Review: We Are The Not-Its! - The Not-Its

WeAreTheNot-Its_sm.jpgOne of the signs of the maturation of the kids music genre is that there are more debut albums with a sense of confidence. Rather than tentative steps into what might be an unfamiliar world, more folks seem to have a very clear understanding of what their sound is and how their image might support it. Most confident perhaps are Seattle's The Not-Its, who almost from the beginning they burst onto the web had a clear idea of their sound (finely honed alterna-pop, generally), lyrical aim (generally direct though not without the occasional knowing adult aside), and look (women dresses, men shirts with ties). And nothing on their debut We Are the Not-Its! suggests they've had any second thoughts about those things. From the get-go, the band fires on all cylinders. Starting an album with your own "theme song" is often a dicey move, but "We Are The Not-Its" is one of the two or three best theme songs ever (bonus points for the nifty pun "It's only got one eye / And don't forget to dot it"). "When I'm Five" has a hook that could pull in Moby Dick; you'll probably want to play "Let's Birthday" more than just once a year. Though the songs tend toward alternative pop, they're perfectly willing to slow things down a bit, such as on the sweet "Helicopter" or the country "Dressin' Up." The voice of Sarah Shannon (who was the lead singer of '90s band Velocity Girl and who takes most of the lead vocals here) definitely is a big asset to the band as well. There are points at which I thought the lyrics veered somewhat oddly between the too simplistic and too aimed-at-the-parents. "When I'm Five" features the lines "When you're five / They say there's so much to know / But I'll stay sharp as a tack or a whip or whatever / Until I figure out the status quo" and "I love my school / My teachers rule." (Hey, I love that first line, but I'm thinkin' that goes waaaay over the head of a four-year-old.) I think my favorite songs are the ones that don't necessarily impart simple life lessons (sharing is good, baths are good) but are just stories, such as "Shadows." But it's probably a credit to the songs themselves that those simple life lesson songs are pretty darn listenable, too. The album is best for kids ages 3 through 7. You can hear the songs from the 30-minute album at their own page. So, yeah, this album rocks. Families who are fans of Ralph's World, Justin Roberts, Lunch Money, or the Hipwaders shouldn't hesitate to get We Are the Not-Its as its combination of crunchy guitar-filled hooks and very kid-focused lyrics should prove very popular with that set. And it's just their first album -- can't wait to hear what comes next. Definitely recommended.

Review (Updated): Easy - Secret Agent 23 Skidoo

Easy.jpgI originally reviewed Easy, the debut from Secret Agent 23 Skidoo last spring. As much as I liked it then, I think I still underestimated its ongoing appeal. With its re-mastered rerelease on Happiness Records and the addition of 3 new tracks, I thought I'd update the review... I know that the kids' music genre is flowering when less popular subgenres such as kids' hip-hop or kids' country are starting to bubble up. I especially know that that's the case when those genres start producing albums that aren't just "kids songs done in a [fill-in-genre-name] style," but fully realized albums on their own. Case in point: Easy, the debut kids' CD from Asheville, North Carolina's Secret Agent 23 Skidoo. He spends a lot of time rapping and playing with the music collective GFE as Agent 23, but who adopts the cool-kids name Secret Agent 23 Skidoo. From start to finish, the album is totally geared at kids in its subject matter but is not dumbed down one bit in the creativity of its beats and melody. On its strongest tracks (and there are a number of them), Skidoo blends smooth rapping with occasionally eclectic instrumentation ("Luck" features nice banjo work) and an all-positive message. Sometimes that message is a little more overt -- "Luck" raps about how we make our own luck by knowing what it is we want; "Gotta Be Me" is about how everyone should have their own style, and that's OK. If the message is a bit direct, it's delivered with precision and flowing words. (Even his 5-year-old daughter Saki (AKA MC Fireworks) gets in on the act, very smoothly trading lines with her dad on "Family Tree.") Perhaps even better are his songs that take a more imaginary bent. "Hot Lava" so completely nails the 7-year-old feeling of pretending on the fly (don't touch the floor! -- it's hot lava! -- jump from couch to couch!) that I'm not sure there is a better kids' song about the power of imagination. Songs about dragons, mermaids, and robots feature in the mix, too. It's very much story-telling with a compelling musical background. I'm going to peg the messages and stories here as geared primarily for kids ages 4 through 9. You can hear samples of a number of the songs at the album's CDBaby page or "Gotta Be Me" and "Luck" and "The Last Dragon" here. As for the re-release, it's been remastered with some new beats and tweaked artwork, but the chief reason to get the new album (or at least hit up iTunes) if you already have the original release are the new tracks. "Robots Can't Cry" is about the experience of being human in words that 6-year-olds will understand. "I Like Fruit" is so catchy it renders everyone within earshot incapable of not shouting "I like fruit" along with the chorus. (MC Fireworks and DJ Bootysattva fill in for Egg's Jeff Fuller on this version.) "Boogie Man," about mastering fears, might be my least favorite of the three new tracks, but that just means it's merely good. The list of really good kids' hip-hop albums is very short. Not only does Easy go to the top of that list, it deserves to find a lot of fans among people who don't consider themselves big hip-hop fans. It's a really good CD, period -- lots of fun and certainly worthy of repeated spins. A year later, the album still holds up, and the new songs just make it that much better. Highly recommended.

