Hello, I Must Be Going

It's time for a little break from blogging. Read through the reviews you missed, click through on the links you skipped, and go back and listen to some albums you haven't heard for a long time, kids-related or otherwise. Back in the middle of the week with lots of new stuff.

Review in Brief: Jim Gill Sings Moving Rhymes for Modern Times - Jim Gill

It took several months and several listenings to Jim Gill's 2006 album Jim Gill Sings Moving Rhymes for Modern Times before I fully appreciated the disk's strengths. In the meantime I'd listened to scores of CDs lacking some of the qualities Gill brings. To begin with, Gill's good humor shines through, not so much in wacky lyrics or zany vocals, but in simple vocal expressions. Listen to Gill's humorous interplay between him and guitar player Don Stiernberg on "Delay on the Freeway," which digresses into discussing catalytic converters, and you can see how he'd be great in front of a crowd of kids (or adults, for that matter). Gill and his crack group of backing musicians serve well his often jazzy melodies (notably "Jim Gill's Groove" and "Tromboning"). And, hey, any album that works in a bit of Gershwin ("Rhythm in my Fingers") is OK by me. The album title itself could be the Library of Congress description for the CD -- there are lots of rhymes and lots of description and encouragement of physical motion, sometimes large ("Swing Your Partner") and sometimes small (the aforementioned "Rhythm in my Fingers"). Best for kids ages 3 through 7. You can hear full song selections from all of Gill's albums at his new website. The album is probably best for a classroom setting or at least at home; I can see how the album would be less compelling if you're in the car and your range of motion is (hopefully) limited. But if you're looking for an album to interact with ("music play," as Gill describes it), Jim Gill Sings Moving Rhymes for Modern Times is an excellent choice.

Yes, But Will He Get His Own Funky Dancing Shadow?

Did you know you can get every Dan Zanes family album at the iTunes Music Store? Including audio for his All Around the Kitchen DVD? Even a bonus track from Parades and Panoramas?

And that now he's just the second kids' artist to get their own "Essentials" list, which is an iTunes Music Store-endorsed collection of, well, essential tracks from an artist's catalog? The Wiggles, meet Dan Zanes. Dan Zanes, meet the Wiggles.

I mention this for two reasons:
1) It's a recognition of the changing nature of kids' music (Ralph's World is featured on the sidebar; Justin Roberts is featured on the page, too).
2) I compiled the list.

(And, yes, there are more coming. If it takes a while, there are good reasons for that having nothing to do with my opinion of the artist.)

Review in Brief: Dog Train - Sandra Boynton

For those of you who adore Sandra Boynton's comically plaintive drawings of pets and her whimsical sense of humor, but found the Broadway show stylings of Philadelphia Chickens a little too, well, Broadway show-stylish, her 2005 album/book Dog Train really brings the rock. Or, well, as much as any album that features three separate episodes entitled "Cow Planet" can bring said rock. Boynton and her musical collaborator Michael Ford have recruited a... diverse collection of musical performers to perform their (mostly) humorous songs -- Alison Krauss, Hootie and the Blowfish, and Blues Traveler, among others. As is often the case with albums where a collection of performers tackle the work of another artist, the best work is done by the least expected -- the Screaming Trees' Mark Lanegan bringing his Tom Waits-esque voice to "Sneakers," or the energetic "Pots and Pans" built up to a percussive crescendo by the Bacon Brothers and Mickey Hart. The best song on the CD may be the most familiar -- the wonderful "I Need A Nap," which pairs "Weird Al" Yankovic with Kate Winslet ("this is Ms. Winslet and Mr. Yankovic's first duet together," the liner notes wryly comment). It takes a Titanic-worthy overwrought ballad and applies it to the overwrought words of a cranky kid. It's very meta, and very funny. Less successful, though, are the fairly straight songs (Alison Krauss sounds wonderful on "Evermore," but she'd sound wonderful singing the "Weekly Clipper") and the "Cow Planet" interludes. The album will probably be most appreciated by kids ages 4 through 8 and people of a certain age remembering the soundtrack to their high school and/or college years. (Hey, I liked the Hooters. And the Spin Doctors CD. And the Hootie CD. I'm just sayin'.) You can hear clips from all of Boynton's CDs here. Oh, and if you don't want the book/CD compilation, the CD by itself is scheduled to be released on August 8. Fans of Boynton's work won't be disappointed by Dog Train; newcomers may be surprised at the breadth of collaborators here and amused by the whimsy.

Review in Brief: The Pet Project - Campfire Kev & Mary Lafleur

The 2006 Cooperative Summer Library Program may be winding down, but here's another pet-themed CD in case librarians reading here are looking for a CD to tide them over these last few days of summer. (I'm guessing throwing up one's hands and feeding the kids animal crackers is an insufficient response.) Kids' music artists Campfire Kev and Mary Lafleur have teamed up to record The Pet Project (2005), an album with more than 20 original songs, all about pets and animals in general. The songs generally fit in the children's pop mold, with a large cast of musicians backing up the two leads, who trade vocals (and songwriting credits). With 20+ songs about the same subject, I gravitated toward the songs that stood out musically and lyrically -- the country-rock on Kev's outstanding "The Cow Who Can't Say 'Moo'", the gentle AM pop of Lafleur's "Teddy's Bear" (weaving a story about Teddy Roosevelt's pets), or the dueling vocals on "Queen of the House," a clever "cat vs. dog" song that would be great in a kids' musical. The disk is best for kids age 4 through 9 and you can hear clips at the CD's CDBaby page. (And if you like Campfire Kev's more rocking songs on this disk, you might want to check out his first CD, The Campfire Kev Show and Other Radio Favorites.)

We don't have pets in the house at the moment, so I'm not the first person you should read looking for "oh, they have so described my pet" comments. I can only hear so many songs about how wonderful pets are or the wacky things they do before I go a little crazy. Kinda like reading one too many mommy- or daddy-blogs. But in selective doses, there are some good tracks on The Pet Project.

All Belle and Sebastian, All the Time?

Pitchfork picks up a NME story updating the Belle and Sebastian-curated children's music compilation, Zooglobble goes nuts. (You know, for someone who's a little bit skeptical about this whole endeavor, I'm certainly spending a lot of time talking about it. Maybe I'm talking myself into thinking it might just work.)

First, the actual news -- the compilation on Rough Trade Records is now scheduled for release in October, not September as originally announced. Oh, and the Flaming Lips have been added to the bill.

Now, for pure silliness, let's guess what the best track will be, purely based on the artist and song name:

Four Tet (featuring Princess Watermelon) - "Go Go Ninja Dinosaur"
Rasputina - "A Skeleton Bang"
Franz Ferdinand - "Jackie Jackson"
Snow Patrol - "I Am an Astronaut"
The Divine Comedy - "Three Cheers for Pooh, Cottleston Pie, Piglet Ho"
The Kooks - "The King & I"
Half Man Half Biscuit - "David Wainwright's Feet"
The Barcelona Pavilion - "Tidy Up Tidy Up"
Jonathan Richman - "Out Dog Is Getting Older Now"
Ivor Cutler Trio - "Mud"
The Flaming Lips - "The Big Ol' Bug Is the New Baby Now"
Belle & Sebastian - "The Monkeys Are Breaking out of the Zoo"
Kathryn Williams - "Night Baking"

I've got my bets on the Four Tet and Flaming Lips tracks. The Divine Comedy track could either be a disaster or inspired. As a big fan of the Milne books, it's a track I simultaneously view with anticipation and dread.

