Review: Got a Minute? - Milkshake

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If it's true that behind (or under) many a kids' musician is a child who encouraged (passively or actively) that musician to start making music for families, what happens when those kids grow up?

It's a question we haven't really answered in the 21st century.  ​The Baltimore-area band Milkshake may be one of the first artists of Kindie New Wave to deal.  As the kids of Milkshake's duo Lisa Mathews and Mikel Gehl reach tweenage and even teenage status, the band has suggested that their fifth album, Got a Minute?​, will be their last.

Eleven years after the release of their debut Happy Songs​, the band's changed quite a bit.  Mathews and Gehl are still at the helm, of course, but the band's six people strong at this point and on the new album they bring in a bunch of guest artists, including fellow Marylanders Cathy Fink and Marcy Marxer.  That first album had preschool-friendly songs like "Fingers & Toes," but now Milkshake's recording songs like "Girls Wanna Dance" (about middle school dances) and "Workin' Kid Blues" (about doing errands and earning money at age 12).

In some ways, the band hasn't changed -- it's still on the eager side of the kindie spectrum, even if, just as kids do as they mature, some of the song subjects look to the world outside the narrator (see "Baltimore" and "More Than Me").​  They've expanded their stylistic range over time (see on this album, for example, the hip-hop of "More Than Me" or the country of "Lookin Out the Window," the thoroughly sea chanty "We Just Wanna Have Fun," or even the instrumental "Seabreeze"), but for the most part they stick to making pop songs for growing kids.

If there is a weak link with the album it's that the inspiration for the "Got a Minute?" theme, their work for PBS Kids that comprises the final third or so of the album, sits uneasily with the rest of the album.  There's nothing horribly wrong with the songs, it's just that the 18-minute block of more simplistic 1-minute songs targeted at 4-year-olds feels tacked on at the end of a more ambitious (in many ways) 36-minute album that precedes it.

The first two-thirds of the album are most appropriate for kids ages 4 through 11; the last third for kids ages 5 and below.  You can hear several tracks at the band's music page.​

After I listened to Got a Minute? once, on future spins I tended to skip past the opening track, a kinda-barely funny skit where Lisa and Mikel try to get their band into the studio to record a song only to find out that each bandmate is busy.  Upon reflection, though, I think I figured out what Mathews and Gehl were doing with that track -- it was their take on how our kids, who once followed us everywhere, eventually move on to their own things -- and we parents need to move on too, in some way.  If Milkshake is indeed moving on to other things, they've left their kindie fans with one last album that will no doubt please them.  Recommended.

[Disclosure: I was provided a copy of the album for possible review.]

Cat Doorman Songbook - Cat Doorman (aka Julianna Bright)

It took awhile, but the kids music scene of Portland, Oregon is now humming along with a number of ​actual (not fake) kids musicians.  Which isn't too surprising -- the city has a thriving music scene and has a very creative population generally.  No wonder it's the home to Etsy.

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Into this scene comes ​Julianna Bright, an artist (on Etsy, natch) and musician.  For her foray into making music for families, she's created an alter ego of sorts, Cat Doorman.  Her debut album, the Cat Doorman Songbook​, contains echoes of other kids albums before hers, but the cumulative effect is one unlike just about anything.

You have the folk tradition on the leadoff track, "Peaceful," which begins, "We live to be peaceful / We live to be / Free from the whim / There's always something new to need. / We cherish what we use and / We share the rest. / We know this is how / It feels to be blessed."  The song rocks harder than most songs with the same theme, perhaps, but the spirit is the same.

But even more important to the album than a spirit of peace and love is the celebration of do-it-yourself and individual expression.​  Songs like "Oh, the Inspiration!" and "Yeah!," as different as they are sonically, speak of the spark that drives people to create and express themselves.  (It actually makes "So Many Words," the alphabet song that's the closest thing to a traditional kids song -- and it's quite a way from it at that -- seem safe by comparison.)  On the ragtime-y "Two Old Shoes," Bright sings, "For every moment you could foment thoughts of loneliness / Or cause to be afraid / Line your sturdy hearts up children, throw them open and / Behold the world you made."​  The celebratory lyrics are paired with an organically rough but sweet folk-rock sound made by a large group of musicians including members of the Decemberists and the Corin Tucker Band.

The whole album builds up to the stunning "Lonely Girl," the most striking kids' song you'll hear all year.  A slow song that begins as a character study of a distracted little girl ("Watch as she circles the school parking lot singing, 'This little light of mine, I'm gonna let it shine' / Here she is in her school's study hall / Losing time staring holes in the wall."), the song ends with a full-throated exhortation ("Lonely girl, yours is a timorous lot / You think too much Darling of what you are not and / Next time you do please recall you can sing / and the itch at your back is the beat of your wings and / They'll carry you forward to wonderful things.").

