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.
Review: Stomp Yer Feet! - Johnny Bregar
Pity the preschool children's musician. Forced to play the same set of familiar songs at least some of the time, yet Raffi (and before him, Ella Jenkins, Pete Seeger, Lead Belly, and Woody Guthrie) got there first and staked their claim. Few artists have managed to make a career out of playing the songs that the above artists perfected. (And believe me, many have tried. And failed.) Laurie Berkner is perhaps the only modern artist who's completely succeeded, and her fame is as much for her original music as it is for her rendition of traditional classics.
In walks Johnny Bregar and his late-2005 kids' music debut Stomp Yer Feet!. Bregar, a Seattle-based musician, played in local folk/rock band Big Spoon and found the selection of kids' music for his preschool-aged son wanting. His debut is a stellar collection of mostly traditional folk and other children's tunes, dusted off and given a fresh coat of paint.
The album starts off with "If You're Happy And You Know It," played with soul on an electric Rhodes piano ("just like Ray Charles used to play," Bregar writes in the song notes), and immediately all the characteristics of this winning album are revealed -- real instruments both familiar and rare, new sets of lyrics to traditional songs, and Bregar's rich and ever-so-slightly-raspy voice . The "Alphabet Song?" 12-bar blues. "Polly Wolly Doodle?" A little bit of Dixieland, a lot more bluegrass. "Waltzing Matilda" sounds as if it was recorded 60 years ago (but with much better recording equipment). And the ukelele just rocks.
All of which might get tiresome eventually if it weren't for the fact that the few originals on the 42-minute disc are pretty good, too. "Blah de la" might get annoying after listening to it 100 times, but its simplicity also makes it a perfect fit for the album -- even the youngest preschooler could probably get the hang of it and sing along. "Pancakes" is another simple cut, not much more than a chorus, but one that Matthew Sweet would be happy to record. And the one fully-realized original, "Moon," about wanting to touch things a kid probably shouldn't, is the song the Counting Crows will record when they eventually decide to stop recording songs for PG-rated movies and set their sights on G-rated movies.
The songs will appeal most to kids age 2 through 6. You can listen to samples here and buy the album either through Bregar's website, Amazon, CDBaby, or Land of Nod.
I hate to do this to the guy, because Bregar seems like a nice guy, but Johnny Bregar could be the next Raffi. Like Raffi, he's got the musical chops, the sense of humor, and a great voice. (If he's singing about whales 10 years from now, I can't be held responsible.) If you're looking for a collection of traditional kids' songs, and you either already have Raffi's collections or you can't stand Raffi's collections, you should really check out Stomp Yer Feet! -- Bregar's staking his claim to that niche of kids' music. Highly recommended.Review in Brief: Kaleidoscope Songs Volumes 1 and 2 - Alex Mitnick and the Kaleidoscope Band
Kaleidoscope Songs Volumes 1 and 2, released in 2004 and 2006 by Alex and the Kaleidoscope Band would seem to have all the elements of a successful children's music album. Lyrics that target kids and their experiences, a large cast of musicians playing an even larger set of real instruments, and a fine, soulful voice in lead singer Alex Mitnick -- what's not to like? Well, despite all those advantages, there wasn't enough that said to me, "you won't mind hearing this repeatedly." This is partially the result of those lyrics targeted right at the 3-year-old audience -- they're not meant to speak to the parent ("I'm so glad to be alive / I like to learn new things / I like to notice all that I can," for example). The music itself is mostly mellow children's pop, and perhaps I was looking for a hook that never came. Only in a few songs did I find a spark -- "So Blue" and "Rock of Ages" both had a pleasant Van Morrison-vibe to them, while "Water Lily" is a gentle and appealing tune with touches of reggae. Those three songs are off Vol. 2 -- if you're interested in learning more about the band, I'd recommend starting there. You can listen to samples of some songs here. Your preschool-aged kids may like the two Kaleidoscope Songs albums, your preschool-aged kids' preschool teachers may find a lot of songs good for inclusion in lessons on the albums, but you, the parent, may not be so enthused by the albums.
Review: Little Red Wagon - Timmy Abell
I doubt Lester Bangs used the word "gentle" to describe music in his reviews, but he probably didn't write reviews of kids music too often. There's no better word, however, to describe Timmy Abell's 2005 album Little Red Wagon.
On his fourth music album (he has recorded albums of stories as well), the North Carolina-based Abell blends modern folk songs of his own with traditional folk songs familiar to many. If there is any unifying component to the album it is the sense of, well, gentleness that pervades the songs in both treatment and theme. Abell is an accomplished musician, and one of the pleasures of listening to the album is the nifty playing of both Abell (who plays banjo, guitar, and hammered dulcimer, among other instruments, on the album) and the other musicians. The musicianship is particularly noticeable on the traditional (and silly) "Turkey in the Straw" and the brief but sweet Abell original "Rounded Glass Jig," with what I believe to the hammered dulcimer making a beautiful sound on the latter. No matter whether uptempo ("Turkey" or "I'm My Own Grandpa") or subdued ("Jig" or the pleasant title track), the songs exude a sense of calm. Over an entire album, it may be a little too much gentleness, but there's a sense of unity to the songs.
