I get lots of CDs, of course, and just like sometimes you'll see a whole of TV shows suddenly appear with the same theme, earlier this year I got a raft of lullaby/sleeptime CDs. I've collected some of the more interesting ones from that rush, plus a few slightly older ones that got overlooked the first time around.
That's right, folks, seven CDs. At least one of them's gonna put you (or your kid) to sleep but in, like, a good way. The list starts after the jump.
Review: Songs For Sleepy Beings - Half Moon
Maybe it's been a long and sleepy week, but I'm very taken by this CD.
Songs For Sleepy Beings is the creation of Michigan's Gretchen Eichberger-Kudlack, who put together Half Moon, an old-timey string band which here plays a set of quiet-time folk music on the first half of this CD. Traditional lullabyes ("Pretty Little Horses") mingle with ever-so-slightly more current lullabyes ("Goodnight Little Gwen," attributed to Woody Guthrie).
The musicianship here is first-rate, with the Half Moon musicians hitting just the right balance of technical expertise and tenderness, saving the album from the mushiness which afflicts many lullaby CDs. The band rightly plays second fiddle (if you'll pardon the pun) to Eichberger-Kudlack, who has a clear, bright voice. Initially her voice seems too bright for a quiet-time CD, but the secret genius behind the CD's appeal is the tracking, as the music and arrangements grow ever-so-slightly dimmer with each track. By the time the CD hits track 7, "Baby's Bed's A Silver Moon," 20 minutes in, her vocals are much more appropriate for a sleepy baby. Following that is another 15 minutes of Eichberger-Kudlack playing familiar lullabyes unaccompanied (mostly) on piano (there's a couple tracks with vocals). By this time your child (or you) will probably be fast asleep.
The album is most appropriate for kids ages birth through 6. You can hear clips at the album's CDBaby page, or listen to some complete songs at the Half Moon music page. The packaging (featuring artwork by Jamey Barnard), I should note, is simple but very pretty.
I hear few lullaby CDs I can recommend whole-heartedly. Songs for Sleepy Beings is the exception -- it meets that high standard. Besides being a lovely gift for new parents, you might want to consider it for your own family. Definitely recommended.
Review in Brief: Celtic Dreamland - Various Artists (Putumayo)
When you release as many albums on a regular basis as Putumayo Kids does, it makes it hard for the reviewer to come up with new things to say about the CDs. Celtic Dreamland, released in November 2007, continues Putumayo's run of artfully-produced disks. It's the third in its "Dreamland" series, and even the 4-year-old in your family could figure out that it's an album designed for sleepy-time. You may want to explain to your kids how Celtic music -- typically music with Irish or Scottish lineage -- is distinguished from other musical styles, but Putumayo's typically descriptive liner notes may help in that regard.
The music is definitely relaxing, although it may be a bit too sunny in parts for it to be a perfect lullaby album. (I actuallly prefer Ellipsis Arts' collections when it comes to pure lullaby CDs.) There are a number of traditional (Celtic) lullabies here, but as is the case with many Putumayo disks, the foreign language (in this case, Gaelic) in which a number of the songs are sung helps mask those cases where the song isn't really a lullaby. If I had to pick a favorite (or most lullaby-ish) song in the collection, it'd be Susan McKeown's rendition of the traditional Irish lullaby "A Phluirin Mhilis," McKeown's voice and acoustic guitar a lovely combination. (The last 3 tracks, led off by McKeown, are probably the best here.)
As a putative lullaby album, I'd put the age range here at ages 0 through 5, though as with most Putumayo Kids disks, there really isn't an age range. You can hear samples of the 32-minute disk at the album's webpage. Putumayo's still working its way toward an excellent album of pure lullabies, but Celtic Dreamland is a good collection that serves its purpose as a mellow-time introduction to the genre of Celtic music. Recommended.
Review: Dream - Mae Robertson
There is no other way to say this, so I'll state it up front -- I am going to be unfair to Mae Robertson in this review.
I could blame this on Robertson herself, but, really, it's me. Or our family. You see, her debut CD, 1995's All Through the Night, recorded with Don Jackson, still gets regular rotation at our house. We first heard it when our daughter was still an infant, and it was the soundtrack to many a bedtime routine or midnight feedings. (Here's my original review.) It was one of the first good kids and family CDs I heard and it is, without hesitation, my favorite lullaby CD.
Robertson recorded three albums of lullabies before moving back to Alabama from the New York City area in 2000 and recording 2 albums for adults and a Christmas album. Earlier this year, she released Dream, in which she returned to the lullaby world.
In some ways, little has changed since that first album of lullabies, now 12 years old. To start out with, Robertson's voice has lost none of its smooth luminosity. It is one of my favorite voices in all of music, and to hear it is to feel the warmth of a towel just out of the dryer. Robertson also has a broad-ranging view of the definition of lullaby. Her debut featured two songs made famous by Elvis, and on subsequent CDs she covered Van Morrison and the Talking Heads, among others. On Dream artists such as Paul Simon, James Taylor, and Tom Waits get her cover treatment. She certainly picks some familiar songs (Radney Foster's "Godspeed," which the Dixie Chicks sang, and Bob Dylan's "Forever Young," perhaps best known in Rod Stewart's cover) but also covers some less familiar territory.
In spite of these similarities to her debut, this album left me uninspired. I think the reason has to do with its production. Make no mistake, the backing musicianship here is first-rate. But it's just way too much for an album of lullabies. "The One Who Knows," a Dar Williams track which Robertson cites as an inspiration for the CD, leads off the album, but is way too uptempo and, well, loud for such an album. It's not like the drummer goes all Keith Moon on us, but the mere presence of the drums is such a change from that debut, which was all hushed and didn't have a drum to be found. Other musical flourishes (the guitar on Taylor's "You Can Close Your Eyes" or the piano on Waits' "Midnight Lullaby") would sound great on an album of mellow adult pop, but were hard for me appreciate in the context of a lullaby CD.
