... We will take your calls in the order they were received.
I expected that talking about children's music on NPR would generate additional visitors here, but I've been a bit overwhelmed by the number of e-mails and comments over the past 24 hours. Thanks to everyone who's taken the time to drop me a line or offer a comment. I read each one and will definitely reply as appropriate.
And, yes, I do plan to post another review soon.
Welcome!
Hi! You're probably here because you heard me talk with Melissa Block about children's music on today's (Friday, April 7th) edition of All Things Considered. (If you did, can you please let me know how I did? I haven't heard the interview myself yet. East Coast bias...)
If you've developed a nasty twitch in your eye because you absolutely cannot stand the music your preschooler or elementary-aged child is listening to, take a few minutes to look at the reviews here, linked on the right-hand side or search on "review" up top. You may find an artist you're not aware of making music for kids and adults that you just might love. Or, at least, not hate. (We're pretty flexible around here.)
Find a list of albums reviewed here, organized by age, here. Here are my reviews of the Justin Roberts album Meltdown! and the Brady Rymer album Every Day Is A Birthday, which were discussed in the NPR piece. Reviews of the Laurie Berkner DVD and new Dan Zanes album are forthcoming.
You can also find links to people thinking and writing about (or even playing) kids' music on the right-hand side.
If you're a children's musician, I'm always on the lookout for good music I haven't yet heard. Find out how to get in touch with me here.
We'll be posting new stuff every week. I hope you'll stop by again another time to discover or discuss other music you and your kids can both enjoy.
Thanks,
Stefan
Review: Meltdown! - Justin Roberts
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.
News: Belle and Sebastian and Erasure and Kids?
Fold your hands, child, indeed.
As I've said before, I have no shame when it comes to referring to old news when it's new news to me. This June 2005 article titled "Preschool of Rock" (ha, ha, that's funny, because there was that movie, with Jack Black, about these kids... oh, never mind) from the British paper The Guardian says nothing that every other article about rockers making kids' music hasn't said. But it's an entertaining piece and contains this one little piece of info that's news to me.
Erasure plan to release a record for children, while Scots indie band Belle and Sebastian are curating a compilation of kids' songs. Rumours suggest they have solicited contributions from such unlikely sources as Franz Ferdinand, Scissor Sisters, Primal Scream and cerebral post-rockers Four Tet.Erasure? '80s synth-pop? I've always had a soft spot in my heart for Erasure (I love "A Little Respect"), and so I think that could be not a little bit of fun, should it move out of the realm of rumor and into the realm of my CD rack. Belle and Sebastian? Twee-pop "curated" album? What is this, a museum or an album? I know Belle and Sebastian disdain the "twee-pop" label, and I admit their new album has considerably more muscle than their past work, but I'm a little more dubious about the idea of bands like Franz Ferdinand recording music for kids. Don't get me wrong, I have and enjoy both of Franz's CDs, but I'm not convinced of their ability to simplify their angular post-punk melodies and change their lyrical approach. Could be worse, I suppose -- Pete Doherty could be one of the contributors. (Hat tip to Dadbloggit for the original article.)
Song of the Day: Wild Mountain Thyme - Dan Zanes and Dar Williams
As a general rule, I prefer Dan Zanes' uptempo rockers to his slower, more acoustic tunes. He and his band have a ragged quality that encourages dancing and general tomfoolery. (I am in full support of general tomfoolery.) The acoustic stuff, more folky in nature, isn't bad, but it's not my first pick for what of Zanes to share with others.
If there's an exception to my general rule, it's his duets, particularly those with women. Zanes has a knack for picking female singers with whom to duet. I'll gladly listen to Dan Zanes and Barbara Brousal sing just about anything, including the phone book (in Spanish, of course). "Waltzing Matilda," with Deborah Harry or "Loch Lomond," with Natalie Merchant (off the new album, Catch That Train!) -- both are great versions of classic songs. Zanes pairs his ragged voice with the angelic voices of his partners, and the result is wonderful.
