sherry's jug and percussion. It's an old song, but it sounds tailor-made for the 21st century.

"Drunken Sailor" -- Dan Zanes shows up with his band in full "Sea Music" mode, giving a idiosyncratic mid-tempo version of the song. It's not the full-tempo, punk-pirate version one commonly hears, but the band's musicianship and their voices -- I love that band's set of pipes -- actually help you hear the lyrics and appreciate them.

"Salty Dog Blues" -- If "Drunken Sailor" is the song you're not sure you should be playing for your 5-year-old but you do anyway, Rick Sherry's rendition of "Salty Dog Blues" is not safe for the younguns, lest you be asked to explain what it means to be someone's "salty dog." (I, on the other hand, as a fully-capable adult, think the cut is great.)

There are some songs that seemed too reverent for my tastes, but that's a personal thing, and all the tracks are well-done. People more familiar with the folk canon may have different views, but I also think the album really begins to pick up speed in the second half where the songs are more familiar -- "St. James Infirmary," "Down in the Valley," an excellent "Wayfaring Stranger" from John Stirratt.

Even setting aside "Salty Dog Blues," there's little here lyrically that would engage younger kids, so I think it's probably most appropriate for kids ages 8 and up. (Not saying that there aren't tracks appropriate for younger kids, such as Erin Flynn's reading of "Amazing Grace," just that this probably isn't your first choice.) You can download a couple tracks from the CD at Bloodshot's page for the album. (And here's my own suggestion, free of charge, for the School -- a bound, printed version of the Songbook, with chords and lyrics, would rock.)

Old Town School of Folk Music Songbook Volume 1 is a solid collection of folksong recordings that reflect not only the strength of America's musical heritage but also of the School itself. Families with older kids should definitely check it out. The name "Volume 1" implies that more are on the way, and for that, I can't wait. Recommended.

Posted by SAShepherd at 03:17 PM | Permalink | Comments (6)

The first thing you need to know about Elizabeth Street is that it's a band, not a person, consisting of two people: Connecticut-based singer-songwriter Susan Kolbenheyer and guitarist Gregory Pearce. The next thing you need to know is that their debut album Different (2006) is pretty good.

In kids' and family music, there are many albums with decent music but with lyrics that are just too... obvious. It is possible, however, to write lyrics that are direct enough for kids that aren't so obvious as to make the parental eyes roll, and it's that fine line that Kolbenheyer walks on the album.

Take, for example, the power-poppy "Fair," with a chorus of "Life isn't always fair / Sometimes things don't work out like you plan / But we make the best with what we can / and hey it may be grand." If the whole song was as obvious as the chorus, it would get tiring very quickly. Luckily, the stories in the verses (for example, how the narrator's dad ate the "Chubby Hubby" ice cream she thought she'd hidden in the back of the freezer) are laced with humor and the song ends with a bunch of nonsensical wordplay. Kolbenheyer says she's trying to open up an avenue of dialogue between parents and kids with the songs, and even includes the gentle and bluesy "You Can Tell Me" to expressly encourage dialogue, though even here the verses aren't always direct ("Did you disagree with your imaginary friend? / You can tell me, you can tell me / Did he hurt your feelings even though he is pretend? / You can tell me anything")

If there's a dominant musical approach, it's gentle folk-guitar-pop, but there's definitely enough variety musically to keep things interesting. "Really Gross" is the best song about nose-picking that Jack Johnson never wrote, while "Dragon For Dinner" and "The Eyeball People" are punk tunes. "We're All Friends Here" is a catchy power-pop tune. Kolbenheyer has an appealing voice and Pearce's instrumental work is strong, though sometimes the productions seems to leave the vocals less clear than I'd like on kids' CDs. (Besides the music itself, I'd also commend the lovely album art of Pamela Zagarenski.)

Given the topics of the songs, the album would be most appropriate for kids 5 through 9. You can hear long-ish samples of several tracks at the album's CDBaby page.

Elizabeth Street sounds a bit to me like a more-amplified Frances England, or maybe a less-lyrically-direct Milkshake. But like most good albums, Different stands on its own terms, in this case melding a skewed-enough approach to kids-related topics with parent-accessible music. Recommended.

Posted by SAShepherd at 08:10 PM | Permalink | Comments (1)

Sad about the closure of CBGB's? Have no fear, The Sippy Cups are here with Electric Storyland.

On their first album, 2005's Kids Rock For Peas, the San Francisco-based band took a bunch of '60s and '70s-era tunes (some famous, some less so), tweaked them as necessary to make them kid-friendly, and played them live in front of an appreciative audience of preschoolers, grade-schoolers, and their parents. Making the album and band more than just a one-off joke ("I Wanna Be Elated," get it? Ha!) was the band's energy, enthusiasm, and sense of humor (pitched at both kids and adults). What could have become very old very quickly was given fresh life.

Electric Storyland takes a slightly different approach, eschewing cover songs for a set of 14 original songs. But the album has every bit of the debut's energy, enthusiasm, and humor, with songs that draw inspiration from the '60s and '70s, but are definitely original. Take "Use Your Words," one of very few tracks that have anything remotely resembling a "message," about how articulating feelings rather than simply acting on them is a preferred way of dealing with frustration ("The world will be greater / If you use your words"). It's a fun, uptempo song that has the faintest echoes of, say, Steppenwolf's "Magic Carpet Ride." But most songs are content to paint pictures, such as the Jimi Hendrix-esque sounds of "Drinking From the Sky" or what I'm assuming is an early Floyd tribute (as indicated by the "Money"-esque clinking of change at song's start) in "How To Build A Dog." And lest you think the Cups are stuck in the music of 30 years ago, a couple songs (the excellent "Springtime Fantastic" and "Flower Tower") have hints of the Replacements and the Gin Blossoms and guitar power-pop less than 30 years old.

I can't think of too many downsides. The album did feel a bit long at 51 minutes, but that's a minor quibble -- the songs are all pretty good. I'm one of those people who doesn't like skits with my music, but the characters here (familiar to those who've heard the band's first two CDs, plus a new one, "Major Minor") are amusing and their skits brief.

The album is pitched at a slightly older crowd perhaps than the first CD, think ages 4 through 10. You can listen to sound clips and buy the album at its CDBaby page or at its iTunes page.

Electric Storyland is a strong step forward for The Sippy Cups -- it's a winning album retaining the spirit of music from 30 years ago or more but giving it its own youthful energy. Instead of bemoaning CBGB's demise, listen to the Sippy Cups. Definitely recommended.

Posted by SAShepherd at 08:00 AM | Permalink | Comments (0)

As a parent of five- and one-year-old kids, I'm not quite in the Lemony Snicket core demographic -- my kids are too young to really be reading the books, and I'm way too busy to add another kids' book series to my plate. (I'm sorry, Harry Potter got there first.)

I am considerably closer, however, to the Stephin Merritt demographic and it's he, in the guise of his "Gothic rock-bubblegum pop" band The Gothic Archies, who has composed a song to accompany the audiobooks for each of the Lemony Snicket A Series of Unfortunate Events books. With the release of the thirteenth and final book in the series The End on, appropriately enough, this Friday the 13th, Nonesuch Records is releasing The Tragic Treasury: Songs From A Series of Unfortunate Events tomorrow, collecting tracks from all thirteen audiobooks for the first time on one disc. (How did this partnership occur? Well, Snicket's alter ego, author Daniel Handler, and Merritt go way back -- Handler played accordion on Merritt's breakthrough with the Magnetic Fields, 69 Love Songs.)