Not all of the lyrics are specifically kid-focused, but those that are have some style to them. "Going To Grandma's" weaves various modes of transportation into a zippy little (and true) narrative about the many different types of vehicles used to get from one distant place to another. "Secrets" is a textbook example of how to write a children's song with moral content, illustrating the point rather than lecturing the listener. The song combines a nifty metaphorical chorus ("A cat in a bag becomes very uncomfortable / Birds in a cage become eager to fly") with verses about the progress of a secret through the narrator's circle of acquaintances to show what happens to secrets rather than saying "Secrets Are Bad!" It's a neatly effective track.
Like many folk albums, there's nothing that would prevent playing this album for very young kids, but lyrically it's probably most appealing to kids 4 through 8. You can hear samples and read lyrics for the album here (click on the Little Red Wagon album cover) and purchase the album either at Abell's website or other retailers (online or iTunes).
As noted above, the album is a very gentle folk album, and if you don't think that will appeal to you, there's nothing on the album that would change your mind. But I've heard Abell compared to a younger Pete Seeger and I think that the comparison is a pretty good one. Abell's clear voice and use of the folk tradition are reminiscent of Seeger in his prime. The album is a pleasant retreat from more active, more modern kids' music. Recommended.Review In Brief: Close Your Eyes - Josephine Cameron
Josephine Cameron's 2005 release Close Your Eyes isn't really a kids' music album, but at its core it's an album of lullabies both traditional and original, and that's enough to a merit a review here. Based in Maine, singer-songwriter Cameron has a winsome voice reminiscent of Susanna Hoffs -- it's not my perfect voice for lullabies, but Cameron's phrasing and the understated jazzy instrumentals (piano, a little guitar, occasional drums) serve the songs nicely. The CD starts out a bit too loud and emphatic for proper lullabying, though Cameron's duet with Anna Vodicka on a medley of All Night All Day/Swing Low (Sweet Chariot) is enjoyable nonetheless. Starting with track #5, "Dream a Little Dream," however, Cameron puts together a mellow set of melodies, concluding with a lovely wordless "Lullaby" (co-written by Cameron and her producer Anthony Walton). (You can here clips of most tracks here and of the title track here.) Close Your Eyes is a nice choice and recommended for listeners seeking a lullabies album that avoids the standard fare and arrangements.
Review: Accidentally (on purpose) - Keith Munslow
The Rhode Island School of Design may be known for many things, but musically it may be most known nationally for being the incubator of the Talking Heads. On a smaller scale, however, perhaps it should also be known for Keith Munslow. Munslow, who has taught in RISD's Young Artist Program, released his third album for kids, Accidentally (on purpose), in 2005, and while there's nothing remotely resembling, say, "I Zimbra" on the disk, it's still a well-crafted album of children's music.
Munslow employs a wide variety of musical styles on the disk. Perhaps the best track is "Bad Robot," a swampy, bluesy stomp about a robot rampaging through the neighborhood (sort of). With a winning melody and a horn section (not to mention great lyrics and), the song works for both the 7-year-old and the adults in the car. (The dryly witty sound effects at the very end show the care taken to put this album together.) Beyond the blues, Munslow employs the polka ("Absentee Polka"), swing ("Dancin' in the Kitchen"), and even a touch of Randy Newman-esque pop, but without the cynical view of the world ("Cardboard Box"), among other styles. Munslow and his large cast of backup musicians give his lyrics a fine, well-played setting.
Lyrically, Munslow likes to tell stories. If you're reminded a little bit of Bill Harley (I was), it's not surprising to find out that Munslow and Harley have collaborated on a number of projects in the past. The title track, which leads off the album, includes some amusing couplets ("I accidentally tracked that mud in/ accidentally pushed my cousin / accidentally clogged the drain /accidentally called up Spain") but also crafts a small comeuppance for the narrator. A number of songs deal with imagination, both positively ("Cardboard Box" and "I Just Wanna Be a Frog") and, er, less so ("Bad Robot").
Kids ages 4 through 9 will most appreciate the overall package of the songs (the music is appropriate for a broader audience, it's the lyrics that won't interest the youngest ones very much). You can hear samples and read the lyrics from the 29-minute album here. The album is available through Munslow's store, CDBaby, and the iTunes Music Store.
While the album isn't perfect throughout, that's probably just because the first three or four songs are so strong that the merely good songs on the rest of the disk just don't quite compare. But overall Accidentally (on purpose) is a fine, well-crafted album of creative children's pop. Recommended.
