Four on the Floor (Kids Music Reviews for Preschoolers)

Here's the next installment of reviews of albums before I pause a bit with my reviews. Last week I covered some recent (2017) releases, but this week's roundup includes some albums more than a year old.

I wanted to take a look at some recent albums targeted at the preschool set, those kids moving close to (if not sitting directly on) the ground. This isn't a complete listing of such albums, but they are four albums that I think give a fair overview of where 21st century music for your favorite 3-year-old is at the moment.

We'll start with the most famous kids musician on this list, and arguably, the first kids music superstar -- Raffi. Most folks recognize the first wave of kids musicians -- legends like Pete Seeger, Ella Jenkins, Woody Guthrie, Leadbelly -- as folksingers, including the social justice component that folksingers have often been recognized as having, especially in the United States from the '30s through the '60s. They weren't just singing about animals and playtime, they also sang about freedom and justice. (Sometimes they even did so simultaneously.)

It took awhile, but Raffi has become every bit the political folksinger his predecessors were. When he first burst onto the scene in the mid-1970s, his first albums were classic sing-along stuff, but he avoided political items. Gradually, however, he mixed in songs celebrating the natural world, with "Baby Beluga" becoming a touchstone song for hundreds of thousands of kids in the early '80s.

His 2016 album Owl Singalong came comparatively quickly on the heels of his previous album, 2014's Love Bug, signifying new inspiration after more than a decade away from the genre, and this album is filled with lots of songs celebrating the importance of the natural world and, one senses, a new urgency from the 68-year-old Canadian singer.

There's a sprightliness to the music here, aided by Raffi's newfound discovery of the ukulele. Longtime friend and collaborator Ken Whiteley and his son Ben help out with instrumentals, his niece Kristin Cavoukian sings on a couple songs, as do a number of others, and he deftly mixes new takes on old classic music circle songs like "More We Sing Together" and "The Lion Pokey" with folk songs written with a wider circle in mind, like "The Garden Song" and "Somos El Barco." (Oddly enough, this may be the album pitched at the oldest audience of these four.) Raffi's voice is as fine as ever, though he's still willing to be very playful with his voice, too. All in all, this is a fine collection of songs, a worthy addition to Raffi's long discography.

Another artist who covers much the same ground as Raffi is Maryland's Valerie Smalkin. A ventriloquist and musician who's been performing a long time, her 2016 album Love Bug (see, a Raffi connection right there!) could easily find a home in many a preschool classroom. For the most part, the album is filled with originals with a couple more traditional songs ("Hey Betty Martin," "Bumblebee") mixed in. The physical album comes with suggestions for making listening to the songs a more interactive process as well, which is not unusual for these types of albums -- it's another common theme we often see. The execution of these songs in arrangements is just enough improved over most such albums that I think it won't wear out its welcome nearly as fast. Smalkin's appealing voice helps out as well. (I could do with less synth, but most similar types of albums lean on that synth even more than it's leaned on here.) I wouldn't listen to this album by itself as much as I would the other three albums here, but for those looking for a little more movement and interaction as part of their listening experience, this might do the trick.

Moving on to an artist clearly inspired by Raffi -- Charlie Hope. I've compared the Canadian/American Hope favorably with the Canadian legend, and her latest album, Songs for Little Ones, released late last year, does nothing to dissuade me from the comparison.

Whereas her previous albums tended to be a little more of a mix of original songs (and some darn catchy ones to boot) and classic kids' songs, this new album shifts the balance of the songs to the classic side, with only 3 originals -- still lovely -- and 22 covers. I tend to think that new families should have multiple versions of these types of albums just so those families can hear how, say, Raffi's take on "Down By the Bay" differs from Hope's here, but there are far worse voices to include on a short list of albums of classic songs than Hope's bright, clear voice. The arrangements here are more folk-pop -- no synths, but poppier perhaps than Raffi's earthier approach (just enough tasteful percussion or perhaps an occasional string instrument or recorder to liven it up).

Finally we have Caspar Babypants. Chris Ballew has been remarkably consistent and productive in making remarkably good music for preschoolers over the past decade, and there's nothing in his latest, 2016's Away We Go!, that changes that assessment. Ballew heads the other direction as Hope, as this new album leans more heavily towards original tunes than reworking classic kids' songs. There are some nifty new takes, like the concluding track "If You're Sleepy," which converts "If You're Happy and You Know It" into a very sleepy (and very Beatles-esque) wind-down track. It's mostly a solo effort from Ballew, with only Jen Wood providing vocals on "If You're Sleepy" and the Okee Dokee Brothers pitching in on a couple tracks, but his poppy arrangements are, as always, filled with verve and occasional surprises. And as always, Ballew's lyrics are fanciful (tiny horses, runaway pancakes, best friends snail and spider) and playful.