As you might expect given the source material, this is not exactly "Up With People." More like "Down With People." The opening track, from the first book in the series, has a pleasant enough melody, but with lyrics such as "You might be thinking what a romp this is / But wait 'til you meet his accomplices" and a chorus that goes "Scream and run away / run / run run run run run run run / or die / die die die die die die die," there's a lyrical darkness that you don't really get on a lot of kids' albums. OK, on virtually no kids' albums.

But having read the first book in the series to prepare for this review, I can assure you that the song totally matches the tone of the book with witty and intricate lyrics that are the equal of Snicket's words. Musically, Merritt singing style recalls one of the pioneers of Goth music, the late Ian Curtis of Joy Division. And the songs themselves, which peppy ("Freakshow") or moodily atmospheric ("Crows"), serve the lyrics, which typically don't tell stories (a la the intricate narratives of the Decemberists) as much as they serve as musical illustrations for the book. They're complementary, in the best way. It's almost a shock, then, to hear the "bonus tracks," the sunny (or at least only partly cloudy) "Walking My Gargoyle" and the almost snappy "We Are the Gothic Archies." The tone still matches that of the books, and "Gargoyle" is an especially fun track, but they do feel a little out of place.

The recommended reading age for the books seems to be about 9 though 12, so I'm guessing that kids 8 and up will enjoy the songs the most. You can hear three excellent tracks at Nonesuch's site for the album or the band's Myspace page.

I don't think families will want to listen to The Tragic Treasury on a regular basis if they have no familiarity with Lemony Snicket or Stephin Merritt. These are excellent songs, but they're for a certain time and place, and you may not be at that time and place yet with your family. If, however, you've got Stephin Merritt or Lemony Snicket fans in your household (be it you or a younger member), this CD is an excellent and darkly humorous romp through the world of Lemony Snicket and is highly recommended for you. (And it might even get you turned on to another great series in kids' literature. After all, I only need to get through one more Harry Potter book, and then I'll be looking for something else...)

Posted by SAShepherd at 10:52 AM | Permalink | Comments (1)

Paul Westerberg's place in the rock canon is safe, thanks to the his work in the 1980s with the Minneapolis band The Replacements. If you had placed a bet back then that he'd eventually score an animated movie replete with a bunny rabbit, chances are you'd received pretty good odds. But here we are in 2006, children's music is all the rage, and Paul Westerberg has scored an animated movie replete with a bunny rabbit -- Open Season, whose Original Soundtrack is being released today.

Setting the improbability aside, is it any good? It's a hard question to answer, because you're inevitably judging the album against Westerberg's previous work, much of which was recorded long before you were even thinking about parenthood. In any case, it's a mixed bag. Westerberg, who crafted a great soundtrack cut for the movie Singles ("Dyslexic Heart"), has another great song here in "Meet Me in the Meadow," a gorgeous pop tune with a soaring string-accompanied chorus, the sense of hope very reminiscent of Replacements' themes. It's definitely one of my favorite kids' music tracks of the year.

"Love You in the Fall," the lead single, sounds most like an actual Replacements song, and is a decent song to boot. "Right To Arm Bears" is a bit of silliness obviously crafted for a particular bit in the movie and shows off Westerberg's wordplay, as does "Any Better Than This" includes the amusing turn of phrase "knight in shining armchair."

Where I think the soundtrack fails, at least for kids, is the slower songs. "I Belong" and "Whisper Me Luck" move too slowly to grab most kids' attention (at least without a visual accompaniment), and I'm not sure the kids are going to respond to the lyrical concerns. In the context of the movie, they may be perfect, but as a set of standalone tracks, they bring the soundtrack to a halt.

There are four tracks not performed by Westerberg. Pete Yorn covers "I Belong" and he, too, doesn't make it particularly compelling. Sacramento's Deathray (including members from Cake) cover Westerberg's "Wild As I Wanna Be" and have a fun, poppy original, "I Wanna Lose Control." And the Talking Heads, whose place in the rock canon may be even more safe than Westerberg, contribute "Wild Wild Life," a song whose existence will continue long after the apocalypse happens and cockroaches roam the earth. Needless to say, I'd've rather heard another Westerberg track than that recycled cut.

I'm gonna peg the soundtrack as most appropriate for ages 6 and up. I mean, there's nothing inappropriate about the album -- I just don't think 3-year-olds will care much. Listen to four tracks at the soundtrack's Myspace page.

The Open Season soundtrack is a good Paul Westerberg album, with probably more good songs than a lot of his recent work. Whether you or your kids will listen to it in the long run probably depends more, however, on whether you (or your kids) care about what Westerberg and his bandmates recorded 20 years ago.

Posted by SAShepherd at 08:44 PM | Permalink | Comments (1)

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)

Chicago's Bloodshot Records is known for for their insurgent country, or some other name for music that sounds like country but sounds nothing like Nashville. With their 2002 compilation The Bottle Let Me Down: Songs for Bumpy Wagon Rides, Bloodshot could easily have staked their claim to "insurgent kids music." (Or, even more marbly-mouthed, "y'all-kid-ternative.")

With a broad range of "adult" artists (from Alejandro Escovedo to Freakwater to Nora O'Connor and Steve Frisbie -- partner in Frisbie with Justin Roberts accomplice Liam Davis) and a collection of both kids' classics and originals, it's hard to summarize the 26-track, 63-minute album. But the one word that keeps coming back to me as I think of the CD is fun. On many kids' albums from "adult" artists, you get the feeling that the musicians are deigning to play this "kids' music," and it shows in a song that, well, isn't much fun to listen to. Not here -- the musicians are having fun playing these funds, and it shows. The Waco Brothers' spirited take on the folk classic, "The Fox," and the Asylum Street Spankers' punked-up bluegrass version of "I Am My Own Grandpa" shows no signs of "well, let's make a track for the kiddies." They're making tracks that any music fan would appreciate, kids not excluded. The Cornell Hurd Band's original "Don't Wipe Your Face On Your Shirt," is an amusing plea for respectability most parents will relate to, while Escovedo's live version of his "Sad & Dreamy (The Big 1-0)" (with the chorus of "I'm the big 1-0 / Candy just doesn't taste as sweet anymore") will ring bells with the tween set.

Like you would expect from an album produced by an "insurgent country" record label, many of the tracks are not sanitized. Carolyn Mark's fun retelling of "The Three Billy Goats Gruff" doesn't sand off the rough edges of the story, for example, and Devil in a Woodpile's swampy cover of Mississippi John Hurd's "Funky Butt," is just what you might expect from the song title. And while most tracks stay safely on the parental side of appropriateness, Robbie Fulks' "Godfrey" (about an sickly, unemployed magician) and Freakwater's inneuendo-filled "Little Red Riding Hood" are probably way on that other side. The parents themselves will probably like those songs while thinking repeatedly, "Should I fast-forward? I should probably fast-forward. Right? Tell me I'm right."

Some of the tracks are appropriate for kids as young as three, though the album is appropriate for kids who are as old as 10 as well. You can hear samples at any major online retailer.

In the end, this is a solid album with no weak tracks. Your kids won't even know that they're being exposed to a great collection of bands and songs, they'll just love these energetic renditions. And so will you. It's probably the best compilation of adult-musicians-doing-kids-music out there; its status as a minor classic (or even a major one) is deserved. Highly recommended.

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

You don't see too many kids' music acts with a live album. Trout Fishing In America has, with the release of My Best Day (2006) today, two. That fact speaks to Trout's longevity (30 years as a duo and 7 family recordings in addition to other recordings for adults) and their popularity as a live act.

