Review: No School Today - Danny Weinkauf

Kids music is not exactly short on shimmery, shiny pop with a hint of crunch.

But good shimmery, shiny pop for kids and families, that's a little more rare.

Lucky for familial connoisseurs of said music, Danny Weinkauf is pretty good at it, and his debut family music album No School Today has a handful of excellent, singable power-pop songs for the very young.

Weinkauf is not a stranger to the world of kids music -- he's played bass for a little band called They Might Be Giants, and his handful of songwriting credits for the band include "I Am a Paleontologist" -- so he's not coming to this cold.  At its best, No School Today has that same spirit of "anything goes" that animates much of TMBG's work for both adults and kids.  The heart of the album -- "Ice Cream," "No School Today," "The Moon Is Made of Cheese," "Whipped Cream" -- features songs that are a little hyper, a little silly, and with little in educational value.  In fact, while the songs with a modicum of educational value -- the (appropriately) bouncy "Marsupial" or "Archaeology" -- are fun and poppy, too, I think Weinkauf shines when he's most goofy and least educational.  (Though he does have a sweet side as well, shown to best effect on his duet with Laurie Berkner, "Our Love Fits.") There's room for more of that purely silly stuff in modern kids' music, and I suspect that Weinkauf has more of those nuggets in store.  I'd also note that the album does have a very synthesizer-y sheen to match its power-pop sound, so those of you looking for a more organic sound may not be interested.

The album's going to be more appropriate for kids ages 5 through 9.  You don't have to be a They Might Be Giants fan to appreciate this album (though TMBG fans are most likely to go nuts for this), just a fan of nicely-crafted, occasionally goofy, kid-pop.  Which probably includes a lot of you.  Definitely recommended.

Review: Tales from the Monstrosity Scrolls - Rainbow Beast and the Rock Band Land Rockers

The longtime reader of this site will deduce that I have not been the biggest fan of music for kids written or performed by kids.  There are exceptions, more on the performing than songwriting side, but they tend to be the accent on music from adults, not the other way around.

Enter Rainbow Beast, the San Francisco trio of Brian Gorman, Marcus Stoesz, and Jen Aldrich.  Brian Gorman and Marcus Stoesz run “Rock Band Land.”  Over six weeks they take a class of 4-to-8-year-olds, help them craft a story, and turn it into a song they perform together on stage.  And earlier this year Rainbow Beast, along with the "Rock Band Land Rockers" (AKA some of their prepubescent collaborators) released Tales from the Monstrosity Scrolls, an album of what's essentially a "best of" those songs.

This collaboration between adult musicians and some very young songwriters is the kind of thing that I approve of, but in theory have little interest in listening to.  But these songs are far afield from the musical styles and subjects of many kids' music songs.  Have folks in your family who like The Flaming Lips, the Kinks, Built to Spill, or Metallica?  They'll hear echoes of those bands here.

And once you add the surreal imagery to the often tripped-out arrangements, you can hear just how... tame kids music can sometimes be.  You'll hear songs about poisonous snakes ("Remblin Race"), a girl who shoots ice -- and ice cream -- from her fingers ("Ice Girl"), and a pool that traps people who dive within it as a jewel forever ("Pool of Light").  A character's flesh falls off in "Fish Wife," while the title character in "Oliver in the Wrong Cast" loses his skin and is known as the "polka dot skeleton boy."

Puts those songs about learning to brush one's teeth into perspective.  The songs really aren't violent -- they're just epic adventures starring the kids at the center.  In fact, probably the biggest problem with the album as a whole is that it's one epic song after another, and after 71 minutes, it can feel exhausting.

Done well, a lot of kids music speaks to kids’ everyday experiences in language they understand.  But kids ages 4 through 8 -- the same ages as the songwriters -- will also respond to these flights of fancy and stories of worlds far, far away.  This album speaks to that need in kids, and, just maybe, might inspire a few new tales.  In the end, the album's mere existence should be considered a victory because it was the result of dozens of kids creating their own songs.  The fact that it's often eminently listenable to the outsider is just a bonus.  Definitely recommended.

Itty-Bitty Review: D Is for Django - Django Jones

The band Django Jones was born out of the folk-pop band Girlyman -- then on hiatus, now defunct, Girlyman was known in part for its tight harmonies and sometimes sweet, sometimes goofy songs and live shows.  The trio -- Doris Muramatsu, Nate Borofsky, and JJ Jones -- turned to Kickstarter to raise funds and attention for their album, and the result, D Is for Django, is formally released this week.

Inside the good 53-minute album is a great album of maybe 30-35 minutes or so in length.  Songs like "Counterpoint," which manages to be about counterpoint the musical term and counterpoint the metaphorical concept while being mostly in counterpoint, demonstrate heart and humor and (natch) tight harmonies.  "Jack of All Things," about a personal muse, and "Smallest Breed," about Django Jones (the band's namesake, a Chihuahua), effectively convey big thoughts and emotional learning at a kid's level.  "Breakfast" is a goofy folk riff, dorky and catchy.