She had me at "timorous."​

The 36-minute album is most appropriate for kids ages 4 through 10.  You can ​stream three songs here.  I'd also commend the illustrated lyric sheet by Bright.  Fans of the handmade nature of the album and packaging may also want to explore Night and Day Studios' iOS app for Little Red Wagon.

Fans of Frances England, Elizabeth Mitchell, Dean Jones, and Lunch Money should find in Cat Doorman a sympathetic soul.  It's possible that if Cat Doorman Songbook​ didn't exist, Etsy would have had to create it.  It reminds families of the worlds and possibilities that lie outside our door, if only we're willing to see them and create them ourselves.  Definitely recommended.

Review: KidQuake - The Not-Its!

On the fourth album KidQuake, Seattle's Not-Its have ​settled nicely into their kid-pop-punk groove.  Of course, "settling nicely" implies that perhaps this is a more relaxed and down-tempo album than its predecessors and that would be a total lie because this is one of the worst just-before-bedtime albums ever.

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It starts out with the title track, which praises kids' energy (and hopes to channel it into changing the world), then moves on to the even higher-energy "Let's Skateboard" (if you, like me, listen to the song and wonder what a "stalefish" is, here's your answer).​  And then there's "Busy," which alternately celebrates the busy lifestyle (lots of "go's" and horns) while sonically suggesting that we're just all a little too busy.  Band guitarist Danny Adamson sometimes jokes about new Not-Its songs "melting faces off," but this is definitely music to bounce to, with Sarah Shannon's vocal range another key component of the song's allure.

​The band's lyrics and subjects have always been targeted right at young elementary schools, and over time I think they've improved their ability to write from the kids' perspective without talking down to them.  Songs like "Participation Trophy" ("Second Grade basketball: 9th place! / Participation Trophy") and "Tarantula Funeral" ("Bob, we didn't know you very well / We never could tell just what you were thinking") serve as good counterpoints to the more eager/irony-free songs like "Walk or Ride."

The 28-minute album is most appropriate for kids ages 4 through 9.  ​You can stream the whole album here.  As always, the band's album packaging (once again courtesy of Don Clark) is visually distinctive, a nice complement to their tutu-ed and black-tied performance outfits.

From their debut album, the Not-Its have not made any great stylistic leaps, but rather have refined it.  There's something to said for the methodic steps the band's taken, because KidQuake​ is their best album yet, a blast of fresh air, and a ton of fun.  Highly recommended.  (Except for right before bedtime.)

[Note: I was provided a copy of the album for possible review.]

Review: Billy Kelly - AGAIN!

The kids music scene is, as a general rule, a good-natured one.  Mopey musicians are few and far between and, frankly, get shunned a bit by the rest of the community.  Even if you're dealing with serious issues, be it in song or with the world at large, if you don't have a sense of humor -- broad or subtle -- you're not going to last long.

Amidst these humorous folk, only one person can hold the title Funniest Person in Kids Music.  Oh, sure, Jack Forman and all of the Recess Monkey fellows are like our own Laugh-In, Lunch Money's Molly Ledford deserves her own East Coast observational comeday version of Portlandia (Columbiandia?), and Doctor Noize's Cory Cullinan still writes the newsletters with most jokes.  And let's not forget the Media Division -- Sirius-XM's Mindy Thomas and OWTK.com's Jeff Bogle could co-captain our comedy softball team and we'd definitely hold our own against the musicians.  (You hear that, musicians?  We'll totally take you on in comedy softball.  Whatever that is.)

But let's take a moment to praise Pennsylvania's Billy Kelly, Funniest Person in Kids Music.  He's just released his fourth album, AGAIN!, and our favorite writer of odes to milk and boxes is back with odes to bonsai (the Japanese art form using miniature trees), dogs, sweaters, and butter.  Seriously, there's a song called "Ode to Butter," all harmonied and everything.  Kelly's humor doesn't derive from jokes, it's more absurdist in nature.  The title "Don't Tell Me That I Don't Know What I Know (When You Know That You Don't Know What I Know That I Know)" tells you just about everything you need to know about the song (believe it or not, the song gets even more absurd than the title).

On his last two full-lengths, Kelly went from slightly dark and very absurdist to rootsy and mosty earnest.  AGAIN! is an attempt to steer between those two extremes; I'd probably put the new album at one-thirds very absurdist / two-thirds mostly earnest, drawing upon a broader range of styles (Hi, Autotune! Hi, Talking Heads!).  Trying to pick a favorite song here is difficult -- is it one of the more uplifting songs of the year ("Jigsaw," describing how life is a puzzle that eventually comes into focus) or the very enthusiastic horn-aided "You Made Me a Sock Monkey"?  Or maybe it's Kelly's take on ELO's "Mr. Blue Sky," during which one soaring operatic voice sings, "Ohhhh, it's an opera!"