Review: An Elephant Never Forgets - Owen Duggan

I would call Owen Duggan the "next Raffi," but the problem is, I already did that with someone else. And even if I no longer believed it (which I do), it would look pretty foolish of me to recant scant weeks later. So let me put it this way -- Owen Duggan is Raffi.

Or, to put it another way, Duggan's late 2005 debut album An Elephant Never Forgets is the album that Raffi could've recorded after The Corner Grocery Store, had he decided to continue mining the vein of classic kids' songs, folk songs, and other musical traditions instead of becoming increasingly concerned with ecology and children -- all Good Things, no doubt, but far from where Raffi started. But Duggan has the sweet voice (here's a man who needs to record "Puff the Magic Dragon") and talented backing musicians that makes Raffi's work so pleasant to listen to.

Duggan, a San Antonio-based music teacher, has put together a wonderful group of musicians to back up this collection of Duggan originals and classic tunes. The gentle humor of the album is evident in one of my favorite tracks, the zippy "The Ants," better known as "The Ants Go Marching." Duggan and his band gives the song an increasingly manic energy, which is released in a jazzy musical outro. I especially liked the brass work of Ron Wilkins throughout the album, but the whole set of jazz and folk musicians who back him up are top-notch. The music switches between gentle kids folk music (the Duggan original "The Elephant Song" and "I Got the Baby Blues"), covers of classics ("Tom Paxton's oft-recorded "The Marvelous Toy"), authentic folk music (the energetic fiddle tune "The Green Meadow"), and jazz (the Ellington/Strayhorn "Happy Go Lucky Local"). Duggan closes out the album with a couple lovely lullabies, which seems to be the standard for kids' albums nowadays. (Almost makes me nostalgic for the Raffi albums, which sometimes ended up an uptempo note.)

This album is targeted right at kids ages 2 through 6. You can hear samples here and order the disk at Duggan's website or the standard Amazon/CDBaby/iTunes trio.

If Raffi makes your eyelid twitch erratically, I really can't recommend the disk to you. But if you have an appreciation for Raffi's work, and are looking for something else besides to play, An Elephant Never Forgets is a nice collection, a little jazzier, a little poppier than Raffi, and every bit as well done. Recommended.

Review in Brief: Children Are the Sunshine - Asheba

Trinidad-born and Bay Area-based, Asheba released his third kids music album, Children Are the Sunshine (2006), earlier this month. Asheba's music draws on his Caribbean heritage, employing reggae and calypso styles on kids' standards and his originals. The strong points of the CD? There are some tracks I enjoyed -- the reggae-fied version of "All Around the Kitchen," for example, or an original version of an alphabet song ("ABC (Alphabet Story)"). But his CD fails to draw enough attention to Asheba's reported strengths as an improvisational artist or storyteller. There isn't always enough musical variety within a song to merit the 4- to 5-minute track lengths of many song, and sweet story songs like "Picoplat Calypso" were more the exception than the rule. And I was disappointed that the album didn't include a single song with steel drum, which Asheba can play.

Asheba is reputedly very popular in the Bay Area, and is working on a Putumayo Kids recording. I hope that that next album, especially with the backing of Putumayo, allows Asheba to use a broader array of instruments and larger number of musicians, thereby drawing out more of the qualities fans see in his live shows. Children Are the Sunshine isn't a bad album, it just doesn't do enough to showcase Asheba.

Huge In Australia

Before I get to the Purple Stripes, a quick story:

Shortly after the NPR interview, I got an e-mail from an Australian comic who was looking for a review I'd done of his CD here on the website. He'd apparently sold some of his albums at CDBaby from people who were referred there from here.

Here's the thing: I'd never even heard of him or the CD, let alone reviewed it.

I told him that if he got me a copy of the CD (which did sound like it'd be fairly amusing and even somewhat apropos for the site), I'd review it here, and then at least it would all make sense. Haven't heard a reply to the offer, though.

I bring this up as a way of saying I must be huge in Australia, because Karl Richter, with the new Australian label Bing!Bang!Bong!, is the first person to ask me to post a kids' music artist's mp3 here on Zooglobble. And since the song is from the new Australian kids' music duo The Purple Stripes, I said I'd be happy to oblige:

The Purple Stripes - The Circle Song (Too late!)

While my favorite song from their 2006 EP is "Bing! Bang! Bong!" (available at their Myspace page), I think "The Circle Song" is more indicative of their EP as a whole -- sweet female harmonizing in a folk-pop way, with just guitar and the bare minimum of percussion for accompaniment. Those looking for a kids' music equivalent of The White Stripes will be disappointed -- it's a little more of a blend of Laurie Berkner and Lunch Money.

Good stuff and a promising debut. Their EP will be on the iTunes Music Store soon.

Review: Song and Play Time - Pete Seeger

Long before Laurie Berkner, long before Raffi even, there was Pete Seeger. His stepmother spent a lot of time recovering folk songs from historical neglect, and her stepson put many of those on record. He was incredibly productive in doing this for Folkways Records, recording 54 albums for them. One of those albums, originally released in 1960, Seeger's Song and Play Time, received a new release on CD in 2001.

More than anything, the thing that keeps Pete Seeger's albums far from the file marked "important-but-unlistenable" is that voice. Crystal-clear and sweet, accompanied only by his adept banjo-playing, and sometimes by nothing his conviction that folk songs are worthwhile, Seeger's voice invites listeners to sit down and listen. (His voice sounds great on this remastered album.)

Until, of course, he encourages them to join in the fun. Sometimes that encouragement is for physical activity, as in "Here We Go Loopy-Loo," the precursor to the "Hokey-Pokey." (Or, since the "Hokey-Pokey" has been around since possibly the Middle Ages, perhaps it's the successor.) Sometimes the encouragement is to sing along, as in the classics "I've Been Workin' on the Railroad" and "She'll Be Comin' 'round the Mountain." (The latter, I would note, includes a lyric about killing the old red rooster -- "hack-hack" -- which got left out by Raffi and Laurie Berkner. I like the addition and it certainly puts the next line -- "We will all have chicken and dumplings" -- in much better context.) And sometimes Seeger simply wills the listener to participate, singing loudly and clapping a cappella on "Captain Jinks."

Kids age 2 through 6 will most enjoy the songs here. You can hear samples at the Folkways page for the album.

At 41 minutes in length, the album may get a bit too repetitive to listen to straight through. But it'd probably fit right in a 5-CD changer on shuffle, either with Seeger's contemporaries or with your contemporaries. And the more you're willing to sit down (or stand up) with Seeger (rather than just putting him in the car's CD player), the more you and your kids will get something out of the album. Seeger's melodious voice and enthusiasm makes this worth exploring for you and the younger kids in your life.