But there's no better duet in his discography than "Wild Mountain Thyme," with folk-rocker Dar Williams, on the Night Time! album. It's a wistful love song, itself a relative rarity in the Zanes discography. (He typically shies away from romantic love songs in his children's music albums.) Zanes and Williams take their turns on the verses, but sound best together, with Williams' clear voice matching perfectly with Zanes' voice. Zanes notes in the liner notes that the opening lines to the chorus, "And we'll all go together," are what he loves about the song, and it's what I love, too. It begs for singing along.
Find a link to the song here.
And, I know it's miles away from this song lyrically and musically, but I can't hear the chorus without hearing Billy Joel's "Goodnight Saigon," with its chorus "And we'll all go down together." To hear it, go here to Billy Joel's discography, click on "The Nylon Curtain" album cover and go from there.
Who's This Blog For Anyway?
A couple posts worth reading:
1. Mrs. Davis' thoughts on this article from New York magazine.
2. Devon's thoughts on this article from the New York Times Magazine. (Registration required)
Before you begin, I warn you that both articles are very long -- the summaries in the blog posts are enough to give you a good taste of the whole thing.
Having said that, let's tackle the Wiggles first, then move on to the adults.
You've not found any Wiggles reviews in this blog, and you never will. Not because I dislike them -- I remember a Wiggles video we checked out of the library a few years ago. It didn't really interest my daughter, and it didn't really interest me. (It wasn't supposed to, I knew at the time.) And I can so totally see why they appeal to toddlers and pre-schoolers, my daughter notwithstanding. The simple colors, the simple songs. As Devon points out, the Wiggles are targeting the kids, not the adults, to the Wiggles' credit. I'd put Laurie Berkner in the exact same category (only on rare occasion does she slip in a lyrical snippet to amuse the adults). I think that's the case with most music targeted at toddlers and preschoolers. But when music is targeted at "kids and parents," that's usually just marketing hoo-hah designed to get parents to buy the CD. Only the most talented artists can create music that can engage a 4-year-old and a 34-year-old.
As for the adults, the "Grups," short for grown-ups, as the author calls them, well, I guess I don't feel all that warm and fuzzy about them. As I read the article, part of me thought "well, OK, this is just a New York-centric view of the world." And the rest of me thought, "you only think your (my) generation is different from all the rest."
It's not.
The Neal Pollack quotations are scary, though I've read enough Pollack to know that you can't take anything he says totally seriously. So leaving him aside, let's move on to a more reasoned quotation from another mid-30s parent:
"The point isn’t to raise cool kids. We want passionate kids. And I think that by us doing the things that we love to do, that models that passion for our kids.”
This is somehow different from what previous generations wanted? My parents were happy letting me sit in the corner with a stick and a rock? Maybe there is a difference with the current generation, maybe it's exactly that -- some parents do want to raise cool kids, to raise little versions of themselves.
But that's painting an entire generation with a broad brush when the characterization only applies to a handful of parents across the country. Most of the parents I know wear T-shirts on the weekends, maybe drink craft-brewed beer, and are working all different types of jobs. Maybe some of the music snobs listen to Bloc Party or the Arcade Fire. (Raises hand.) But we're living normal lives, making our way. And if we want to listen to music, we just want something that isn't going to drive us up the wall as we listen to the same CD driving to the library or to Grandma's or to preschool or to swim lessons or while we're sitting in the family room drawing with crayons. We're not trying to craft a child's musical background -- we're too tired and don't have the time.
I write this blog, reviewing songs because I listen to these children's music CDs a lot, almost as much as I listen to my Bloc Party and Arcade Fire CDs. Maybe I slip in the latest Spoon or Shins CD. But usually 3 or 4 of the other songs are Justin Roberts or Dan Zanes or Raffi.
So this blog is for you, the sedan (or minivan-)driving parents of America. You have control of the CD changer. Use it wisely.