Review in Brief: Snowdance - Erin Lee & Marci

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.

Review: Peggy's Pie Parlor - Ralph's World

When I've contemplated how I would put together the inevitable Ralph's World musical -- what, you haven't? -- I've tended towarded organizing the songs somewhat chronologically. This leaves me with no other choice than to start with the bang-up song "Cavemen!," off Ralph Covert's fourth Ralph's World album, Peggy's Pie Parlor (2003). The song, a mock Broadway revue number, keeps me in stitches (what other kids' song would refer to Modigliani?), while the chorus, "Cavemen! We are Cavemen!," is pitched perfectly at the 1st graders out there. The presence of a Broadway number on the CD isn't out-of-place, because more than any other Ralph's World album, Peggy's Pie Parlor is willing to reach way back into the 20th century for musical styles -- the vigorous polka of the title track, the zippity ragtime of Walt Kelly's manic "Go Go Pogo," the I-had-to-double-check-it-was-a-Covert-original "I Never See Maggie Alone," which could've easily been written 80 years ago. (Covert also does his best to make "Yon Yonson" sound appealing for its 2-minute run time, but runs out about halfway through.) Having said that, my favorite tracks are the more modern-sounding tracks. "All I Wanna Do Is Play" is a sweet slice of Hammond organ-spiced garage rock, while the pop-rock leadoff track "The Mighty Worm," has a simple yet ear-wormy melody and chorus ("Everybody does what they do best / the best"). And "Tango Dancing Bear" concludes with a Dave Mathews Band-esque waltz coda. Kids age 4 through 8 will appreciate the 37-minute album the most. You can hear samples here or at other online merchants. I've come to consider Peggy's Pie Parlor as a transitional Ralph's World CD, moving from the least essential CD in his collection (Happy Lemons) to his two most recent and cohesive albums, where his songwriting for elementary school kids really took off, marrying a kid-centric perspective with great melodic hooks. Although Peggy's Pie Parlor doesn't quite reach the heights of the two later CDs, everybody should find at least a few songs they and their kids will enjoy. Recommended.

Review: See You on the Moon! - Various Artists

You know what's refreshing about See You on the Moon!: Songs for Kids of All Ages, the 2006 compilation from Canada's Paper Bag Records label? It's a compilation album of kids' music from adult rock artists that isn't for charity. Bless 'em -- every other compilation of this type seems to be a fundraiser for one worthy group or another, but this one? Pure commerce! Why should you care? Well, for one thing, rather than wondering whether or not the cause behind an album is worth your $15, you can just wonder whether or not the music itself is worth your $15. In this case, it's a mixed bag. The best track by far is Great Lake Swimmers' title track, a winning mid-tempo indie-rocker all about different careers kids can aspire to -- carpenter or singer, for example. It combines a fabulous hook with clear, direct lyrics and occasional fun stuff for the kids to latch on to (the tap-tap-tap of a hammer during the sung phrase "tap-tap-tap"). It's sunny, but not overwhelming, a song for kids of all ages (truth in advertising in this regard, anyway). Unfortunately no other song hits the heights of the title track, though there are a few worth listening to -- I particularly liked the Apostle of Hustle featuring The Husky's' "24 Robbers," which marries kids' playground chanting to drum and sound loops (think a kids' track from Beck). And Detective Kalita's "Baby Brother," is, unlike most of the tracks, very clear vocally and sweet (almost too much so). Sufjan Stevens' Christmas carol "The Friendly Beasts," off one of his homemade Christmas EPs (which'll be released in late 2006), has a pleasant basement recording studio feel, but sounds somewhat out of place amidst the other tracks. The tracks that don't work are the ones that don't provide things kids can latch onto -- clear lyrics, accessible subject matter, or catchy melodies. Alan Sparhawk's "Be Nice to People with Lice" comes off more mean than a plea for tolerance, while Hot Chip's "I Can't Wake Up" will put most listeners to sleep. And the other big artist, Broken Social Scene, turns in a very hazy and very dull "Puff the Magic Dragon." Whether or not the artists thought about how to communicate their songs to a younger audience than they normally play for, the results don't always reflect it. For the most part, this is an album that kids ages 4 to 7 might enjoy. You can hear samples wherever the album's sold online OR you can go to Paper Bag's newly redesigned website and stream every one of their albums (I don't like to deep-link too much, so just go here and pick out this album. Or another one. Magneta Lane, maybe. Be adventurous.) See You on the Moon! is an uneven album, filled with some great tracks and some considerably less-than-great. While you may enjoy the diversity of indie-rock tracks and bands on the disk, your kids are likely to pick out just a few tracks and ask you to skip the rest.

Review: Hoodwinked Original Motion Picture Soundtrack - Various Artists

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.