But for me the skits between many of the tracks (which sound a lot more awkward than they would done loosely live) and some of the more obvious "kid" songs like "P-O-P" (about popcorn) and "Bigfoot" sit a little flat next to those tracks.  The band may have been trying to make a "kids album," but the album works best when the songs aren't obviously aiming for that target -- they can write good enough songs, sweet or silly, and need not try so hard to please that demographic. The kids'll come along for the ride.

The album will appeal most to kids ages 5 through 8.  It's a fun debut from the trio, and I hope that this foray into music specifically for the younger set won't be their last.  There are enough wonderful tracks that even though I didn't like all of them, the scale is safely in the band's favor.  Definitely recommended.

Review: Two Kids Music Albums from Iceland

[Cue Jim McKay voice] Spanning the globe to bring you a constant variety of the best of kids' music from around the globe, it's Zooglobble! [End Jim McKay voice]

I've never been shy about shining the spotlight on kids music from outside English-speaking North America -- plenty of Spanish-language music from multiple continents, not to mention Putumayo and Secret Mountain (and other labels' ) albums from around the world.

I feel safe in saying, however, that this is by far the furthest afield I've ever traveled, because today I bring you not one but two album reviews from the fine country of Iceland.  Honest-to-goodness kindie music from the northern European country of just a shade over 300,000 people.

The first of the couple albums here is the classic Ekki bara fyrir börn.

"Classic?"  Huh?

Yes, because that album title translates into Not For Kids Only.  This, friends, is a faithful -- albeit Icelandic-language -- cover of the Jerry Garcia and David Grisman's classic 1993 family-friendly bluegrass album.

It's from Icelandic record label Warén Music, and while I'm not sure I could've told you what I expected such a remake to sound like in advance of hearing, I guess I was surprised at the result, which was... well, pretty straight-forward.  It is as if Garcia and Grisman learned Icelandic, got a pot of coffee, found a few more musicians, and re-recorded as if they were some American kindie version of Michael Haneke remaking Funny Games.  (What really happened? Somebody brought over a copy of the original, and the musicians were inspired to recreate it.)

Aside from the language barrier, musically it'll sound a lot the '93 version, albeit a little more punched up, as if a few more musicians stumbled across Garcia and Grisman as they noodled away in the woods.  It's a little odd at points to hear such familiar melodies with unfamiliar words (take "Lagarfljót" for example, the translated version of "Shenandoah").  And then there's Lautaferð bangsanna, which is "Teddy Bear's Picnic" as sung by a Tom Waits' vocal double in Icelandic.  (Listen to the whole thing here.)  With the language barrier, this is accessible to all ages.

I realize this is essentially a novelty record for the English-speaking world -- you'd have to be a massive Garcia/Grisman completist or speak Icelandic in your family to want this.  But it's joyful, and a neat reminder of music's boundary-less nature.

If Ekki bara fyrir börn is American kindie (or American proto-kindie) rendered inscrutable for the typical American audience, Skýjaflétta is thoroughly Icelandic in conception, but completely accessible to audiences of any language.  The album is the brainchild of Sólrún Sumarliðadóttir, who plays in amiina, an Icelandic sextet that grew out of a string quartet and, in addition to releasing music on their own has also played with Sigur Rós.  Sumarliðadóttir wrote the music to accompany a couple of modern dance pieces for very young children, up to age 3.  (According to Sumarliðadóttir, the first 5 tracks are for a piece called "Clouds," the remaining tracks score "Twist and Turn".)

As you might expect from that background, these aren't straightforward pop songs.  The word "Skýjaflétta" means "a braid made of clouds," and this is an ambient dreamscape, but a shiny one, filled with pops, clicks, and toy pianos.  Some tracks, like "Twisty Tangle and Turny Braid," (as translated in English) and "Build" are pensive, exploratory, while songs like "Explore" are designed for more reflective wonder.  They are all wordless, making them, of course, open to everyone.

You can listen to six tracks from the 31-minute album here.  Ironically, just as the Icelandic-language album is for all ages given that almost all Americans will just listen to the music, the instrumental nature of this album, makes it all ages, too, though kids under 5 might particularly groove to this.  This is a thoroughly charming album and while I'm sure I will never get a chance to see the dance pieces these were composed for, I'm glad the album has a chance to cross the ocean for families with adventurous listening habits.  Definitely recommended.

Itty-Bitty Review: I Like Everything About You (Yes I Do!) - Crosspulse Percussion Ensemble

There's lots to like in the first family music album from the Bay Area group Crosspulse Percussion Ensemble.  For example, the "Caravan"-esque sounds of "Body Beat."  The joyful take on the children's classic "Little Liza Jane."  The earthiness of the percussion in the eternally oddness "Coocoo."

These songs are the product of years of singing and playing these songs in front of tens of thousands of kids, and it has the energetic attitude you'd expect to hear from a group experienced in performing live.

The song selection is appreciably diverse, with selections from around the world.  It is akin to a Dan Zanes album (or maybe Elizabeth Mitchell album) without all the amplification.

In fact, it's that comparative lack of diversity, sonically, that may hold the album back from being totally embraced by some of the audiences the Ensemble certainly hopes to reach.  It is not necessarily an easy album to listen to in the back seat of the minivan.  I think the performances -- watching these musicians create music out of their mouths, bodies, and percussion instruments and rarely anything stringed or melodic -- would be far more powerful live.