The 32-minute album is most appropriate for ages 5 through 9, but, really you just need to have a sense of humor.  AGAIN! is an album that had me smiling throughout much of it, and it's not just because it's funny.  It's because Kelly's joy in his song's characters comes through crystal clear.  That's what makes these songs so fun.  Highly recommended.

Review: Blue Clouds - Elizabeth Mitchell and You Are My Flower

How to sum up the latest album from Elizabeth Mitchell and You Are My Flower, the dream-soaked Blue Clouds?

I suppose one could start with that adjective, "dream-soaked."  From the song lyrics (the frog and mouse courtship and wedding of "Froggie Went A-Courtin'" or the dogs running around in "Yuki (Snow)") to the album art from renowned author and artist Remy Charlip to the arrangements featuring Mitchell's direct and gentle voice and strings and flute, among others, the entire album seems suffused with sleepy imagery and feelings.

Or perhaps it's with a bullet-point recounting of the high points on the album:

  • The total feeling of empathy generated by her cover of Bill Withers' "I Wish You Well."
  • The title track (a lullaby written by Mitchell's husband Daniel Littleton), which wraps up the album and is an instant modern classic
  • Her version of "Everyone," which recasts Van Morrison's joy-filled song into something akin to a blessing.

I could always compare and contrast with Mitchell's previous work.  It's definitely more varied in scope than Little Seed, her fine Woody Guthrie tribute album from this summer.  For the listeners to Sunny Day who wished that Mitchell front-and-center more often in that album, instead of ceding lead vocals to daughter Storey on some tracks (I was perfectly fine with the shift as I saw what Mitchell was aiming at in being part of the Folkways tradition), they will find the mix more like You Are My Little Bird -- the kids are integrated nicely on the tracks, but it's Mitchell show.

Or I could be very technical about the whole thing: 38 minutes in length, best for ages 3 through 9, more album details here or stream some songs here.  Don't forget the physical packaging, typically Smithsonian-awesome, featuring Charlip's artwork, an introductory essay from author and artist Brian Selznick, and nice liner notes from Mitchell herself.

But instead the word I keep drifting back to is that of family.  Mitchell's immediate family -- her, husband Daniel, daughter Storey -- who have always been at the heart of this whole enterprise and her approach to making a living as a musician in this field.  Her extended family -- Brian Selznick not only writes a generous introduction, but it's dedicated to his friend Remy Charlip and the mother of his goddaughter Storey; her sister-in-law Anna Padgett writes a couple songs on the album.  Her super-extended Folkways family -- Smithsonian heroes Ruth Crawford Seeger and Ella Jenkins inspire tunes.  And my own family, who have been listening to Mitchell's music for more than a decade and have spent many (hundreds of) hours with her music.  Mitchell pulls us all in and, for a moment, makes us feel connected before sending us back into the world to be as generous with others as she has been with us.  Highly recommended.

Review: Binary - The Board of Education

Geek.

Nerd.

Dork.

Words that once carried a stigma are now bandied about with pride by many.  What are the increasingly subdivided niches of fans and supporters of pop culture but collections of nerds celebrating their own weirdnesses? (Note: not a slam.  After all, I am a kids music aficianado.  I know from celebrating tastes not fully embraced by the mainstream.)

Enter Seattle's The Board of Education.  If Recess Monkey and Caspar Babypants are the hardest-working artists in kindie music, cranking out albums in about the length of time it takes me to write this review, then their Kindiependent compatriots The Board of Education in are there to even out the average.  Their just-released album, Binary, follows their debut album by 4.5 years.

Perhaps it takes the band so long because chief songwriter Kevin Emerson and his bandmates are each getting advanced degrees on the topics covered in their songs -- the breakup of the Soviet Union ("Welcome Back!/Geography Quiz!"), Kevlar inventor Stephanie Kwolek ("Know Your Inventors, Part II"), or variable specific impulse magneto-pulsar rockets ("VASIMR (To Mars!)," natch). (No advanced degree is needed to enjoy the Star Wars-themed rant/plea "Why Is Dad So Mad?".)  All of which would be deadly dull except you can tell that the Board of Education really likes the topics at hand, and they know their way around a pop hook.

Hidden behind that brainy veneer, however, is also an appreciation for how humans make their way through the world.  Sometimes it's the chief topic of a song, such as on the delicate "Three," about a young elementary schooler navigating changes in friendship.  Elsewhere, such as on "Binary" or the totally and utterly awesome "I'm Not Here Right Now," the band merges those human understandings with geekier topics.  For an album filled with a bunch of space-related themes, it's remarkably down-to-earth.

The album will be most appropriate for kids ages 5 through 11.  You can hear a number of tracks from the album at the band's Bandcamp page.

So let's celebrate the obsessives, the adults (and kids) burning with curiosity about the world around them, be it light-years away, or at the school cafeteria -- The Board of Education gets you.  And you, obsessive (or parent of an obsessive), should you choose to discover the band, you might just find another obsession.  Highly recommended.