A Great and Noble Experiment

Or, at least, this sounds like it'll be cool. The first of many guest DJ sets at Spare the Rock, Spoil the Child can be heard this weekend from Andy Ure of The Quiet Ones. (Didja read the review?)

At some point I'll have a guest DJ slot myself... I just need to figure out how to cram an entire musical philosophy into about 45 minutes. (Or maybe I should just play They Might Be Giants repeatedly.)

Anyway, go forth and listen.

Review: Plays Well With Others - Uncle Rock

You don't often get a second chance to make a first impression, the cliche goes, and that's especially true in children's music. A cheesy song is enough to make the parent quickly hit the eject button lest the children get too attached to music that drives the parent absolutely nuts; a poor album cover will doom the CD before it even reaches the player. So it was with Uncle Rock's 2nd CD, Plays Well With Others (2006), released a couple weeks ago. Uncle Rock? Just the name made me a little dubious. The logo? Designed by a child (the artist's son, as it turns out). And the opening song? Starts with the shouted phrase "Are you ready?" I was thisclose to hitting eject and never looking at the CD again, let alone listening to it.

And then within the space of about one minute, I was interested. The opening track, a general dancing around song, has a nice groove and includes the lyric "I'm gonna shake my head like the head of a mop." OK, you've got me back -- I'll stick around. Uncle Rock, as it turns out, is New York State-based Robert Burke Warren, who's played with both Wanda Jackson and RuPaul, among others. (I feel fairly certain that puts him in fairly small company.) Joined by a bunch of musicians on various tracks, he brings a loose roots-rock attitude to the CD, giving it a nice, organic feel. (The production is a lot better than the 4-track home recordings on his debut album.) The best cuts are those that are more fully realized instrumentally and lyrically. "Picnic in the Graveyard," for example, is a great kids' song about... er... death. Well, not exactly, but it's about Dia de los Muertos, a day of celebration where people have a picnic in the graveyard. "We're gonna sit in the grass / With people from the past / And we will not be afraid," goes the lyrics. It's got a great chorus backed by a horn section. The amusing "Gettin' Big Blues" is a bluesy number about how difficult it can be for kids to grow older ("I once had a T-shirt / the coolest thing around / but since I can't get it over my head / It's gonna be a hand-me-down" ... "I once had attention / I was an only child / But now there's a baby in the house / So I'm going wild... Pick me up / 'Cause I don't wanna walk") It works for both kids and their parents. The kids on the album generally add, instead of detract, from the mix.

Some songs ("Playin' Possum, "Shoe Bandit," "I'm a Pirate") don't work as well for me, they seem a little cheesy. But I give Warren credit for trying different things. He turns in a nice medley of "Magic Carpet Ride/Hey Bo Diddley/Magic Bus." And while the album's best cuts are the midtempo rockers, the closing ballad "Connected" is a sweet song.

The CD is most appropriate for kids age 3 through 8. You can hear clips of a few songs at Uncle Rock's MySpace page, though only one song, "Sugar Talkin'," is off the new CD. (Robert, update that page, pronto!) You can also hear samples at the album's CDBaby page.

Warren has made big strides in this, his second album. Teaches me to judge a book by its cover. He's got a little bit of Ralph's World and a lot more of Brady Rymer in him. Plays Well With Others is an album with some great cuts of kid-friendly roots-rock. Recommended.

A Note From My Family To Me

Dear Honey/Daddy/[unintelligible]:

You can't blog about everything. Sometimes other people will have the same idea you do, and occasionally they'll post something about it before you can. Deal with it.

Besides, they'll still want to read your review of that new artist they haven't heard of tomorrow.

Love,
Your Family

Review: Make Some Noise - The Quiet Ones

Unfortunately for New York band The Quiet Ones, their 2005 debut Make Some Noise didn't, er, make some noise, or at least not as much as it should have. And while I can't answer the question of how in the name of They Might Be Giants did this album fly under the radar, I can do my best to explain why it shouldn't have.

The Quiet Ones are Chrstopher Anderson and Andrew Ure, 2/3rds of the band Muckafurgason, which toured with They Might Be Giants and whose final album was produced by John Flansburgh of the band. The They Might Be Giants reference is appropriate here, because the album is filled with lyrical flights of fancy that would not sound out of place on a TMBG album. Take, for example, "Polar Bear," a country-ish tune which starts out with the line "Straight to the point / I wanna be a polar bear," then comes back to the concept later on in the tune with the line "Back to the point of being a polar bear," a meta reference that is likely to amuse the parents within a very kid-friendly song about, well, being a polar bear. Or "Invisible Trousers," in which the narrator talks about how he "Wore them to the dentist & to the pet store / And everyone was pointing / Because they’d never seen invisible trousers before," which is a punchline that will reward the older kids and parents listening. For adults tired of listening to kids' albums with too many lessons, the lessons here are few and far between, with the band typically content to tell stories with subjects of interest to kids, like running ("How Fast Can You Run") and superheroes ("Ultrafoot").

Sonically, the album has a very British vibe, with some songs sound more like British Invasion bands ("Make Some Noise"), some like XTC outtakes (the amusing "My Keyboard"), and some like the Beatles (the lovely "I Remember Purple"). And, gosh, I've somehow managed to not mention my two favorite songs, the power-poppy "You Can't Hide Your Bike" (which is about exactly what the title implies), and the narratively exuberant album closer "Fizzy Milk."

Well, kids ages 4 through 9 -- especially slightly silly ones -- will enjoy this album the most. You can hear samples of some songs here or all songs at the album's page at Amazon. You can also see the lyrics and hear karaoke versions of most songs here.

Can you tell I liked the album? There are no bad songs here, just songs you'll like more or less than others. At just over the 30-minute mark, the album is short but very sweet. Fans of power pop or XTC or They Might Be Giants should check out the album post haste. Like, yesterday. As for the rest of you, the appealing goofiness and catchy melodies make Make Some Noise also worth your time. Definitely recommended.

Brady's Bunch

Brady Rymer. Elizabeth Mitchell. Hayes Greenfield. I doubt another lineup will top this, the best one-day-only concert of 2006. Heck, it can even give those multi-day festivals in Chicago and Austin a run for their money. Pity our family has no plans to beanywhere near Long Island on August 27.

Oh, and Brady, you really should blog more often. That Clearwater Folk Festival entry was fun to read.