My Best Day is a Greatest Hits collection to an extent. Long-time favorites such as the calypso-styled "My Hair Had a Party Last Night" mingle with new favorites such as "Alien In My Nose" (an absolutely disgusting track -- your 7-year-olds will love it). While those songs (and others) show off Ezra Idlet's and Keith Grimwood's sillier side, slightly straighter songs such as the sweet "Fill It Up" and "Alberta Postcard" fit more squarely in a folk-pop tradition that would sound great at any folk festival, kids-associated or not. The two new songs, "I've Got A Friend (and He Won't Be Quiet)" and "My Pants Fell Down," are pretty good additions to the Trout canon -- I particularly liked "My Pants Fell Down" (the title says it all, and, yes, your 7-year-olds will love it). Both the new songs (and "Alien" and the title track) were written in songwriting workshops with kids.

Having said all that, the banter and interaction that would be lots of fun if you were actually at the concert gets to be a bit repetitive if you're listening to the CD. "Simon Says" gets tiresome; the jokes, amusing on first or second hearing, are no longer funny the fifth or sixth time around. Perhaps the upcoming DVD of the concert (recorded in Febrary 2006) will make you feel more like you're at the concert (and, therefore, not so weary of the between-song stuff).

Kids ages 5 through 10 will most appreciate the album. You can listen to Trout's music by going here and clicking on "Launch Trout Radio" or going to the usual online suspects to hear clips from the new CD.

If you're a Trout fan, you'll enjoy this CD (unless of course they left off your favorite track). If you're not a Trout fan, you won't enjoy this CD -- there's nothing to convert you. If you're not sure about Trout, this is a decent place to start as it does pick tracks from throughout their family music career. My Best Day is, for better and occasionally worse, a good representation of a Trout Fishing in America concert.

Posted by SAShepherd at 08:44 PM | Permalink | Comments (1)

It is possible to be impressed by an album, but not have it move you. Such was the case for me with Snowdance (2006), the second album from New York-based duo Erin Lee & Marci. The duo, with a background in children's musical theatre, have crafted an album of 12 songs, one for each month of the year.

As a whole, the album fits together well -- the opening track "This Year" makes a lot of references to the songs to follow and the songs for each month make sense. The snow-day-wishing of track 2 "Snowdance" has a pleasant wintry, jangly beat. The forced "September March" acutely highlights the feelings of dread and uncertainty heading into the new school year. There are some interesting stories here.

But although the folk-pop melodies and their playing aren't bad, there isn't a single cut that begs repeated hearings. Part of that may have been the voices of Erin Lee & Marci, which for me, were... how should I say this?... not my cup of tea. They were a little too Broadway for me, not enough pop or folk. Or perhaps they weren't enough Broadway for me -- this was an album of stories, some of them good -- maybe they should have dropped any attempt to sing in a standard pop manner, and brought in additional singers to fill out the "cast," so to speak.

With its focus on the tribulations and joys of growing up for elementary students, the 48-minute album will be of most interest to kids ages 6 through 10. You can hear samples at the album's CDBaby page.

It's possible to admire what Erin Lee & Marci were shooting for with Snowdance and appreciate the structure of the album and the songs within. But it doesn't mean your family will want to listen to it repeatedly.

Posted by SAShepherd at 04:13 PM | Permalink | Comments (1)

When did I know how seriously I'd started to take this whole "kids and family music" thing? When I spent $25 for an out-of-print kids' music CD -- to be specific, the Hoodwinked Original Motion Picture Soundtrack. Now normally I'd just chalk it up to the semi-obsessional nature of being a niche expert, but I'm used to hearing -- and reviewing -- albums that with print runs of just 1,000 copies. What in the name of the Pulp Fiction soundtrack is going on, then, when a soundtrack of a movie produced by the Weinstein Company goes out of print six months after its release?

Especially when it's as good as this one.

There are three songs on here which are in my top ten kids' songs of the year, two of them in my top ten songs of the year, period. And they're all completely different. "Great Big World," which I've raved about before, has a fantastic '60s-esque sound with a Phil Spector "Wall of Sound" production and crystal clear vocals from Anne Hathaway. "Bounce" is an old school rap whose lyrics sound pretty nonsensical (if albeit pleasing to the ear) until you see the movie, after which they make sense (the song rolls over the closing credits). And "Red is Blue" is a stunning ballad which works both within the movie, representing character Red's interior monologue, and outside of it. Listening to the song in the movie, I thought, they have Ben Folds down cold. And then in the closing credits, I noticed that Ben Folds sang the freakin' song! Though he didn't write it, he did add the piano hook -- it's definitely the best Ben Folds soundtrack song of 2006.

The rest of the songs cover most of the past 30 years sonically -- "Critters Have Feeling" could've been on the Cars' Heartbeat City, "The Real G" has a Limp Bizkit rock-rap sound (in a good way), "Glow" has a bit of an Elton John feel, and "Eva Deanna" is a very fine Pixies rip-off. Most of the credit for the awesomeness of the soundtrack has to go to co-director and songwriter Todd Edwards, who wrote 9 songs here. The rock tracks here have a very Pretty Woman soundtrack feel, where you know that some of the songs' interest will fade over time, but it's still a fine collection of songs.

Now the question remains, is this a good album to recommend for listening with kids? Well, yes and no. Yes, because there are so many good songs here. No, because I'm not sure the kids will necessarily connect to the songs (aside from the "hey, I remember that song in the movie!" effect, which may be enough). In addition, while there's nothing wrong with the score, its placement scattered throughout the disk may be more distracting than enlightening.

I'd peg the age-appropriateness of the album at ages 5 through 10. You can see music videos for three of the songs (including the catchy "Critters Have Feelings") at the movie's website. I'd also note that the album also includes song notes from Edwards and complete lyrics. So all you people searching the website for the lyrics, just buy the album! (And if you need to know where to get the CD at a reasonable (i.e., not $50) price, drop me a line.)

You don't need to have enjoyed the movie -- or even to have seen the movie -- to enjoy the Hoowinked soundtrack (though it'll add a little bit to your enjoyment). I definitely recommend this album, but it's not so much for your kids as it is for yourself. Your kids are likely to get tired of it long before you do.

Posted by SAShepherd at 09:22 PM | Permalink | Comments (13)

I'm not usually one to be swayed by the cause behind an album, but when the first sentence of an album's press release includes a statement that "kids need to know they can be creators and not just consumers," that can exert a strong pull on me. With his Kid Pan Alley program, Musician Paul Reisler has gone into schools around the country to create songs with more than 10,000 schoolchildren. The album in question, Kid Pan Alley (originally released in 2004 and rereleased next Tuesday on Compass Records) and was the result of collaboration between Nashville schoolkids and the city's songwriting community. Nashville is arguably the most vibrant songwriting community in the country (where is its Brill Building, one wonders), and so there were some exciting possibilities from combining that talent and experience with the viewpoint of youth.

Produced in combination with the Nashville Chamber Orchestra, the album is a rich collection of styles, from R&B to power-pop to bluegrass to, yes, country. The strongest tracks are those where the artist was well-known enough to allow the songwriters to craft it in the artist's particular style. Kix Brooks' "Cartoons" is a great song in the slick country-pop vein while the strutting "Freaky Friday" is given a fun rendition by Delbert McClinton (it's a great kids' Halloween song out there, one that begs a "Thriller"-style video). "Whispering in Spanish" is given a '60s string-laden ballad treatment, one that Raul Malo is familiar with. And there are less familiar artists (to me, at least) who turn in some performances -- the power-pop "No Fair" performed by Will Hoge will probably ring true to a lot of 6-year-olds. Other tracks ("Little Drop of Water," for example) take a much less direct lyrical approach, showing the influence of the professional songwriters.