Review: The Time Machine - The Sippy Cups

TheTimeMachine.jpgThe kids music resurgence has been relatively brief, and so we haven't necessarily had the time to watch too many bands mature and change their sounds over time. An exception is the Bay Area band The Sippy Cups. They started out doing nothing but covers, primarily of '60s and '70s psychedelic tunes. They then moved to mostly original '60s and '70s-sounding psychedelic tunes. It's only been on their last couple albums that they've developed a fuller sound (and added some skits to the mix). All of which has been to the good. Their latest album The Time Machine is at times both their most conventional-sounding and also their most adventurous. Although it's not quite a concept album, there a number of songs about about growing up (hence the title). As a result, based on subject matter alone, this definitely their most typical "kids album." Of course, I happen to like some of those songs the best. The power-poppy "My Angry Voice" describes anger in easily accessible phrases ("Breathing fast / My heart is racing / I won't look you in the eyes / What's that sound? / It's someone shouting / That sounds like me / What a surprise") while "Don't Remove the Groove" ameliorates whatever preachiness a song about environmental warming might contain by being, well, groovy and turning it into a "freeze dance" song. "Seven Is The New 14" will likely go over heads of the 14-, er, 7-year-olds the song is targeted at, but its amusing spin on "age is nothing but a number" will draw chuckles from the parents. For those of you originally drawn to the band for its original more psychedelic sounds won't be disappointed -- the title track and concluding track "Awake" (the latter clocking in at 6 minutes) are definitely could've been recorded 35 or 40 years ago, while "One Day Soon" is an excellent pastiche of Sgt. Pepper's-era Beatles. If there's a downside to the songwriting here it's that at times I felt like they were relying too heavily on the metaphorical imagery to the detriment of more sharply describing the experience of growing up. The worst tracks here are still better than 60% of the songs in the genre, but their excellent songs make the just adequate ones stand out. (As for the skits, I like 'em, and I typically haaaate skits, but I realize that your mileage may vary.) The 44-minute album is most appropriate for kids ages 5 through 9. You can listen to some tracks here or samples at the album's CDBaby page. The Sippy Cups have developed into one of the most adventurous kids bands on today's scene. With a strong catalog of songs and an energetic live show, they seem set to be around making music for years to come. The Time Machine is, appropriately enough, evidence of their continuing evolution, and shows that growing up is usually a pretty good thing. Definitely recommended.

Review: Field Trip - Recess Monkey

FieldTrip.jpgIt's hard to write a review about Field Trip, the recently-released fifth album from Seattle's Recess Monkey. Not because it's bad, mind you, just the opposite -- it's just that the band's run of great albums and songs has been going on for so long now that it's getting more difficult to find new and interesting ways of saying "these guys are really good -- your family should listen to 'em." From the two-minute simple Beatles-esque "Fort" to the fanciful power-pop of "Marshmallow Farm" to the sweet "Sack Lunch" the album starts off with great pop tunes and doesn't really ever stop. "Sack Lunch" manages the odd trick of not only writing a song from the perspective of a kid's sack lunch but also making it stand as some sort of metaphor for a really powerful love. (It also does so with the Northwest Boychoir singing the phrase "sack lunch" chorally, which makes me smile every time.) On the album goes, through '80s dance of "Haven't Got a Pet Yet" and the funk of "Hot Chocolate." Recess Monkey has always been willing to approach the "novelty song" line much more than a lot of bands, and I can't say it always pays off -- the spaghetti western of "Ice Pack" is just OK and did the world need a song (no matter how catchy) about lice ("L.I.C.E.")? (The answer is no.) But that song is sandwiched between a tender love song ("Tiny Telephone") and the best kids song Elvis Costello never wrote -- "The Teens," which is ostensibly about difficulties in counting past ten but will get parents nodding about their kids' forthcoming teenaged years. The most exciting thing to the long-term listener of the band is that expansion of world view -- figuring out how to encompass more experiences of older listeners without sacrificing their core audience of young school-aged kids. The album is still primarily targeted at kids aged 4 through 9. You can listen to samples from the 41-minutes album here. So, yeah, Field Trip is another excellent string of songs from Recess Monkey. If you're a fan, you'll love it. If you're not a fan, though you'll probably be a bit mystified by the John Vanderslice bit at the very end, this is as good a place to start as any, as it's their best album yet. In the end, all I can say is that these guys are really good -- your family should listen to 'em. Highly recommended.