Mick Jones, Children's Musician

So the family, or 75% of us, went to see Pixar's movie Cars this weekend. I was struck by two things during my time at one of our local metroplexes:
1. Yes, Northern Arizona really does look like that. OK, the buttes really aren't that car-shaped, and I'm pretty sure parts of Northern Arizona have "dark skies" ordinances that would pretty much rule out the bevy of neon in one scene, but other than that, yeah, that's pretty darn close. And, boy, would I like to be there right now.
2. In the previews before the movie's start, two animated movies for kids used rock songs more than 25 years old. One of the movies used a famous song by the Clash (my perpetually overcrowded mind believes it was "Should I Stay or Should I Go?," but it doesn't really matter). And my thought was, since when is the Clash kids' music? Now perhaps that tune isn't actually heard in the movie (preview songs aren't always included in the movie they're promoting), but between that and Ben Folds' cover of "Lost in the Supermarket" from Over the Hedge, and we almost have a trend. Perhaps there's a nice Christmas movie that will use "Guns of Brixton."

Now, I'm not saying you shouldn't play the Clash for the kiddos on occasion, and I think the older kids might particularly appreciate what is, without a doubt, an essential rock album. Having said that, why can't movie producers use music that kids might actually... recognize? From a band that's released an album in the last 20 years? I mean, sure, maybe there might be a handful of adults who might decide to go to the movie because a preview uses a Clash tune, but doesn't that sell your primary target audience way short?

One of the reasons I've been writing here for so long is because I believe that "kids music" can -- and should -- engage kids on their level, in things they might be interested in, with voices they can relate to. That can cover a wide range of subjects and artists, some traditionally thought of as "kids-related," some not. And while London Calling is an awesome album, one I occasionally play on the stereo at home, it's not the first one I think of when I think source material for a kids' movie. It's a lack of imagination.

[/rant]

We're back to the rock this week, with a band you might possibly be aware of, an artist you're probably not aware of, and other stuff. Thanks as always for reading and commenting. And stay tuned, there are some cool announcements coming up in the next few weeks. OK, maybe they're not cool to you, but I've got a fairly low bar to clear.

Oh, and if you haven't read this post on whether or not kids' music is enjoying some sort of resurgence, you should do so.

Review in Brief: Songs I Heard - Harry Connick, Jr.

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."

Welcome Orlando Bloom Fans!

I thought he was great in Lord of the Rings too... What's that? It's the Orlando Sentinel who's linked here? Oh, well then, welcome to you readers as well. (And thanks, Mary Ann, for the link.)

We're in the midst of a jazz week at the moment, but you'll find all kinds of kids' music here -- a lot of rock, some folk, even some classical buried around here. There are some links there on the right, including one to a listing of the reviews here organized by age. I'm positive you'll find something that will not only entertain your little ones but will also entertain you. (You can't listen to Sufjan Stevens all the time, you know.) And if you don't see an artist you really like, let me know -- I'm always looking for more music. Thanks for stopping by!

Review: Jazz-A-Ma-Tazz - Hayes Greenfield

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.

Review in Brief: Linus & Lucy: The Music of Vince Guaraldi - George Winston

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.

Review in Brief: Jazz For Kids - Various Artists

With its Giselle Potter-illustrated cover, the inattentive adult might be fooled into thinking that this is another Ralph's World CD. Clearly, Verve put some thought into how to market this compilation. But with Lionel Hampton, Oscar Peterson, and Ella Fitzgerald (twice!) among those heard on the disk, somebody also put at least a little thought into the music itself. The 11-track, 28-minute album is a nicely sequenced mix of jazzy renditions of children's standards (Ella's versions of "Old McDonald" and "The Muffin Man"), silly novelties (Louis Prima's "Yes! We Have No Bananas"), and other kid-friendly songs. While the presence of Hampton, Peterson, and Fitzgerald are nice, for a person like myself whose jazz knowledge is about a quarter-mile wide and a foot deep, the Louis Jordan, Blossom Dearie, and Carmen McRae tracks are pleasant discoveries. (And while Louis Armstrong's "What a Wonderful World" doesn't really fit the swinging attitude of the rest of the tracks, it's a great cut, so we'll let it slide.) If I had any qualms with the disk it would be: a) I wish a disk entitled "Jazz for Kids" would have more than one semi-instrumental track (Peterson's boppy "Mumbles"), and b) I wish the disk's liner notes would've been seriously upgraded, giving more than just each track's title, artist, and release date. But as a whole, this is a pleasant collection of vocal jazz tracks from the mid-20th century and should please even those proclaiming to be allergic to jazz. Recommended.

This Week: All That Jazz

It's the Fourth of July week here in the United States, and I thought I'd spend all week celebrating the country's founding by looking at that most American of art forms, jazz. Not to get all Ken Burns on you, of course, but it's a great musical form that's been a little overlooked, kid-wise. Good stuff. (And for those of you who turn a tin ear to Ella Fitzgerald and the alto sax, don't worry, I'll bring the rock again next week.)

Review: Snow Day! - Eric Herman and the Invisible Band

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.

Review in Brief: Songs For Kids Like Us - Robbie Schaefer

[Here because Robbie sent you? Welcome! If you dig this album, there's plenty more great music here at the website (but few carp). Explore and thanks for stopping by!]If you're an adult, and you title your debut kids' music CD Songs For Kids Like Us, you've implied a certain level of (im)maturity to the prospective listener. On his 2006 kids' music debut, Virginia-based Robbie Schaefer (guitarist for adult rock band Eddie From Ohio) meets those expectations. Indeed, in the liner notes he thanks his family for seeing that he's got the "emotional maturity of a five-year-old" and recognizing that he should "use that to [his] advantage." The best songs on the CD are those where he lets his inner five-year-old out -- the backwards lyrics on the countryfied "Cowboy Bob," the sheer silliness of "There's a Carp in the Tub" (with a background group of... carp? singing "Carp. Carp.") Schaefer sticks mostly to folk and bluegrass in his tunes, though he employs pop on the album's best track, the leadoff "No! No! No!," and pulls in accordion and trumpet on the mariachi-inflected "Fredinand." He also turns two versions of "Chicken Lips," covered by someone slightly more well-known (Bruce Springsteen) a number of years ago. I could do without one of those versions (one version goes a long way) and the bland version of a "There's A Hole in the Bucket," though -- it seems out of place amongst the rest of the weirdness. (Oh, and the cartoony "Professor Schnoodle," bugs me too, but longtime readers know my aversion to cartoony voices.) You can listen to three songs off the album at the album's website. Overall, Songs For Kids Like Us is a nicely thought-out and well-executed debut that makes me hope that Schaefer hasn't exhausted his immaturity just yet. Recommended.

Review: Tall and Small - Rebecca Frezza

With her third studio album, Tall and Small (2006), set to be released next week, Rebecca Frezza and her band Big Truck make a bid for kids' music stardom. The New Jersey-based singer/songwriter has had videos on Noggin, but this album seems one of those CDs designed to attract even wider attention.

Take, for example, what would be considered the lead single off the album, "It Wasn't Me," about receiving blame (or placing it on somebody else). Frezza and Big Truck take the song, written by Ron Cardazone, and craft it into an insanely catchy tune with a number of musical layers. The secret is taking the "tattletale" song -- you'll know it when you hear it -- and weaving it into the chorus. (And this isn't the confident narrator of Justin Roberts' "My Brother Did It," but a much more uncertain 6-year-old, which may appeal to 6-year-olds for an entirely different reason than Roberts' song appeals to them.) Frezza is no slouch herself in the songwriting department, writing or co-writing 12 of the album's 14 tracks. A couple of the stronger tracks include the title track, which has a melody that climbs and falls repeatedly, nicely echoing the subject of the song, and "Show Me!," which borrows some of the guitar riff from "What I Like About You" to create an energetic song that encourages movement (I'm envisioning a very hyperactive crowd in concert).