There are other good songs, but the sheer diversity of musical styles works against the album as an album. I understand the desire to get as many of the tracks recorded and onto the CD, but at 18 tracks and 58 minutes in length, there are some tracks that could probably have been cut. ("Extra Hand," for example, while a nice little bluegrass tune, sounds out of place amongst the poppy and often orchestrally-enhanced pieces.)

The album will probably be of most interest to kids ages 5 through 10. You can listen to clips at Amazon or at the original release's CDBaby page.

This is not the most cohesive of albums. But as a collection of always intriguing and sometimes amazing songs, with the knowledge that kids helped make this album, Kid Pan Alley commands the listener's attention. Recommended.

Posted by SAShepherd at 08:38 PM | Permalink | Comments (0)

Dan Zanes' 2004 album Parades and Panoramas: 25 Songs Collected by Carl Sandburg is not, strictly speaking, a "kids music" album. This collection of songs from The American Songbag, compiled and published by the poet Carl Sandburg in 1927 does not always have the friendly vibe found on Zanes' five kids-related CDs. But it is a "family music" album in the best way -- it encourages families to listen, and occasionally sing, together.

Recorded with the same large and talented cast of characters Zanes has recorded his last few albums with, the album takes the Sandburg's collected songs and gives them new life. Musically, this isn't the rave-up (mostly) of Bruce Springsteen's Seeger Session album, nor is it quite as modern as the two Billy Bragg-Wilco Mermaid Avenue collections, but there are a few songs given a modern touch, such as "All Night Long," on which Rankin' Don recites the words of French painter Millet, or the midtempo rocker "The Midnight Train," about which Zanes notes, "I couldn't believe that it wasn't being played by every rock and roll band in New York."

The songs themselves are a history lesson. "Titanic," which tells the story of that fateful ship, is given a sprightly reading. Zanes and his brother-in-law Donald Saaf have a nice duet on "The E-ri-e," which tells a story about a different fateful ship. The California Gold Rush is given a nice banjo accompaniment on "California." All of which wouldn't be much more than a nice historical collection if it weren't for the sheer fun of some of these arrangements. The recurring tuba, fiddle, and many other fabulous instruments make the album a joy to listen to. At 65 minutes in length, the album is sometimes a bit much for one sitting, and the liner notes, while fabulously detailed, are sometimes rendered in fonts that make it harder than necessary to read. But those are really minor quibbles.

Like with all of Zanes' CDs, this one is appropriate for many ages. However, given the storytelling nature of many of these songs, I think kids ages 5 and up would probably get the most out of the album. You can hear samples, read lyrics and chords here.

I find Parades and Panoramas best exemplified by the rollicking "The Son of a Gambolier," a drinking song sung by a kid (with accompaniment reaching double-digits). It speaks both to the rough start of this country and to the sheer fun of communal singing. You're bound to find some song that strikes you similarly and you may, like me, be inspired to track down the Songbag that inspired Zanes to see what other delights the other 255 songs hold. Definitely recommended.

Posted by SAShepherd at 09:45 PM | Permalink | Comments (0)

Cathy Fink and Marcy Marxer have been nominated for 11 GRAMMY awards (winning two of them) and are talented musicians and songwriters in both kids' and non-kids fields. So how come I didn't adore Scat Like That!, their 2005 GRAMMY-nominated kids' album? There's nothing wrong with the album's execution -- the musicianship and production are strong -- and the concept is intriguing, focusing on all sorts of wordplay. And there are some very good songs amidst the wide-ranging musical styles used here. My favorite is Marxer's midtempo blues number "Dagnabbit!," which matches Marxer's expressive vocals to amusing lyrics about a kid who let the wrong word slip out in a moment of frustration ("I need some words with consonants / To say what I must say / Words with B and D and P / And S and T and K"). I particularly liked the song's 2-minute musical outro. I also find it hard not to like a song titled "I Love Pie" which is set to a Latin meringue melody. (I don't care if it's not a meringue -- though I'm pretty sure it is -- "pie" and "meringue" is too good not to believe.) I think what makes me so blase' about the album is the feeling that the disk's educational thrust (it is an album about wordplay after all) was getting in the way of enjoying it. The best songs -- "Dagnabbit!" or "A Pirate's Song," perhaps -- would fit on any album of good kids' music and the wordplay themes of those songs are just happy byproducts of the songs themselves. In this case, it doesn't reach the manic heights of their excellent 2001 collaboration with Brave Combo, All Wound Up!. The album is best for kids ages 6 through 10, especially if they're into words and all the fun things one can do with them.

Posted by SAShepherd at 08:43 PM | Permalink | Comments (0)

We really have Meg Ryan and the diner scene to thank for this. Jazz musician and erstwhile Broadway star Harry Connick, Jr. got his big break when he was asked to record the soundtrack to the movie When Harry Met Sally. The soundtrack was good, but the massive success of the movie was what pushed Connick into the national consciousness. More than ten years later, Connick repaid the favor -- sort of -- with his 2001 album Songs I Heard, on which he reworked Broadway and film showtunes. It's not a traditional kids' album, but when said tunes come from beloved sources such as Mary Poppins, The Sound of Music, and Willy Wonka and the Chocolate Factory, there's clearly a kids' music theme to the album. The best tracks are those where Connick lets loose his band and really swings. The opening cut, "Supercalifragilisticexpiadlidocious," is well, that word, on which Connick, Jr., backed by a New Orleans brass band, almost makes us forget Dick Van Dyke. (Connick's voice is smooth as always.) Other uptempo tracks such as "The Lonely Goatherd" and Dixieland stylings on "Spoonful of Sugar" also benefit from Connick's big band and his traditional jazz arrangements. They're definitely a new, jazzier version of the original, but they're not so different from the original that kids won't enjoy them. Less successful are the slower tracks -- I can't see kids recognizing "Maybe" (from the musical Annie) or enjoying the string-backed version here. On the whole, Songs I Heard is a playful album. It's probably too long with some songs too obscure for kids to enjoy the whole thing at one sitting but parents wanting to discover some new showtunes or hear new spins of classics may find this worthwhile and "have what she's having."

Posted by SAShepherd at 09:25 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)

With its stylized cover photo of San Francisco, little about the packaging of George Winston's 1996 album Linus & Lucy: The Music of Vince Guaraldi suggests "kids music." Indeed, we had this in our own family long before we had any idea what a Baby Bjorn was, let alone struggled to make those snaps, well, snap. But through his scores for 15 Peanuts television specials and one movie, Guaraldi's music may be more familiar to Americans old and (especially) young than that of just about any jazz composer. So it's with the nostalgic thoughts of repeated viewings A Charlie Brown Christmas that many adults may be tempted to get this album, both for themselves and for their kids. Winston, a pianist better known for his New Age(ish) soundscapes and lesser known for his affinity for Hawaiian slack key guitar, plays things pretty straight here. His renditions of two familiar cuts from the Christmas score, "Skating" and "Linus and Lucy," sound much like the original recordings, with only a little flourish at the end of "Linus and Lucy" to distinguish itself from the original. Guaraldi was often backed by his own Vince Guaraldi Trio, so Winston's solo piano does have to do a little bit more work than Guaraldi's original piano work did with other musicians. Other highlights include Winston's rendition of Guaraldi's hit "Cast Your Fate to the Wind" (again, not so different from the original) and the brief "Bon Voyage," but there really aren't bad tracks. One of the main reasons to get this album is the broad net Winston casts across Guaraldi's work, both Peanuts-related and not -- sadly, it might just be the best Greatest Hits album out there for Guaraldi. Whether or not the kids will be interested in this album is another question entirely; this is probably one of those CDs the parents will play much more for themselves than for their kids. Which isn't a bad thing, either.