If I were to pick the album I'd listen to most on repeat, it'd probably be the Caspar Babypants album just because it's the most varied in melody and words, with the Raffi a close, close second. But Songs For Little Ones would make a fine addition to any home or preschool classroom, and I think Love Bug could find a good home in a classroom as well. They're all recommended to varying degrees.

Note: I was given a copy of these albums for possible review.

Review: Born in the Deep Woods - Red Yarn

Some artists take tentative steps into kids music, but Andy Furgeson seemed to know exactly what he was doing from the get-go. Playing as Red Yarn, the Austin-bred, Portland-based musician and puppeteer brought the fervor of a revival to his first kids' album, 2013's The Deep Woods, and then doubled-down on that feeling with his 2015 follow-up, the appropriately titled Deep Woods Revival. Both albums brought energy and emotion to old folk songs to make those old songs sound urgent and vital.

After a 2016 detour into some stripped-down arrangements on Wake Up and Sing, Furgeson is back with the final entry in his "Deep Woods Trilogy," Born in the Deep Woods. If the first two Deep Woods albums sound like they were recorded in a church somewhere, this new album has a much more Southern-fried rock sound. Not quite in a bar, perhaps, but not exactly church pew, either. For everyone who ever thought what Red Yarn needed was more cowbell, Born in the Deep Woods is the album for you.

The title track, a Furgeson original, has a driving sound that might fit in more with the earlier albums, but "Old Mother Goose" definitely has that Southern "classic rock" sound even as it weaves together some traditional nursery rhymes like "Hey Diddle Diddle" and "All Around the Mulberry Bush." There are more completely original songs on this new album -- four or five depending on how you're counting -- than on previous works, but I think it's a testament to Furgeson's songwriting skills and his production work alongside co-producer Adam Selzer that it can hard be hard to tell his takes on songs sung for generations apart from the ones written for and inspired by Furgeson's two kids.

Furgeson knows how to have fun with a song -- check out the video for "Mockingbird," in which Furgeson plots the detailed musical background of the song with a detail rivaling the search for the Zodiac Killer -- but he seems particularly focus on the meaning of parenthood. Songs like "Little Baby Born Today," "Old Black Dog," and "Deep Woods Revisited" address life -- both birth and death -- in the tone of voice of a parent. The epic "Born Again" does, too, filled with slide guitar instrumental breaks and lines like "When we reach our destination / Across the river, across the nation / We find we're right back where we came from." Could the Allman Brothers record that song and have it sound a little bit like the Red Yarn track? Most definitely.

Born in the Deep Woods is not a kids music album, but only to those who haven't spent a lot of time thinking about kids music. There's an alphabet song on here that even though I'd listened to the album a half-dozen times I didn't realize it until I looked at the lyrics. (Which you should totally do if you decide to get a copy of the lovely physical copy.) It is an intricate album, and while it's appealing musically and not cryptic in any way, for some listeners, the simpler Wake Up and Sing may be the better entry point to the Red Yarn discography. You could put this album on for the 10-minute drive home from school, but it fits more a 45-minute Lego construction session.

I, for one, am looking forward to where Furgeson moves on from Born in the Deep Woods. The Deep Woods have been a rich source of inspiration for the Red Yarn albums, but I also think that his songwriting on this album in particular indicates he can look beyond the folk music tradition that's informed so much of his work. Not that he'd ever abandon that music -- and I don't want him to -- but I'm more interested at this point in seeing where he goes next than in further expansion of the Deep Woods mythology. I hope he comes back to the Deep Woods in time, but I'd like to see what he discovers when he ventures out further to explore. Highly recommended.

Note: I was given a copy of the album for possible review.

Review: Between the Waves and the Cardoons - Pointed Man Band

Between the Waves and the Cardoons cover

The first time Dan Elliott's Pointed Man Band made its way on this site, it was in a heads up nearly four years for a Kickstarter project I stumbled upon randomly. The resulting album, Swordfish Tango, echoed Tom Waits not only in that album title, but in sonic construction. The result was a weird amalgam of pots and pans and strings and a song that led me to include a tag for "fart songs about invisible ducks" in the post. (Sadly, it's the only post on this site for that tag.)

The second PMB album Flight of the Blue Whale hung the jazz and Parisian pop tendencies of the debut onto a story of a red fox who works as a clock repairer and his adventures, which eventually involve a flying blue whale. More focused thematically, perhaps, but no less weird sonically.