The better songs generally were those which used the skills of the 8-member Big Truck band to good effect on the pop-rock tunes -- fiddle and mandolin on the Irish-tinged "Tell Me A Story," or the nifty guitar work on the "Can't Let Go Blues." I tended to prefer the faster songs, finding some of the lyrics on the slow songs worked a bit too hard at establishing the positive message that runs throughout the album. ("Happy" in particularly didn't work for me at all, though I could see how a 4-year-old, after wiggling through Frezza's faster numbers, might be more receptive to the message than I.) The faster songs seemed to convey Frezza's lyrical points with more ease.

The 41-minuste album is laser-targeted at kids ages 4 through 8. You can now hear clips of the album at Frezza's website (click on "Music & Lyrics" at the top, then on the album cover); they're also available at Amazon.

Rebecca Frezza and Big Truck are clearly shooting for the stars with this album, seeking a wider audience. As a whole, Tall and Small is an album deserving of that wider audience that this kid-targeted and adult-friendly CD will bring them. Recommended.

Even More Justin Roberts

Liked my interview with Justin Roberts? Want more of that plus a picture of Roberts' dog Udo? Then get thee to this Apple profile on Roberts. (Thanks to the Justin Roberts Newsletter for the heads up on that and a bunch more. Why haven't you signed up yet?)

Review: Snail Song & Magic Toast - The Sippy Cups

Review: A Play in One Act
With three characters: Dude 1, Dude 2, and Mr. Roommate:

Dude 1: Whoa, dude, that Sippy Cups song is deep!
Dude 2: Totally, dude!
Dude 1: I mean, it's about, like, life.
Dude 2: Totally.
Dude 1: It's like... a... uh... simile!
Dude 2: Simile? It is so not a simile, dude.
Dude 1: No, dude?
Dude 2: No, dude. It's a metaphor.
Dude 1: I'm not sure I agree with you, there, dude
Dude 2: Why not?
Dude 1: Well, look, there's this song, and it's about "Magic Toast," right?
Dude 2: Right.
Dude 1: And it sounds just like the Mamas and the Papas, maybe, or some psychedelic band from the late '60s, right?
Dude 2: Right.
Dude 1: So when they're talking about the magic toast and how it gives the boy a "lift," they're clearly making the analogy that breakfast is like life. And the toast is, you know...
Dude 2: Yeah, but what you're describing is a metaphor, dude. They're not using the word "like" or anything.
Dude 1: Hey, what you know about grammar, dude, could fit inside my...

Dude 1's Roommate, dressed as always in suit and tie, walks into the room.

Roommate: Oh, it's you again... dude.
Dude 2: Hey, man, what's your problem? You're always bringin' me down!
Roommate: Well, every time I come home from... what's that place called... oh, yeah, work, you two guys are sitting here eating grilled cheese sandwiches and having these abstract philosophical discussions.
Dude 1: We were not!
Roommate: Oh, really?
Dude 2: Yeah! We were having an abstract grammatical discussion.
Roommate: I don't believe it. What were you guys discussing?

Dude 1 explains the crux of the dilemma.

Roommate: Much as it pains me to say it, dude, your friend is correct. A simile is a figure of speech that expresses a resemblance between things of different kinds and is usually formed with "like" or "as." A metaphor, on the other hand, is a figure of speech in which an expression is used to refer to something that it does not literally denote in order to suggest a similarity.
Dude 1: Ah. Righteous, dude. You bring clarity.
Roommate: What I can't figure out is why you're spending the evening listening -- repeatedly -- to an album that is targeted to kids aged 2 through 7. I know, I know, it's appealing to a lot of adults, and the band's from San Francisco, but "Magic Toast" is neither simile nor metaphor... it's about TOAST! And while that song is OK (I confess to a weakness for the kazoos) and the "Snail Song" has a pretty awesome power pop finale, that's all the EP is. Two original tracks with the other two tracks just being the first two tracks overlaid with spoken word narrative.
Dude 2: Dude, you're just cheap.
Roommate: Uhhh... maybe you're right. Pass the grilled cheese sandwiches.
Dudes 1 and 2: Right on, dude.

Interview: Greg McIlvaine (The Hollow Trees)

I didn't start playing guitar seriously till I was 16... I remember bringing my guitar out to the living room and playing it for my mom. She said "That's great, but why do you stick your tongue out when you play?" Now I notice that my son sticks his tongue out when he's concentrating.

One of the more unexpected discoveries for me thus far this year was the self-titled debut album by the Los Angeles-based band The Hollow Trees. Inspired by Dan Zanes' recordings and released in late 2005, the album contains spirited renditions of folk songs and other kid-friendly tunes. Greg McIlvaine, guitarist and Hollow Trees co-founder, took time out to answer some questions. Looking for some kids' music recommendations you probably haven't heard before? Then check out the end of the interview.

And thanks to Greg for his time.

************************

What music did you listen to growing up?
I don't remember any kid's music to speak of. I had one of those Fisher Price mechanical record players with the thick colored discs that I played with a lot.

My first musical memory is of a honky tonk band playing during the day at a bar on the beach. The only thing I remember about that was the bass line, the fifths which are traditional in country and polka music. I still love that bass line. Later I remember listening to the Dr. Demento show and thinking that it was the greatest thing ever.

My parents don't play instruments, but my dad is into music and was always buying records and new hi-fi equipment. Once I became more interested in music I began checking out his collection. He had a few records that I really attached myself to - a Josh White record, a Hoyt Axton record from when he was a folk blues singer, a Jimmy Reed record, Muddy Waters at Newport, a Johnny Cash record, an acoustic blues record called Down South Summit Meeting with Lightning Hopkins, Brownie McGee, and Sonny Terry jamming.

Eventually I discovered rockabilly through the Stray Cats and oldies like Elvis and Little Richard. There was a scene in LA which I knew through KROQ, and my favorite band - still to this day - is The Blasters. My dad took me to my first concert at the Country Club in Reseda - The Blasters with the then unsigned Los Lobos opening up. Awesome.

Any particular Dr. Demento favorites?
I really remember thinking that "Shaving Creme" was funny. Also "Existensial Blues" and "Fish Heads."

Did you grow up singing and playing the traditional songs you've recorded on the debut?
Not really. I didn't start playing guitar seriously till I was 16. The first song I learned was "Jailhouse Rock" by Elvis. I remember bringing my guitar out to the living room and playing it for my mom. She said "That's great, but why do you stick your tongue out when you play?" Now I notice that my son sticks his tongue out when he's concentrating. I played some folk and country but early on I was more interested in blues, rockabilly and punk.