Itty-Bitty Review: Banjo To Beatbox - Cathy Fink & Marcy Marxer (with Christylez Bacon)

BanjoToBeatbox.jpgI hesitate to call the DC-area-based duo Cathy Fink & Marcy Marxer elder statesmen of the kids music genre because they're neither, you know, elderly nor male. But they've been doing the family music thing for about 25 years now. Which is why it's pretty great that their collaborator on their latest album Banjo to Beatbox is, well, not even 25 years old. Christylez Bacon is a DC-area hip hop artist; here, he adds his beatboxing and rhyming skills to Cathy & Marcy's banjo and folk stylings. On the album's best tracks, like the resetting of the traditional "Soup, Soup," the combination thrills, pointing the way to a 21st century folk music sound. That song, along with with "Hip Hop Humpty Dumpty," takes full advantage of the collaborators' strengths. The other songs here are enjoyable (I also quite like their take on "New River Train"), but those two are the standouts. You can listen to clips of the album (best probably for kids ages 4 through 9) here. (They're calling it an EP, but at 30 minutes, who knows what "EP" means any more.) I've always liked Fink and Marxer's wilingness to collaborate outside what somebody else might perceive to be their genre -- their collaboration with Texas polka group Brave Combo All Wound Up! is an excellent album. I don't think Banjo to Beatbox reaches those heights -- it seems a little more stylistically limited to me -- but I hope that Cathy Fink and Marcy Marxer continue to make music every now and then with Christylez Bacon because there are parts of this album that are pretty exhilerating. Recommended.

Review: John and Mark's Children's Record - John Upchurch and Mark Greenberg

JohnAndMarksChildrensAlbum.jpgAt the risk of over-simplification, I think there are five kinds of kids music albums: 1.  Explicitly educational music (for the most part, left undiscussed here), 2.  Renditions of traditional kids songs (e.g., Raffi, early Laurie Berkner), 3.  Rock/pop/folk songs with kid-focused lyrics (Ralph's World, Justin Roberts, later Laurie Berkner, tons more), 4.  Music geared at the whole family simultaneously (Dan Zanes, Elizabeth Mitchell). 5.... Well, the fifth type looks a bit askew at the kids music genre.  If it doesn't quite subvert the genre, it doesn't quite buy into it, either.  They Might Be Giants, who could easily fit into the rock/pop/folk category above, fit here, as do albums from folks like Duplex and the Quiet Two.  You can also lump in every album that attempts to fit the kids song peg into an adult hole (traditional kids songs... done in electronica!) or the adult peg into the kids music hole (ahem, I'm looking at you, Rockabye Baby).  I wouldn't want a kids music library consisting of nothing but albums from this category, but their quirkiness is a welcome change, even from nothing but excellent albums in the other categories. For those of you looking for an album in that fifth category, I can't commend John and Mark's Children's Record to you highly enough.  The album is the creation of John Upchurch and Mark Greenberg, who played together in the Coctails many years ago and now find themselves each father to three kids.  The album was inspired, of course, by life with their kids, but the result sounds like little else you will hear this year. "The Lawnmower" kicks off the album with a kid's lament that he might be trapped inside the house all summer long since the grass has grown so high before chugging into a country-folk tune which will have you humming "the lawnmower goes off / and the lawnmower goes on" and the killer couplet "I can rest well assured / of a lawn well-manicured."  It's the kids music album equivalent of "you had me at 'hello'."  From there the album moves into "A Counting Error," which beyond its lyrical subversion (to tell you more would ruin the surprise) has funky "Mahna Mahna"-style vocalizing, whistling, and sax interspersed.  I can't think of a more striking kids song all year. "Pat, the Alligator Lady" is an odd little song about a lady who, Greenberg says, ran a rescue shelter for odd animals in an 80-year-old Victorian house.  "The Elephant Leads the Way" is a poppy banjo-accented number followed up by "People Have Good Reasons," which sounds like it lost its way from another album made just for adults -- the spoken-word carousel tune is amusing, but it's the album's one false step as kids'll probably be mystified ("It is very VERY important / So precautions that they've taken are all warranted / And accepted / as a rule of law"). And on it goes.  I have no idea what the titular shoes are of "Honey Boots," and the lyrics consist primarily of "I've got my honey boots on," but that's one of the joys of this collection -- not everything is spelled out.  "Colors" is about, yes, colors, but it's as if Shel Silverstein wrote a poem about colors and asked Sufjan Stevens to write song to along with it.  The album mellows as it draws to a close, ending with a lullaby ("Until the Dawn") and a slow instrumental ("In My Blue House"). The album is about 35 minutes long and most appropriate for kids ages 2 through 7; you can download a couple tracks -- including the sublime "A Counting Error" -- here.  You can download the entire album from iTunes or eMusic.  But I should mention the album packaging (designed by former Coctail member Archer Prewitt) is beautiful and well worth the additional shipping cost (the album costs the same in physical format as through iTunes). As you can tell by now, I think this album is fabulous.  It is a bit odd perhaps, but I've figured out over time that what separates the great "odd" albums from the annoying ones is love -- that people love the genre and the kids in their lives and they're making music borne out of their own musical and personal experiences.  John and Mark's Children's Record reflects that love in spades.  It's one of my favorite albums of the year.  Highly recommended.