Like most lullaby albums, it's most appropriate for kids ages 0 through 5 and their parents. You can hear samples from the 47-minute CD at the album's CD Baby page, or you can hear a couple full tracks at Robertson's Myspace page.
So I'm probably being too harsh on Robertson here, not because Dream is bad musically (because it's not), but mostly because Robertson hit the ball so far out of the park and probably hard-wired the lullaby part of my brain to forever set my preferences for quieter, simpler songs. This album has some lovely renditions, but it's not an album I envision I playing at nighttime. If you have different preferences, you may like this for its intended purpose. And if you're like me, then get All Through the Night.
Review: It's A Big World - Renee and Jeremy
Beware the music of a new parent.
Clouded by the biologically necessary attachment to a newcomer to the family, a normally rational person and musician can be fooled into thinking that these feelings are somehow unique to them, that nobody has ever felt like this before about their child. Which leads to rambling output that doesn't really say anything new. (Wait a minute. I'm talking about child-centric blog writers. No, wait, I'm talking new parent/musicians.) If you're going to sing about it, you'd better bring something new to the table.
So it was with a sense of relief that as I listened to It's A Big World, released last week by the duo Renee and Jeremy, that I realized that the duo had generally avoided recording parental pablum (or, when necessary, put that pablum in tasty form). The duo consists of Jeremy Toback, who released a couple of major-label solo albums in the '90s and formed the band Brad with Stone Gossard of Pearl Jam, and Renee Stahl, who has also released a solo CD of her own. When they recorded the album, Toback's son was a year old and Stahl was pregnant with her first child. They recorded quickly (the room was soon to become Stahl's daughter's nursery) and deliberately sought out a raw, lo-fi sound.
The promo materials name-check Jack Johnson as a reference, and it's an appropriate one. (For a more kid-centric reference point, think Elizabeth Mitchell, especially the slow songs off her earlier kids' CDs.) There's little more than an acoustic guitar accompanying Stahl's and Toback's vocals, and especially on tracks like "Welcome To This World" (on which Toback sings lead), you'd be forgiven for thinking it was a Johnson-penned (and played) piece. The lyrics on that track, which ostensibly are a welcome to the world for a new child, work just as well for new parents too. But new parents will probably respond to the rest of the album's lyrics, which focus on a child's sense of wonder with the world around them and a parent's sense of protection and care for their child.
There are some stellar tracks here, most notably "Night Mantra," a gorgeous song which sounds like a somewhat happier Aimee Mann track and features Stahl's and Toback's best vocals. "Powder Blue," an original lullaby written by Stahl which would have fit in perfectly on the Innocence Mission's Now the Day Is Over, is a great addition to the lullaby canon. Oddly enough, while many uptempo albums end with a slow song or three, this album, which is essentially a lullaby (or at least a quiet time) album, ends with its three most vigorous songs at the end. Bulked up with just a little more production, "Sleep My Love" and "Shoorahlaywho" could easily be hits on adult alternative radio.
Less successful are the time when the lyrics don't say very much. The leadoff track, "Miracle," begins with the wonderful lines "Are you the sun? / Are you the moon? / Are you the watermelon bug in June?" but ends up with the lines "You're a miracle / uh-huh / A little miracle / Oh yeah." If the song were two minutes long, that part would be tolerable, but dragged out over the song's 4-minute length, it's, well, not so much. And while I appreciated the overall mellow vibe of the CD, the exceedingly slow version of Bob Marley's "Three Little Birds" makes Mitchell's version sound positively raved-up in comparison.
I'm going to peg the age range for this 39-minute album at ages 0 through 5, picking up again at maybe age 30. You can hear three songs at the duo's website, plus an additional track at their myspace page. (At the moment, you can purchase the album at CDBaby.)
If the review sounds negative, it's only because there are enough stellar songs here that I could hear the stone-cold classic this CD could have been. (Frankly, I can't wait to hear what they come up with after another couple years of parenting.) But even if the album's not perfect, I guarantee you that this album would make a great new-parent or baby shower gift. While it's really targeted at the parents more than the kids, it'll make great quiet-time music for the whole family, even when (or especially when) your child has moved from giggling to throwing very verbal tantrums. Definitely recommended.
Review in Brief: My Precious One - Miss Amy
OK, to begin with, no, that's not the best album cover I've ever seen ("What exactly is she looking at?," you might be thinking). But parenting is about not judging things by their cover and expecting everything to be perfectly designed, because if you do, you'll be disappointed and miss out on some cool stuff.
So My Precious One, the third album from New Jersey-based Miss Amy does have some cool stuff. Unlike her first two CDs, which took a fairly uptempo approach, this CD, released last year, is a collection of quiet songs and lullabies. It's also my favorite of her three CDs. As lullaby albums go, it deftly sidesteps the traditional list of lullabies, only including "Twinkle Twinkle Little Star" and "The Water Is Wide" as familiar melodies here. While some songs don't work so well (the whistling on the cowboy-inspired "Get Along" being a prime example), there are some sweet arrangements here, particularly the wordless vocals on "Soft As the Snow" and "Goodnight Sweetheart." I also like the sly humor of recording a lullaby called "Are You Ready To Rock?"
These are for the most part actual lullabies, so I'll peg the age range here at ages 0 through 5. You can samples from the album (which also raises funds for the March of Dimes) at its CD Baby page or hear her rendition of "The Water Is Wide" at her Myspace page.
There's no reinventing the wheel here, Miss Amy's My Precious One is simply an album of lullabies that melds tasteful arrangements with a nice voice and sweet melodies. As lullaby albums go, this is a pretty good one.