Review: You Are My Little Bird - Elizabeth Mitchell

I wouldn't be here if not for Elizabeth Mitchell. Not in a "here on this planet" manner of speaking, but here, writing about music for kids and families. A webforum's random note suggesting her kids' music debut You Are My Flower prompted an impulsive purchase; listening to the album, brief though it was, opened my ears to the possibilities in listening to (and making) music with kids. It and its successor, You Are My Sunshine, became beloved and well-worn recordings in our household. I mention this for two reasons: one, to express my debt of gratitude to Ms. Mitchell for that first album; and two, to give you a sense of my bias heading into the review of Elizabeth Mitchell's 3rd solo CD for kids and her first for the venerable Smithsonian Folkways label, You Are My Little Bird (2006). The pairing is so obvious that it makes you wonder why nobody had thought of this sooner. Mitchell's previous kids' albums (including another album made with her college bandmate Lisa Loeb) always relied heavily on traditional songs discovered or made famous by such Folkways standbys as Woody Guthrie, Lead Belly, and Elizabeth Cotten. (She also liked covering Bob Dylan songs, too, part of the albums' unique charms.) The folk approach (homemade sound, often only accompanied by husband and musical partner Daniel Littleton) also made it sound very Folkways-like. This album is loosely organized around the avian theme of the title, with songs such as the traditional "Little Bird, Little Bird" and the Spanish-language "Los Pollitos" (The Little Chicks). (The use of non-English-language tracks continues the trend seen in the Mitchell-Loeb Catch The Moon album.) The album also includes slightly less traditional (but no less avian) covers of Neil Young ("Little Wing") and Gillian Welch/David Rawlings ("Winter's Come and Gone"). Some songs encourage listener participation, such as on "Little Liza Jane," which names cities familiar to the artists, while one of the album's standout tracks, "If You Listen," a sweet folk-pop track, encourages the listener to search for certain sounds (birds, different instruments). If there's a key song thematically here, this is it. Another one of my favorite tracks is the cover of the Velvet Underground's "What Goes On," which, well, rocks in a way few if any other Mitchell's kids' music tracks do. It fits in well with an album which takes the homemade sound of her previous CDs and builds upon it in different ways -- the significant (but not distracting) presence of daughter Storey, the gradual building of voices in the opener "Little Liza Jane," the banjo on "Little Bird, Little Bird" (recorded by another stellar kids' musician and banjo player, Pete Seeger). I can't discuss this album without mentioning Mitchell's voice, which is the sweetest and best voice in kids' and family music today. The crystal-clear quality of her voice not only is pleasant to hear, it's also essential to understanding the lyrics so you can then sing the songs to the kids in your life. (In fact, if I have one complaint with the album it's that some of the non-Mitchell-penned liner notes take up valuable space which could've otherwise been used to print lyrics.) Like the other Mitchell CDs, the sense of calm that permeates the album makes it appropriate for a wide age range, but it's probably best for kids ages 2 through 7. You can hear 5 of the songs (including "What Goes On" and "Three Little Birds") in their entirety at Mitchell's website (click on "Sunshine," then "Listen.") You can hear samples from all the tracks on the album at its Amazon page. If, like me, you are familiar with Elizabeth Mitchell's work, you will not be disappointed by this latest album -- it retains the simplicity and homemade sound of the earlier albums while expanding upon it in new and delightful ways. If, like me a number of years ago, you are unfamiliar with Elizabeth Mitchell's work, You Are My Little Bird is an excellent introduction. The album is a gift to kids and adults alike. Highly recommended.

Review: Marvelous Day! - SteveSongs

Let me begin by saying that I had heard "Marvelous Day!" the song long before I heard Marvelous Day! the album. And the song... well, it just sounded like one of those pull-out-all-the-stops attempts at a hit that just, well, didn't work. Too forcibly goofy, too many kids in the chorus, too much or too little of something -- whatever the case, I didn't like it. So I approached the SteveSongs' album, their fifth, originally released in 2005 and rereleased this week by Rounder Records, with trepidation. Which is another way of saying I skipped the opening (title) track and held my breath. Well, I needn't have been so worried. For the most part, the album will have broad appeal to families. SteveSongs' namesake, New England-based Steve Roslonek, and his bandmates, primarily Anand Nayak, have crafted some fabulous pop melodies here. "Elephant Hide and Seek" is an uptempo ska-inflected tune while "Sprytle the Turtle" is one of many solid kids' pop songs here. My favorite track on the album is a song called "Ducks Hatching," which Roslonek and Nayak co-wrote with "Mrs. Grimsley's 3rd grade class." OK, they're not exactly George Harrison to Roslonek and Nayak's Lennon/McCartney, but the resulting song, about a classroom waiting for some duck eggs to hatch, has got a killer chorus and great usage of a kids' chorus to build out the sound. (It is, by far, the best song you will ever hear with the word "incubator" in it.) Lyrically, the songs target the kids fairly directly. Rather than writing songs that might fully engage the adults listening, Roslonek and his partners prefer to throw in funny asides and puns to tickle the adults' funny bone. "Fast Monkey," a silly song about contrasts, has a cartoony-voiced something-or-other called (I think) "Silly Minilli" who would drive me nuts if it weren't for the fact that his asides are quite amusing, almost echoing the thoughts of the adults listening. (He appears briefly on a couple other songs, too.) The lyrics are well-done and large-hearted, but they're definitely of much greater interest to your kids than to the adults. The band has a nice sound for the pop melodies, but Danger, Will Robinson! there are lots of (talented) kids' voices on this disk, sometimes taking leading roles. Your kids may enjoy this but you may grow weary of them. (The voices, not your kids, silly.) Kids ages 5 through 9 will most appreciate the songs (and lyrics) on the album. You can listen to samples from the 52-minute album here. Marvelous Day! is filled with strong melodies and fun, uplifting lyrics. There are enough moments of adult interest to sustain multiple listenings, which is good, because your kids will probably want to listen to this a lot. Recommended, if only for your kids' sake.