In college I hosted hootenannies every Sunday for about three years. It wasn't a jam, instead we'd pass one guitar around and people would play their new songs or old hits. I would play "On Top of Spaghetti" and "It's a Small World" for laughs, but now that seems like foreshadowing.

Later I got more in to country music and decided to create myself a repertoire. I began learning lots of standard country songs, moving back in time from Willie Nelson to Hank Williams to Jimmie Rodgers. Eventually that path led me to ballad singers and that was around when The Hollow Trees started.

How did you select those songs (i.e., were they your favorites, your son's favorites, ...)?
In general we try to find great songs which are not as well known so we don't have to rely too much on the songs everyone has heard a million times. We've learned a few of them because they're good for sing-alongs when you're playing live, but I didn't see any reason to record them. The exceptions are "Polly Wolly Doodle" which is one of our signature songs, and "Shoo Fly" which was my son's favorite song for awhile.

I should also mention here that Laura [Steenberge, the band's bassist and co-founder] is an extremely accomplished musician and she really helps with choosing the material and working up the arrangements. We try to pick songs that we really like and have fun playing, and figure that our joy will be passed on to the kids and parents in the audience.

Where did you record the album? It has a very intimate feel and sounds like it could've been recorded in your living room.
Pretty close! It was recorded at home in my office using Adobe Audition software on my PC. I have been doing home recordings since high school, starting with a 4-track, then graduating to a digital 8-track, and now the computer. There's nothing fancy as far as equipment, but the computer does give you a lot of options. Some songs are live, some all overdubs, and some a mix. I try to keep it simple and remember Ray Charles' advice: If it sounds good it is good.

Exactly how many people are singing on the rollicking "Jack Was Every Inch a Sailor"?
I think there's 11 people, but at least 2 tracks of each of them. Laura and I sang on it, and my buddy Matt Welch who sings on several tracks on the record. Then on a couple occasions when we had friends over I would have everyone come upstairs to sing on it. I don't have enough sets of cans (that's what musicians call headphones) for everyone, so I would put one set on myself and play my guitar and kind of conduct everyone. It made for a loose feel which came out nice, especially with my son and his buddy on there.

Which songs are your favorites to play? Which songs draw the most response in concert?
That's a hard one because I really like playing all the songs. We open our shows with "Polly Wolly Doodle." It's a magical song which always makes you a little happier than you were before. "Bunny Hop" is fun because we have the kids come up with different animal sounds. Sometimes they'll say giraffe and we'll have to ask them what a giraffe sounds like. Laura and I switch instruments for "Everybody Has Hands" and that's a big favorite.

Did you have fun writing the originals on the debut, or were those difficult to do?
These particular songs all came pretty easily. "Nelson" and "Forest Melody" describe The Hollow Trees' universe. "Bunny Hop" came from the idea of combining a dance song with an animal sounds song - the perfect storm of children's music!

You mention Dan Zanes as an inspiration for the group; who else recording kids and/or family music inspired you?
Like Dan Zanes I mostly look to older music for material and inspiration. The first kids' music I bought, when my wife was still pregnant, was a used copy of Burl Ives' out of print CD "Chim Chim Cheree and Other Favorites." I thought it was awesome and Burl's voice made every day seem like Christmas. I began getting more of his music and I love it, the old folk ballads especially. "Lavender Cowboy" is a song I learned from one of his non-kid records. For any serious kids' music fan with a record player I would recommend his album called "Animal Folk" on Disney's Buena Vista Records. It's a gatefold with a book of lyrics and illustrations inside. We've learned almost every song on there, including "The Black and White Pigeon" and many others which we haven't recorded.

Besides Burl I like other 60's folk singers like Ed McCurdy, Oscar Brand, Richard Dyer-Bennett, Ella Jenkins, all of the various Seegers. Tom T. Hall's "Country Songs for Children" is a big favorite too. Yazoo Records has a bunch of great compilations of really old recordings, and there's two volumes aimed at children called The Story that the Crow Told Me which are a lot of fun if you like that real old-time music.

What's next for the Hollow Trees and the album?
My wife and I are expecting our second child any day now so we're taking a bit of a break on playing live shows, but we'll be back playing in a couple months. We have quite a few new tunes ready so we'll record again soon. The CD is getting around by word-of-mouth and through great reviews like yours, so it's exciting to watch that. We're having a great time and look forward to more fun musical adventures in the future.

Do you think you'll change the mix to record more original tunes, or do you like the mix of mostly older material with a handful of new tunes?
It will probably be the same kind of mix, depending on the original material we have and how the recordings come out.

Justin Roberts and Newfangled Technology

Justin Roberts might not be very adept at performing magic or telling jokes, but he is one heckuva songwriter. Thanks to the Land of Nod, you can hear the proof.

In a 15-minute (or so) podcast, Roberts inaugurates the "Land of Nod Nodcast Podcast" by crafting one catchy theme ditty, playing some of his stuff from Meltdown!, Not Naptime, and Great Big Sun, and displaying a very self-deprecating attitude. He even has a demo version of "Our Imaginary Rhino" for our amusement. (And, hey, if kids' music albums eventually get the expanded/remastered treatment now given to every album more than 10 years old, why shouldn't the stellar Meltdown! be at the top of the list in 2016?)

Not content with audio-only content? Devon at Head, Shoulders, Knees... found YouTube footage of Justin Roberts' "Airplane of Food" video.

Buck Howdy more your style? Fran at the About Kids' Music site has got you covered.

And if you're still just happy reading... The Lovely Mrs. Davis has a guest post from Charity Kahn (from Charity and the JAMBand).

Go forth, enjoy, then sit back and enjoy the cool pleasures of dancing or singing with your kids on a summer day (or night).

Review In Brief: Kids Rock For Peas! - The Sippy Cups

How best to describe the San Francisco-based The Sippy Cups? Perhaps they're what would happen if your favorite '70s cover band decided they just wanted to play for preschoolers. And added puppets and jugglers. On their 2005 debut album Kids Rock For Peas!, the seven-member ensemble (recorded live at the Rickshaw Stop in San Francisco) cover a wide range of '60s and '70s songs on the 47-minute disc, from the Beatles ("Dear Prudence") to the Velvet Underground ("Who Loves the Sun") to the Ramones, mostly ("I Wanna Be Elated"). You might ask, you know, those are pretty darn good songs -- in the original -- why in the world would I want to buy cover versions? Well, not that the Sippy Cups' versions are better than the originals, but the vigorous renditions of the songs and the occasional alterations to make them child-friendly (or child-friendlier) give them value in their own right. (They single-handedly rescue War's "Low Rider" from the clutches of beer commercials and "Jungle Boogie" from the clutches of Quentin Tarantino.) If the occasional song seems out-of-place ("Bennie and the Jets") or the live banter just slows the pace down, that's the risk one takes with a live package. (The presence of "Super Guy" will probably bring a smile to the parents' faces.) The songs are probably best for kids ages 2 through 6, though obviously any album covering the Beatles, Rolling Stones, and Neil Diamond will probably find fans whose ages reached double-digits long ago. You can check out some video clips here. Recommended, unless for some weird reason you think Lennon/McCartney (or, er, McCartney/Lennon) wasn't that great of a song-writing duo.