The album is most appropriate for kids ages 3 through 9.  You can hear some selections from the 42-minute album here.

This review makes it sound like I enjoyed the album less than I did.  I liked it -- maybe I just wanted to like it more.  This definitely isn't electric power-pop, and families only seeking that candy-coated sheen should stay far away.  But families with Ella Jenkins, Dan Zanes, and Putumayo CDs in their collection will probably find this a nice combination of them all.  Recommended.

Christmas Album Reviews 2013

We are a family that often writes our annual holiday letter long past Christmas.  (This year: not yet written.)  So as long as I can get out these Christmas album reviews before Christmas Eve night, I feel OK with it.  The 12 Days of Christmas, after all, start after Christmas, not before.

Having said all that, this was definitely a low-key year when it came to kindie and kid-friendly Christmas music.  Oh, sure, Todd McHatton added to his Christmas canon, and there were a handful of songs here and there, but compared to prior years, the haul was low.  Even Noisetrade, a reliable source for good holiday music samplers, didn't have anything this year I felt like passing along.  So this'll be a briefer look at just a half-dozen albums (because, hey, Christmas Eve is tonight and you don't have time to read a lot, right?).  They're not necessarily targeted at kids, but like most Christmas songs, they're perfectly appropriate for folks ages 4 through 94.

First up, Elizabeth Mitchell and Friends' Smithsonian Folkways album The Sounding Joy, which to my ears was the one album most likely to join the regular rotation in our household.  In my review of the album, I noted that it didn't really sound like a "kids' album" (as opposed to Mitchell's other work over the past 10-15 years), but at this time of year, that isn't as necessary.  (There's only one what I'd call "kindie" album on this list this year.)  Christians will definitely appreciate this more than non-Christians (no songs about Santa here), but those with a deep interest in folk music will also appreciate it.  Definitely for hushed midwinter nights.

Next up, the only real kindie album on the list, Felix Navidad, from Tara Scheyer & the Mud Puppy Band.  This 2011 album is the third (and most recent) album from the Augusta, Georgia band.  Scheyer has an appealing voice that meshes well with the pop-rock sound.  While there are a few Santa-based tracks (I really like "Santa's Chimney Slide," a band original), the majority of the songs are not -- while it's got a popper sound, because it draws from a number of less well-known songs, there is actually a fair amount in common with the Mitchell disk.

The folks at North Carolina's Merge Records sent me their label's 3 holiday albums, and they are a unique trio.  The first (oldest) of the 3 is 2008's The Singing Saw at Christmastime from Julian Koster.  A singing saw is the poetic term for a saw played with a bow.  The resulting sound is ethereal and, depending on your attitude, magical or annoying.  I can't imagine listening to this 29-minute album straight through as there isn't a lot of variety to the sound of these familiar Christmas songs, secular and not.  But sprinkled through an eclectic holiday mix?  Most definitely.

Merge album #2 is from She & Him, the duo of Zooey Deschanel and M. Ward.  It's their 2011 album A Very She & Him Christmas.  Fans of the duo's retro-pop sound won't be disappointed with this release (though if you're not a fan of the band, this won't change your mind, either).  Deschanel's winsome voice is an appropriate vessel for these secular songs of Christmases past ("Have Yourself a Merry Little Christmas," "I'll Be Home for Christmas," "Blue Christmas").  While there are a few uptempo tracks, for the most part, this is an album you'll want to play after the kids are in bed and you're recovering from the Christmas Eve activities looking at the tree.

The most recent Merge holiday release is from Tracey Thorn.  Her 2012 album Tinsel and Lights is what I'd call a Christmas album, but not in the usual meaning of the term.  Instead of singing about the holiday, the album focuses on the emotions of the season, with Christmas as a backdrop.  (Thorn's lovely-yet-slightly-weary voice is perfect for this.) There are a few nice covers -- "Have Yourself a Merry Little Christmas" makes an appearance, and Thorn also covers two modern Christmas classics, Joni Mitchell's "River" and Sufjan Stevens' "Sister Winter."  This is not a Christmas album your kids will ask you to play often, but it is one you'll probably dig out even after the tinsel and lights have been put away.

Finally, Kelly Clarkson's Wrapped in Red made its way into our holiday music collection this year.  This 2013 release features Clarkson tackling a broad range of Christmas songs wrapped in glittery pop-rock sheen.  The originals and less-specifically-Christmas songs stand out on this album.  The "Wall of Sound"-era sound of the title track and the poppier "Underneath the Tree" show off Clarkson's voice to best effect, but I personally liked "Winter Dreams (Brandon's Song)" and her take on "Silent Night" with Reba (McEntire) and Trisha Yearwood.  And whatever demerits Clarkson she gets for the silly "4 Carats," she gets earns kudos for covering Imogen Heap's Christmas breakup song "Just For Now."  The album isn't a classic, but it's good enough to pack away and pull it out when you set up the tree next year.

Note: I was provided copies of all albums except the Kelly Clarkson album for possible review.