Posted by SAShepherd at 07:45 PM | Permalink | Comments (0)

Longtime FOZ (Friend of Zooglobble) Eric Herman released his third kids' music album, Snow Day! (2006), a couple weeks ago. It's taken me awhile -- three albums' worth -- to put my finger on how to describe his music, but I think I've got it -- it's a mixture of Shel Silverstein and the Beatles. Now, before Eric uses that as the pull-quote to end all pull-quotes, I should explain further.

Herman typically includes a few songs with lyrics by the poet Kenn Nesbitt on his CDs, and Snow Day! is no exception. Four songs include lyrics by Nesbitt, and those songs, like many of Silverstein's poems, take a skewed and occasionally dark view of life. "Snow Day," written in two- and four-word lines, is a quick, punky song about a kid who runs into a tree on his sled. "I Can't Wait For Summer" is a nifty, Beach Boys-inflected song about how wonderful summer will come when it gets here which ends with a cruel (for a kid, anyway) punchline. Indeed, five of the album's twelve tracks have a final-line punchline. And, punchline of not, many of the lyrics are humorous, like in "Cowboy Bergaleoukaleopaleous," about a sheriff whose less-than-catchy name leads to folks attributing his fabulous deeds to others like Annie Oakley whose names were less than a mouthful. It's something that would fit in perfectly on Where The Sidewalk Ends. (The book, at least, if not the album.)

Musically, Herman uses a wide variety of styles, employing country, disco, a Beatles reference (or a very Beatlesque guitar riff) on the opener, "Melody Ring." The best songs are those where Herman's just trying to write a song without getting too humorous or add over-the-top storytelling stylings. "My Lucky Day" is a darkly humorous pop tune about one kid's increasingly lucky day. The penultimate track, "Hide and Go Seek With the Moon," is a fabulous, gentle pop song about a kid's perspective on looking for the moon throughout the day (and night). One of the problems with the album, however, is that some of those gentler songs feel out of place on the disk. The best tracks also don't show the limitations of not working with a real band.

The album (with the exception of the final two tracks) is probably best for kids age 6 through 10. You can hear samples from all of Herman's albums here; the album is available from his website and the usual online suspects (both in physical and electronic form).

I liked individual tracks on the CD, but for me, the whole was less than the sum of its parts. The inconsistent tone between the darkly humorous tracks and the sweeter, more positive tracks was hard for me to negotiate. Kids (and parents) with more flexible minds, however, may find the album a worthwhile spin. And if you're a big Shel Silverstein fan, definitely check this out.

Posted by SAShepherd at 07:26 AM | 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)

Listening to The Amazing Adventures of Kid Astro (2004), Ralph Covert's fifth album as Ralph's World, one can't help shake the feeling that Covert spent a lot of time listening to AM radio growing up. Because the album sounds like what kid might hearing moving up and down the AM side of the dial (and occasionally flipping over to FM).

Take one of the strongest cuts on the album -- "Fee Fi Fo Fum," which is a great little slice of bluesy garage rock. Covert sings it with a Jagger-like swagger; and even '90s garage-rock revivalists The Smithereens wouldn't do it any better. (Not to mention Covert slides in some healthy self-esteem lyrics such as ("It doesn’t matter who our friends are / if you got some Fee Fi Fo Fum / It doesn’t matter who our friends are and / let me tell you everybody got some"). "Dumptruck" has a funky countryfied sound with a slinky bridge. "We Are Ants" is a sweet piece of bubblegum pop that would sound great on any oldies station today. (Sure, it copies some of the chord structure from "Fee Fi Fo Fum," but why wouldn't you when it sounds so good?) "Sun in My Eyes," despite some clunky lyrics ("And the simple things are simple / And the truth will still be true"), sounds like a Beatles outtake.

Even on the songs I didn't enjoy I can appreciate what Covert's trying to do. "The Tea Tale" is a slice of James Taylor at his most acoustic. The lyrics and arrangement don't do much for me, but I recognize that's a matter of taste, not execution. And the title cut nicely blends the outrageous tropes of Saturday-morning adventure cartoons with the ever-popular-with-kids-genre of... prog-rock. For all those kids begging their parents to play their copy of Genesis' The Lamb Lies Down on Broadway. (OK, I really don't care for prog-rock. Having said that, it's not half-bad.) On all the songs, Covert backs himself up with a crack band and well-placed soloists (the clarinet on the zippy "Miss Molly Crackerjack," for example).

With songs about dumptrucks and first kisses, it covers a wide range, age-wise, perhaps ages 3 through 10. You can read lyrics and get an mp3 of "Fee Fi Fo Fum" at the Ralph's World site here. The 36-minute album is available at many online (iTunes Music Store, included) and finer retail locations.

Over the years in Ralph's World, Ralph Covert has honed his children's pop and rock songwriting skills, coming up with great hooks while generally steering clear of lyrical sappiness. The rockers and gentle acoustic ballads combine in The Amazing Adventures of Kid Astro to make for an album which sounds just as nice coming out of your speakers in the 2000s as it would have in the 1970s. Definitely recommended.

Posted by SAShepherd at 10:16 PM | Permalink | Comments (0)

For many artists, children's music is a side project. If you're Justin Roberts, however, you're already a children's music artist, so what's your side project? It's recording as Why Not Sea Monsters? with frequent collaborator Liam Davis.

In late 2005, Roberts and Davis released two Why Not Sea Monsters CDs -- Songs from the Hebrew Scriptures and Songs from the New Testament. Most of you will recognize that these albums have a distinctly... Biblical aspect to them. (My readers, they're sharp.) Roberts was commissioned to write many of these songs by Augsburg Fortress Publishers, he wrote a few more when deciding to record the album, and added a couple covers.

To put in context my review of the album's music, I should explain to you my history with Christian music.

Which is to say, virtually none. Aside from my U2 albums (upon which some churches are basing entire services), the only Christian music album I've ever owned was Amy Grant's Unguarded, and I didn't buy it for the praise music. I bought it because the music was good. The message was secondary. (That's still the case today, even though I'm now an active member of a mainline Protestant church.)

For the most part, the music here is good. Those of you expecting Meltdown! Bible Stories, as Roberts and Davis dial back some of the tempo and layering of instruments found on that album. Instead, they're content to play mostly midtempo acoustical songs in the manner of "Roller in the Coaster" off Way Out or "Koala Bear Diner" off Meltdown!. Given that many of these songs may end up in Sunday School curricula, the fact that many of these songs are little more than guitar and drums and/or bass, the simplicity is appropriate. (Each of the 35-or-so-minute discs include chords and lyrics.)

The best songs are those where Roberts lets his humor shine and he puts his own spin on stories so familiar that most people, Christian or not, would recognize them. On the sweet and poppy "Why Not a Spark?," Roberts' narrator tells of God choosing what to bring forth at the Creation, but he keeps getting ahead of himself ("On the fifth day / God said, why not sea monsters / Why not starfish and lobsters / why not airplanes over water / Wait that's later!"). Or Daniel in the lion's den who beckons the lion with "Here kitty kitty / Won't you come kitty kitty" ("Here Kitty Kitty"). As a whole, Roberts has written Christian music without much trace of sappiness.