Welcome Interstate Managers, er, Salon Readers

Welcome to those of you finding us because of the Salon article on "kindie rockers". (Welcome also, as always, to people looking for downloads of and lyrics to "Great Big World," from Hoodwinked. I still can't help you with those, despite your insistent pleas.) Thanks, Salon, for the link, and for posting some fabulous mp3s from said rockers. (Scott Lamb's article is worth sitting through the Honda ad non-subscribers will have to watch in order to read the article -- it's a nice summing up of the current state of kids' music.)

If you're new to the site, I encourage you to look around -- links to other kids'-music-related blogs as well as to every full album review (including Justin Roberts, Dan Zanes, Laurie Berkner, and Milkshake) can be found on the right. If you're wondering what to get that 4-year-old nephew for his birthday, check out my page of album recommendations by age. I treat kids' music the way any parent who really likes music would -- with my own set of interests but with an understanding that perhaps not every song off Spoon's Gimme Fiction is going to appeal to my 5-year-old (let alone my 1-year-old).

There's so much great kids' music being made, and not just by the rockers mentioned in the article who have made their way to kids' TV screens. Dig in -- you're bound to find something you and the kids in your life will really like.

Saturday AM edit: You know, I could actually help readers "dig in" if I specifically mentioned a few artists and albums that readers might not be familiar with if they're only sticking to the TV/Noggin crowd. No disrespect meant to the Noggin crowd -- Zanes, Roberts, and TMBG, in particular, are all among my favorites kids' artists -- but these four albums are tremendous, too.
Silly Reflection, by Lunch Money (review)
If You Ever See An Owl, by the Terrible Twos (review)
Fascinating Creatures, by Francis England (review)
Gustafer Yellowgold's Wide Wild World DVD, by Morgan Taylor (review)

Review: Lead Belly Sings For Children - Lead Belly

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.

Just Go Crazy

Our family celebrates an inordinate number of holidays in June. We have no less than 5 birthdays, plus (at the moment) a couple Father's Days. There are entire countries with fewer holidays than our family. Most celebrations in June overlap partially, if not completely, with somebody else's celebration. I've pretty much reconciled myself to the fact that Father's Day will always play second fiddle to our daughter's birthday. Give me a hand-drawn card (or picture) and an excuse not to do yardwork, and that's enough for me.

Our daughter, of course, had other ideas. She wanted a -- and you parents know that I'm not kidding one iota here -- "Love Heart Pony Hello Kitty Care Bear" party. You can't really get a cake like that at Safeway, but that's neither here nor there. For reasons not worth delving into here, said party was very small. Four guests. I gotta tell you, while attending gargantuan parties with more kids than the Polyphonic Spree has band members can be fun, hosting such a party is Not For Us. But we (and by "we," I mean "my wife") put a lot of thought into planning the party, which revolved around a few games. The String Game (follow a string throughout the house) -- hilarity ensued. The Treasure Hunt (The Amazing Race on a much smaller footprint) -- hilarity ensued. And the Freeze Game, which is infinitely better if you can find a song that's actually about the game, such as on "Freeze," by Babaloo, off his "Room For Everyone" disk, rather than having to hit pause on the CD player every few seconds. It's a lot easier to "just go crazy" when the song asks you to.

For what it's worth, the CDs in the CD player for the party? They Might Be Giants' Here Come the ABCs, The Terrible Twos' If You Ever See An Owl, the Putumayo Caribbean Playground collection, Jack Johnson's Curious George soundtrack, and, for adult amusement, Paul Simon's Graceland.

Remarkably, at the end of the day, we weren't crazy. We'll continue our refusal of Polyphonic Spree parties. It's Spoon parties for us.

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.

Did I Miss the Memo?

Because what's with all the Kidzapalooza love? Didn't I already mention this oh, about, seven weeks ago? (Not that I'm counting. OK, I'm counting.) Will there be an Austin City Limits Festival flurry two weeks from now?

But the posts do highlight some of the additions since my original post along with Clea's thoughts on Perry's lineup.

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.

Me and Julio Dancing Down By the Schoolyard

Via the New York Times, a story about how many NYC schoolkids celebrate spring by dancing on the playground.

No one is quite sure when New York City children began celebrating spring by dancing in schoolyards, their teachers leading them, often awkwardly, through the steps, their proud parents gathered round, snapping pictures and clapping along. It is a peculiar urban rite — called Dance Festival in most of the city, and May Fete on Staten Island — that has been around, it seems, for as long as the public school system itself.

And they're worried about this tradition failing? How could an enterprising company not have stepped forward already and offered to sponsor this thing citywide? Why hasn't this spread throughout the country? Couldn't you imagine a Pancake Mountain-coordinated day in Washington, DC? Chica-go-go in Chicago? Setting aside the fact that we'd have to dance around the May Pole in March here in the desert Southwest to avoid burning our hands on the May Pole, this would be great here, too.

You could play local artists -- OK, perhaps not every Prince or Replacements song would be great for the Twin Cities, but there'd be a few from each. You could play international artists, too. Oldies, new stuff, whatever.

If any of you New York readers care to describe in more detail how exactly this works (how long does this take, is this really as cool as it sounds, or is it more pathetic in execution), I'd love to hear it.

This Week: More Thematic Drift

More cool stuff coming up this week -- reviews, interviews, and the like -- but no coherent theme, except perhaps a broadening of the site's scope to look at albums released before, say, seven minutes ago.

If you missed my reviews of Keith Munslow's Accidentally (on purpose) and Josephine Cameron's Close Your Eyes, check 'em out. The latter is the first "Review in Brief" here on the site, designed to get to the point with fewer semi-obscure references. And thanks, too, to Fran for linking to my article on things I'd like to see more and less of in kids' music.

Thanks as always for reading, e-mailing, submitting, and commenting.

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.

Links: Father of Two

A few links to toss out the day before Father's Day. See if you can guess the common theme.

Bill, father of two, has SteveSongs in studio and has pictures of them and Milkshake to prove it. (Yeah, yeah, SteveSongs was prerecorded...)

Chag, father of two, has an amusing dadblog at Cynical Dad. In the all-important sports-world scoreboard, his affinity for the Yankees (a negative for me) is far outweighed by his affinity for the North Carolina Tar Heels (big thumbs up).

Thanks also to Brady Rymer, father of two, who mentioned my interview with him in his newsletter this week. (Sign up at his homepage.)

Oh, and I, father of two, have updated my "Songs for Dads" post.

Enjoy your Father's Day, y'all, father or not.

More and Less

After years of listening to, carting around, losing, and, if need be, "misplacing" children's music albums, I have a few suggestions for those of you out there producing music for kids and families. No matter if you're doing theatrical productions, indie rock, or glossy children's pop, here are four things we can use more of, four things we can use less of.