I found the songs on Songs from the Hebrew Scriptures more enjoyable, and maybe that's because my raised-not-in-Sunday-School theological foundations are pretty weak and I was drawn to the more familiar stories in the Old Testament. Hebrew Scriptures also has the advantage of having Roberts cover Craig Wright's "Where Were You?," a beautiful hymn ("Where were you when I crafted you a language... / So you could live and die with dignity / And shake your fist with poetry, imagining creation from the first") for which Roberts and Davis pull out all the instrumental tricks (strings, for example) they've otherwise left in the bag. It's an absolutely gorgeous song. On the other hand, New Testament's stories are less familiar and the songs aren't as compelling ("Lydia" has the lyric "Her name was Lydia / Our hearts will never be rid of ya," which, I'm sorry, bugs the heck out of me).

Biblical songs can probably be sung at any age, but I think the morals and religious precepts contained within the songs are most appropriate for kids aged 3 through 10. You can hear samples by going through the Sea Monsters website.

In the end, this is a Christian music album, and there's no two ways around it. Having said that, I think you just need a basic Christian belief system (regardless of whether you attend church regularly) to enjoy the CDs. [And, as a reader subsequently pointed out to me, the Hebrew Scriptures CD is appropriate for persons of the Jewish faith as well.] Regardless of your faith, if you're not sure these are for you, start off with Hebrew Scriptures. Recommended.

Posted by SAShepherd at 10:20 PM | Permalink | Comments (0)

The Terrible Twos are a side project once removed. Singer-songwriter Matt Pryor, of the emo band the Get Up Kids, formed the New Amsterdams as a side project with a more alt-country sound. With The Terrible Twos (the New Amsterdams to a man), Pryor has shifted his subject matter back maybe 15 years, targeting the young nieces and nephews of the New Amsterdams fans.

And with If You Ever See An Owl, Pryor and his band have crafted an album that will entertain those nieces and nephews along with their parents and aunts and uncles. Melodically, it's reminiscent of alt-country/Americana-pop artists like the Old 97s, Rhett Miller, and early Ryan Adams, with some Death Cab for Cutie and hints of Wilco thrown in for good measure. (Obviously, it's most like the New Amsterdams themselves.) Acoustic rock of tempos both fast and slow, melodies wrapping their way around your brain. The uptempo "When I Get To Eleven," about a boy's acceptance of growing older, makes counting to 11 a lot more fun than it has any right to be. The love song to a little girl named "Vivian" is worthy of lovesick Miller or Adams. And "A Rake, A Broom, A Mop, A Shovel," just like They Might Be Giants' "Violin" turns a very angular song into something enjoyable.

Lyrically, the 32-minute album covers ground familiar to many kindergarteners -- math, burping and being polite, the problems of a birthday too close to Christmas ("Caroline, don't worry about birthday time / Don't think that on 22 / There's none for you / It's just not true" on the shiny "Caroline"). It's unclear if Barney was the inspiration for "We Can All Get Along With Dinosaurs," but a purple dinosaur stars in a treacle-free song about tolerance. Elsewhere the lyrics target the parents as much as the kids (the disappearing baby of "The Little Houdini," the kid in the driving "Pizza and Chocolate Milk" who says "Don't try to force me to eat vegetables I hate / You may think I'm kidding / That I won't win / If I keep screaming you'll cave in.") But throughout the album there runs a feeling of love and affection for the subject matter (and kids who serve as the inspiration) that distinguishes the album from many others.

Kids aged 4 through 10 are most likely to enjoy the subject matter and the occasionally slow-paced song. The Terrible Twos' website has two downloads ("When I Get To Eleven" and "Caroline"), while their Myspace page has four more songs.

Normally I'd mention where the album is available for purchase, but here's the sad part -- due to unspecified release issues, the album is currently only available at New Amsterdams shows. I can only think of Wilco's troubles in getting their terrific album Yankee Hotel Foxtrot released after getting dropped by their own label. It took a great deal of effort before the album saw the light of day and attracted great praise, perhaps more than it otherwise would have. If You Ever See An Owl deserves not only a release but lots of fanfare to accompany that release, because this is an album that's going to make lots of kids and parents very happy. Highly recommended.

Posted by SAShepherd at 06:25 AM | Permalink | Comments (0)

[To Dan Zanes and Salon.com readers -- greetings and thanks for stopping by. And check out the main site for tons more music for kids and adults. No, that's not an oxymoron.]

The short review of Catch That Train!, Dan Zanes' 2006 release and his fifth album specifically for kids and families is that it's like his previous family music album, but more so -- more musically diverse, more lyrical, more... everything.

The long review is... well... the thing is, after listening to this album so many times, I didn't want to write the short review, which might otherwise have just said, "It's like every other Dan Zanes CD -- it's great." So I went back to his first family music album, 2000's Rocket Ship Beach, to see if I could notice progression in Zanes' music that is harder to see from just looking at his last album, House Party. And a couple things struck me as I listened to his first and his latest CDs.

The first thing that struck me was how Zanes has gradually broadened his musical horizons since 2000. Six years ago, the debut's most adventurous musical step could very well have been the appearance of Father Goose (Rankin' Don) and his dancehall stylings. On Catch That Train!, Rankin' Don's appearance on "Choo-Choo-Ch-Boogie" almost feels safe compared to the rest of the album. The Blind Boys of Alabama on the gospel "Welcome Table," the Rubi Theater Company on the strutting "Walkin' the Dog," the forward-thinking Kronos Quartet on the retelling of the psycho-pet story "Grey Goose" -- they all come from diverse musical places and yet fit in perfectly on this disk. It's as if Zanes has released his very own Putumayo collection. Which is not to say that the stuff that's been around since Rocket Ship Beach -- Rankin' Don, the duet with Barbara Brousal ("Mariposa Ole," in Spanish, of course), and the duet with a female singer-songwriter (Natalie Merchant on the lovely "Loch Lomond") -- isn't there, and isn't great. Because it is.

The other thing that struck me was that the first CD seemed to me a collection of songs that Zanes really liked. The latest CD does seem to have a thematic cohesiveness to it, and it's not about trains. It's about community. "When we ride / We ride together," Zanes has written on the title track, and there is a strong sense of doing things together that runs through the album. Inclusiveness ("All God's children gonna sit together," from "Welcome Table"), neighborliness ("High and low, people that we know / They say 'Hey there,' and 'How’ve you been?'," from "Wander in the Summer Wind"), and a welcoming neighborhood ("Wherever you’re from / Know that you’re welcome / If you want to bring your family ‘round / To this moonlit town," on the album closer "Moonlit Town.")

Quite possibly my favorite song on the album is Zanes' "While the Music Is Playing," about wanting to linger in the neighborhood into the night, listening to all the different music in the air.

People gather all around the square
People laughing in the evening air
Swirls and mingles with the songs that brought us there
That brought us all there.

As with all Dan Zanes albums, Catch That Train is for people of every age. But if I had to narrow down the age range, I'd call it ages 5 through 10. You can hear samples, etc., by following the links at Zanes' Catch That Train! page.

In the end, if you're at all a fan of Dan Zanes' music, you'll enjoy this album. (And if you're in the minority who don't, this album won't change your mind.) Catch That Train! is Zanes' strongest album to date, a celebration in music of the joys of family, community, and music itself. Highly recommended.

[May 19, 2006 Update]
Now that I've had the full copy of the CD and packaging for a few days, rather than just an advance promo copy, I wanted to add a few additional comments to the review.
1) The packaging is quite nice -- Zanes has replaced the book format of his previous kids' CDs with more of a foldout design similar to which he employed on Parades and Panoramas. The entire design is thought out quite well (the title, "Catch That Train!," is actually the very end of a sentence that runs through the entire physical package).
2) Lyrics! Chords! The presence of these two things in the liner notes only makes the absence of them in previous albums that much more stark. Again, Zanes had started doing this with Parades and Panoramas and Sea Music, but their presence here is very welcome (especially for an artist so enamored of public singing). And, Zanes' comments in the liner notes are useful, too. (Not to mention finding out little things like Warren Zanes plays guitar on "Mariposa Ole.")
3) The video for "Catch That Train!" is OK, but nothing special. Dan Zanes plays around in his apartment while a tiny little animated train drives around. The scene where Zanes looks at a comb by his sink, then shakes his head as if to say, "naaaah," did make me laugh, though.

So, there you have it. And if you don't (have it), why not?

Posted by SAShepherd at 08:55 PM | Permalink | Comments (0)

We Shall Overcome (The Seeger Sessions) is Bruce Springsteen's children's music album.

Or, at least, it's as close as we'll ever get.

I have listened to Springsteen's newest album several times since picking it up on Wednesday, inspired by this NPR story. The story led me to believe that the songs, culled from folk musician Pete Seeger's songbook, could be just as appropriate for 4-year-olds as they would be for a 54-year-old.

There are plenty of other reviews of the album which approach it from an adult's perspective. My goal here is to talk about the album's appropriateness for kids.

Springsteen collects a whole host of musicians (17 in addition to himself) to play a wide variety of folk songs and spirituals in styles ranging from bluegrass to Dixieland. Perhaps the most notable aspect of the entire enterprise is the obvious sense of joy Springsteen and the band takes in playing these songs. The idea that people should get together and just sing and play isn't new to children's music (hello, Dan Zanes!), but it certainly gets a forceful endorsement here.

The songs that end up working best, then, are those songs which allow the band to let loose and play. "Old Dan Tucker," even though it's a song about a man who "got drunk and fell / In the fire and kicked up holy hell," is guaranteed to end up in my list of top 10 children's songs in 2006. It's played with bluegrass style and verve and had our entire family dancing. (Well, except for the nine-month-old. It's a great song, but not miraculous.) The Cajun stylings of "Pay Me My Money Down," in a version more umtempo than Zanes' version, give it an extra kick, fun for dancing. It's also the one song where Springsteen allows himself the barest hint of a modern-day reference (if you're using a computer, you'll recognize it). It's a testament to the enthusiasm Springsteen brings to the song that the thought Springsteen is a man who has his "money hauled in, in crates" barely crosses one's mind.

Where kids might not like the album as much is in its slower songs such as "Shenandoah" (in which our daughter during the extended intro, said, "Go back to the one with words.") As much as it pains me to say it, the version of "We Shall Overcome" on the album (recorded and released about eight years ago) is not much fun to listen to. And the extended instrumental soloing, even in the uptempo numbers, may or may not interest the kids.

Taken as a whole, however, this is a pretty amazing album from a man who is one of the few popular musicians even attempting modern folk music. ("The River" is one of the finest folk songs written in the second half of the twentieth century and The Rising, while not perfect, is still the best musical attempt to talk about the events of 9/11.) Parents will be able to use the songs to talk about a whole host of social issues -- economic justice, war, civil rights. And they may even, like I am now, be inspired to track down the original Seeger recordings. (Or just go to this website.)

I think kids age 5 and older may be best positioned to enjoy the lyrics and ideas raised by the songs. (Though, as I said, "Old Dan Tucker" is a stone-cold classic for all ages.) The album is available just about everywhere, of course. (You can listen to samples at Springsteen's site.) The album comes in the DualDisc format which has problems playing in some computer and car CD players (somebody needs to write a protest song about that); the documentary on the DVD side is just OK, but the two bonus tracks on the DVD side, "Buffalo Gals" and "How Can I Keep From Singing," are well worth the time to listen to.

Final thoughts: This is a great album. As an album of "old-time" music, it's much more cohesive than the O Brother, Where Art Thou? soundtrack. (Along those lines, I wouldn't be surprised if this is the album that finally gets Springsteen his Best Album Grammy next year.) Your kids' enthusiasm for the album may flag during its 60-minute runtime, but they're likely to enjoy most of it as well.

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

The list of stand-up comedians who tried their hand at becoming musicians is long -- Eddie Murphy, Joe Piscopo, and Bill Cosby, for starters. The list in the other direction -- musicians becoming stand-up comedians -- is much shorter, if it exists at all. There is, after all, a fine line between stupid and clever.

John Boydston, who will release his fifth Daddy-A-Go-Go album, Eat Every Bean and Pea on Your Plate on May 2, 2006, may not be appearing at the Improv next week, but he does have stand-up tendencies. Ad libs, puns, humorous vignettes -- all make an appearance on the album.

Boydston's singing approach is somewhere on the tunefulness spectrum between Lou Reed and Craig Finn from The Hold Steady, in which he talks as much as sings. I didn't mind so much, because the it's not too out of sync with the music itself, which is straight-ahead, well-played guitar rock. (Your mileage on his vocal stylings may vary.) Perhaps "For Those About to Walk, We Salute You" doesn't sound quite enough like AC/DC to merit its title, but it's a fun little ditty that encourages walking without any sappiness. "Eat Every Bean and Pea on Your Plate," is a bluesy rocker that isn't much more than a listing of vegetables with ad-libbed jokes ("Okra! I love her show!") liberally sprinkled throughout.

The best tracks are those in which the humor is curbed a bit -- the aforementioned songs, the reworked cover of the Ramones' "Blitzkrieg Bop" (on which Boydston's 14- and 11-year-old sons play bass and drums), the two instrumentals. Less successful for me were "Hang Up and Drive," in which frustrations with drivers who talk on their cellphone will completely go over most kids' heads, and "Pink Floyd Saves Hugh Manatee," in which the guest singer sounds just like Boydston and the song sounds nothing like Pink Floyd. And I found the earnest cover of "Listen To The Flower People" from the classic mockumentary This Is Spinal Tap to be completely unnecessary, but maybe that's because I've got 20 years of associations with that song. Your child probably won't recognize the "Stonehenge" references you make afterwards, but that's your (or at least my) problem.

The album is probably best for kids age 5 through 10. You can hear samples and read lyrics (without Boydston's many ad libs) here. The album is available at the Daddy A Go Go website and at online retailers, and possibly at some retail locations.

In sum, maybe the best way to determine whether or not you'd like the album is for you to decide whether you like Jimmy Buffett. Don't misunderstand me, the album doesn't sound anything like Buffett, but it does have a very Buffett-like vibe. If you think Buffett is a joke and can't stand any of his songs, you won't like this. But if you understand where Buffett is coming from and don't mind the occasional Buffett song or album, you and your kids will enjoy listening to this.

Posted by SAShepherd at 10:07 PM | Permalink | Comments (0)

The Virginia-based Buck Howdy bills himself as "The King of Kids' Cowboy Music." While that might sound like an example of "big fish/small pond," his 2005 album Giddyup! does nothing to make someone doubt that claim and might even gain some fans outside the genre.

Let's start with the best-known song, "Baked Beans." It's a silly story about gastrointestinal distress on the range that would grow old very quick if it weren't so expertly crafted. I mean, between listening to the album and satellite radio, I've heard the song 15-20 times at least -- a song about "cutting the cheese", for goodness' sake -- and it's still tolerable. (Which is a good thing, because I'd imagine 5-year-old boys would want to listen to the song 15-20 times. In a row. Every day. For, like, six months.)