More real instruments, fewer kids: I know little about the economics of the children's music business, but I know that recording a large band of musicians is more expensive than recording a small band or solo artist. You have to pay more musicians and it probably takes more time in the recording studio (if you have your own studio, I guess that's not so much a problem). Hootenanies might be fun, but they're not necessarily cheap. And the more instruments you use, the more you have to think about how it'll sound when you're playing live and you have a smaller band... or no band at all.

But it sounds sooooo much better when you use a broad array of real instruments. Songs that sound cramped and dinky with a programmed synthesizer sound so much fuller with a full band. You don't even need a full band -- the occasional fiddle or horn section on just one or two songs adds a tremendous amount of life to an album.

If you need to save recording studio time, you can always cut back on using kids in your songs. I generally find kids' voices more appealing as a musical spice (on the chorus, say) than as the main meal. No need to cut 'em out entirely, but just like a horn section and cayenne pepper, a little bit of a chorus of six-year-olds goes a long way.

More lyrics in the liner notes, less name-checking: I suspect part of the reason for not putting lyrics in liner notes is that it adds space and, therefore, cost to those notes. But especially with songs for kids, it's nice to have the lyrics handy, especially if the songs are traditional songs for kids intended for the parents and/or kids to sing along. Putting the lyrics on the artist's website is a nice try, but going over to the computer and finding the appropriate webpage isn't the easiest thing to do with a baby on your hip who's very interested in that mouse you're moving around with your right hand.

And speaking of lyrics, the small trend of children's music bands namechecking themselves in song has Got. To. Stop. Now. We get it, you're [-----------] and you're so much fun to listen to. There are two responses here: 1. Prove it. 2. Don't write a song about it. (Or, if you do, it had better be insanely catchy. See Point #1.)

More chords, less weird packaging: Before we pass by the concept of lyrics in the liner notes entirely, I should mention how nice it is also to have chords included in the liner notes. And I'm saying that as someone who doesn't even play the guitar and would have to plunk out chords on the piano. Chords are cool. In some sense it's aspirational -- it makes the parents think they might just one day learn how to play guitar and lead singalongs around the campfire. (And maybe it'll inspire a few parents to actually do that.)

But weird packaging is uncool. (Yes, the linkages here are increasingly tenuous.) Put your music in an oddly-shaped package and you run the risk of never having your disk played. The Sandra Boynton book/CD collections are nice, but we don't play them much because there's no convenient place to put the book (in which the CD is stored) near the stereo, let alone in the car. The CD sampler on the Laurie Berkner DVD is nice, but because it's pacakaged with the DVD, if you want to listen to it in the car, you're forced to take the DVD case with you, which is not the most elegant of solutions. (If only it were in the shape of a cup-holder. Then we'd be OK.)

And finally...

More songs, less Barney-bashing: You might be able to determine whether or not you'll like a song in 29 seconds, but I can't. I mean, it takes about 10 seconds to decide you hate a song, but a lot longer to decide that you (or your child) love it. So while I understand the costs of bandwidth, I heartily encourage artists to put full-length versions of some of their songs online. There are a number of different ways to get full versions of songs out to the public -- podcasts, Myspace, and, well, actual mp3s, to name just a few. It's better to put three full songs online than clips of all twelve. It's the best way to sell yourself to a public looking to find out more about a genre that's somewhat hidden.

But when you sell yourself by putting down someone else, you're just selling yourself short. (Did I just sound like Dr. Phil there? Urgh.) It's one thing for writers online and off- to bash Barney, the Wiggles, or Raffi (writers are trying to make distinctions), but another thing entirely for artists to do so. When you sell a recognizable fraction of the eight gazillion albums those artists have each sold, then you can say how much better you are than them. Until then, just talk about how great you are. The abuse of Raffi by some kids' musicians -- who, if he didn't invent kids' music, certainly created the idea of the kids' music genre -- is particularly mystifying to me. It's as if Fall Out Boy decided to promote themselves by trashing the Beatles.

Despite the weirdness of my segues, I think the concepts are not without merit. If you'll excuse me, I've got to continue my scientific experiments on making scratch-proof Arthur DVDs. (And you know how much of a Nobel-worthy accomplishment that would be.)

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.

Songs For Dads

(Revised June 16, 2006)

While there are a few songs for moms, the list of songs for fathers is pretty short. So short, I considered putting Rankin' Don's "Father Goose" songs from Dan Zanes & Friends albums on the list. While fathers are sometimes characters in kids' music (the RTTs' "April 14th," Keith Munslow's "Accidentally"), they're rarely the subject. Here, then, is the short list -- if you have additions, please note them in the comments.

-- "Daddy-O," off Frances England's Fascinating Creatures
-- "My Dad!," off Alex and the Kaleidoscope Band's Kaleidoscope Songs, Vol 1
-- "Cat's in the Cradle," Harry Chapin (just kidding!)
-- "I'm So Glad To Be A Dad," off Dennis Caraher's Bow Wow Baby
-- "My Daddy Is Scratchy," off Jamie Broza's My Daddy Is Scratchy (thanks to Fran for the reminder)
-- "My Daddy (Flies a Ship in the Sky)," off the Daddy-O! Daddy Woody Guthrie tribute
-- "Courtship of Eddie's Father" (see comments)
-- "Dad" by Father Goose (comments)
-- "Thank you, Daddy" (comments)
-- "The Coffee Song," by Ralph's World, off At The Bottom of the Sea. (Yeah, I used it for the mom's list, but a reader reminded me it mentions D...A...D.D.Y.)

A reader also recommended Daddies Sing GoodNight: A Fathers' Collection of Sleepytime Songs, which isn't really a collection of songs about dads, but close enough...

And, a few for the adults (from commenters and e-mailers)...

-- "My Dad (My Pa)" by Nancy Sinatra
-- "Bein' a Dad" by Loudon Wainwright III
-- "The Kids Are Alright" by The Who
-- "Slow Turnin," "Your Dad Did," and "Stolen Moments" - John Hiatt
-- "Still Fighting It," Ben Folds ("You're so much like me / I'm sorry.")

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.

Yeah, I Liked Catch That Train! Too

Wow, you go from reading Dan Zanes' newsletters to finding yourself quoted (or at least linked) in Dan Zanes newsletters. It's enough to make you a little dizzy. (Thanks to the fine folks at Festival Five for the mention.)

If you're one of those newsletter readers, and you're new to the site, welcome. You'll find a lot of other artists here who are making a career out of making family-friendly (or, as Zanes puts it, "age-desegregated") music. Zanes is pretty unique, but if you like his stuff (and I certainly do), you're certain to find another artist or blogger you'll enjoy (if you haven't already).

For those of you not on the DZ e-mail list, two things:
1. Why not? (Go here and enter your e-mail address to join.)
2. The newsletter posts a link to where you can watch video clips of the 4 videos currently showing on Playhouse Disney. (Catch That Train!, Let's Shake, Malti, and Down in the Valley)

(Congrats, too, to the Lovely Mrs. Davis for the linkage as well.)