That song is tolerable over repeated playings in large part because the musicianship is top-notch. Howdy's small band plays western swing, bluegrass, and traditional country tunes with precision. Howdy has an appealing voice with just enough twang. The album just sounds great.

The album is split evenly between Howdy originals and covers. If you're worried that the whole album is jokey, don't be. With the exception "Baked Beans" and "My Favorite Kind of Bugs," the originals are straightforward cowboy songs (albeit targeted at 6-year-old cowpokes). Some of the covers work well (Jimmy Dean's "Big Bad John"); others, while not bad, left me with a "why bother?" feeling ("Hokey Pokey").

Those of you buying the album for the Trout Fishing in America performances will likely be disappointed, as they don't make much of an impression in their songs ("S'mores," "Giddyup!"). Laurie Berkner's appearance is another matter -- her duet with Howdy on Dale Evans' "Happy Trails" is sweet and makes you wonder where Berkner has been hiding that fabulous voice on her own CDs.

"Happy Trails" is one of my two favorite songs on the album; the other is the last "Bonus Track." To reveal too much about the song would ruin the surprise, so I'll just say that it's a song that will likely amuse the 6-year-olds and possibly make the adults laugh out loud.

Giddyup! is probably best for kids aged 4 through 10. It's available in the usual online and offline suspects. If you want to listen to most of the album (though, sadly, not my two favorite tracks), you can listen to the tracks here. Unless you or your kids have a genetic twang deficiency, you will probably find something to like in the album. Recommended.

Posted by SAShepherd at 10:28 PM | Permalink | Comments (0)

Writing children's music that appeals to both kids and adults is a tricky proposition. Many artists target their songs at the kids and try to include enough interesting musical or lyrical ideas to keep the parents from ripping the CD out of the car's CD player and throwing it onto the road in utter frustration after listening to it for the third time today. It's more difficult to write songs that speak equally (or at least not utterly disproportionately) to both generations. Justin Roberts is one of the best practitioners of that art.

Released in March 2006, Meltdown! is Justin Roberts' fifth album for kids. Roberts has been compared to James Taylor, a comparison earned mostly because their voices are similar. But Roberts' musical strengths are his uptempo rockers, not wistful ballads, and this album shows off his guitar-based pop-rock to fine effect.

Roberts has honed his pop hooks to a fine point. "Our Imaginary Rhino," the lead single, pulls out every stop to create a great power-pop song -- an irresistible pop hook, "c'mon, c'mon, c'mons," and "na-na-nas" It's such a great tune that I'm willing to overlook the lyric "Cause it's more than super fino / When you're imaginary rhinos." (Hey, there are only so many words that rhyme with "rhino," and I think I speak for everyone reading when I say that "wino" would not be an appropriate word for a children's music album.) The song has been in my brain for more than a month now and shows no signs of leaving.

My other favorite song on the album is "Cartwheels and Somersaults," another uptempo song about an older brother's happiness upon the arrival of a younger sibling. While it's written from the perspective of the older sibling (the narrator and subject of many of Roberts' songs are the kids themselves), the chorus is totally relatable to the parents -- "And it's all your fault / yeah it's all your fault / It's you we love / (Mama can I hold her) / You we love / (Let's put her on your shoulder)." The giddiness of the music (with a vaguely "Lust For Life" bass line) matches the giddiness another family member can create in that family's life. And let's face it, we don't get to hear songs that talk about that part of our lives too often, but Roberts has figured out how to do it here.

The rest of the album is pretty good, too. The gratuitous Modern English references in the title track, the '80s synthesizers in "Maybe the Monster," the sneaky older brother blaming all the accidents on his siblings, they're enough to keep the parents listening while the kids bop their heads. I've never been as big a fan of Roberts' slower songs -- personal taste here -- but the closing track, "Song For You," is a nice ballad that could be sung to your child or your spouse. It's a song that James Taylor would be proud to record.

While younger siblings may bop their heads along to the bouncier songs, Meltdown! is best for kids aged 5 to 10. It's available at the usual online suspects and may or may not be available in some big bookstores. Meltdown! is Justin Roberts' best album yet. Highly recommended.

Posted by SAShepherd at 09:42 PM | Permalink | Comments (0)

Family Dance is billed as being by "Dan Zanes and Friends." By inserting the "and Friends" part in there, the listener gets the impression that he or she, too, could gather their own friends round the piano in the living room, drag in a small amp and guitar, and record a really hip version of, say, "Skip To My Lou."

That listener, of course, would be completely and utterly wrong.

The reason they would be wrong is that Dan Zanes has a whole bunch of really talented friends who can actually sing and play their instruments. On Family Dance, for example, Rosanne Cash turns in a nice duet with Zanes on the obscure (for me) kids' song "Fooba Wooba John," Loudon Wainright III helps in a raucous version of "All Around the Kitchen," and Sandra Bernhard "sings" (sort of) on a Dan Zanes original, "Thrift Shop." The less famous of Zanes' friends are no less talented -- Barbara Brousal sings one of her songs, "Malti," while Rankin' Don puts some life into those most tired of kids' songs "The Hokey Pokey" and, yes, "Skip To My Lou."

There's not much difference between this album and, say, Zanes' later House Party. The later album is perhaps ever so slightly more diverse (there's not much bluegrass in Family Dance), but however you felt about House Party, you'll likely feel the same way about Family Dance. It draws from the same well of kids' classics, American songbook classics, some foreign nuggets, and a few solid Zanes originals.

The CD is appropriate for, well, just about anybody. Kids age 3 and older might appreciate it more, but more than any other kids' artist out there right now, Zanes is a practitioner of "family music," meant for the whole family. Available from Zanes' own label, Festival Five, or finer online and bookstore vendors. Definitely recommended.

(And Zanes would definitely recommend that you get your family and friends together to sing and play music -- it's one of his attitudes that I find most refreshing. But hold off pressing that CD, OK?)

Posted by SAShepherd at 08:19 PM | Permalink | Comments (0)

There are those kids' albums that sound like they're specifically geared toward, well, kids. The best of these get into the kids' worlds, their hopes and fears. The worst talk down to kids, way too stickly sweet.

And then there's Dan Zanes. His albums are the best example of what I'd call "family music." Instead of gearing his music primarily toward kids, Zanes finds (or, on occasion, writes) songs the whole family can enjoy. Zanes' 2003 album, House Party, exemplifies this approach. The title track is all about making music at home with family friends. My daughter asks to listen to it all the time, along with the uptempo "Down In The Valley." "House Party" is followed up by the traditional bluegrass tune, "Wabash Cannonball." There's nothing about "Cannonball" that makes it geared towards kids, except the fact that it's just a great little song, part of the American song canon.

"Cannonball" is only one a few traditional songs Zanes uses to good effect on the CD. My favorite is a lovely duet with Debbie Harry on "Waltzing Matilda," on which Harry's voice is so lovely you can't believe you're listening to the same person who led (and still leads) the rock band Blondie. As fun as that and other songs are on the CD, my very favorite is a Zanes original that ends the CD, "A Place For Us." A simple song about friendship and belonging, with composer Philip Glass on pump organ, I find it almost heartbreakingly beautiful, which lets me indulge its 6-minute runtime. (It's way too long for kids, of course, but I think it's great.)

Like all of Zanes' CDs, this one comes packaged in an illustrated book-like cases with liner notes. But you'll probably be too busy dancing with your kids to read it. (Unless, of course, you're driving. Then you're not dancing. I hope.)

Posted by SAShepherd at 10:50 PM | Permalink | Comments (0)