Now it's time for the release of Elliott's third album, titled Between the Waves and the Cardoons, and it's a straight-up dance-pop album with songs about how to brush your teeth!

Of course it's not. It's every bit as oblique as the first two albums. Conceptually, it's a story cycle with loosely-related songs about nature, moving roughly from Oregon's west coast ("The Waves," "Anchor's Aweigh"), up the Columbia River with the salmon ("Upstream"), and, after other songs about (actual) birds and the bees, eventually winding up with "The Cardoons," a celebration of family and community. (Cardoons, incidentally, are a lesser-known relative of the artichoke.) Sonically, this album is far less Waits and far more Decemberists, with Elliott emphasizing the orchestral chamber pop that his fellow Portland musicians sometimes use, though with far less death and betrayal than Colin Meloy et al often sing about. String quartets, brass, even a harp, and a mellotron and Steinway grand piano thrown in for good measure, there's a lot of orchestration going on.

Between the Waves and the Cardoons is a picture book in multiple meanings of that phrase, but not a simple one with clear pen lines and punchlines. I like those sorts of picture books, too, but like to have more complex, more challenging picture books thrown into the mix. (This 30-minute picture book is probably best for kids ages 5-9.) The album might not be everyone's cup of nettle tea, but if you've read this far thinking, I think my family might be interested in that, then I think your family will definitely be interested in that. Recommended.

Note: I received a copy of this album for possible review.

Rainbows and Unicorns and Kids Music (Foreverywhere - StevenSteven)

If teaching kids how to be patient -- how to defer gratification until later -- is a useful skill, then the release of Foreverywhere, the debut album from StevenSteven, may be the world's most important parental tool.

Perhaps you think I'm kidding that an album about rainbows and unicorns is the most anticipated album in kids music history? Let me put it this way -- I made a joke about how kindie fans had waited so long for the album that it had become the Chinese Democracy of kids music.

Twice. I'd forgotten that I'd made the joke already.

But here we are, February 24, 2017 -- more than a decade since former Blue's Clues star Steve Burns and Flaming Lips multi-instrumentalist Steven Drozd first unleashed upon kids music the world's most awesome tribute to Groundhog Day -- and, yes, Foreverywhere is out in the world and the result is rainbows and unicorns, and in particular, a guitar-shredding Princess Rainbow and a Lonely Unicorn who joins her band, falls in love, loses her, then searches literally the entire universe to find her again.

Honestly, the whole album feels a little bit like that sentence -- epic, heartfelt, and a little rambling at points. (Also, it's meticulously crafted, which is probably more than I can say about the sentence.)

After several listens, I came to think of the album as three EPs smooshed together. There's the science-y, "fact"-based set of songs in the first half -- the fuzzy psych-rock of "Mimic Octopus," the game-show-turned-pop-song "OK Toilet Bowl," and the song guaranteed to put a smile on my face every time I listen to it, "A Fact Is A Gift That You Give Your Brain" -- those are the tracks that will make power-pop fans of any age move their heads to the rhythm. Then there's the goofier and sometimes downright odd takes on kids music tropes in the second half -- "If You're Ginormous And You Know It" features one giant drummer, while "The Happy Then Sad Then Triumphant Spider" takes more than six minutes to tell the tale of one spider, one rain spout, and one sun. (It's like those chorales that take their lyrical inspiration from about 3 lines of Biblical verse.)

And the third set is the epic story of the Lonely Unicorn and his search for Princess Rainbow, which stretches across 3 songs spread through the entire album. If you think six minutes is too long of a song for your favorite 4-year-old, wait 'til you play them the nearly 11-minute closing title track. And I suppose that's where some parents will think, "AWESOME!" and other parents will say, "ARE YOU NUTS?" Personally I am sympathetic to the latter group -- I'm not sure how many younger kids will retain their attention on those longer, somewhat sleepier tracks -- but am pleased that the duo just went for it. (Skip the tracks, go back to "A Fact," if you need the shorter blast.)

You may hear lots of kids music this year, and you may even hear kids music this year you like more than Foreverywhere, but I'm pretty sure you're not going to hear anything like it in kids music this year. There is no small amount of rainbows and unicorns in this album ready to be unleashed upon the world, and, yeah, it was worth the wait. Definitely recommended.

Note: I received a copy of this album for possible review.

Itty-Bitty Review: I Believe in Little Things - Diana Panton

I'm surprised there aren't more albums like Diana Panton's I Believe in Little Things. Given that jazz often takes classic songs and standards as the basis for creating something entirely new, why haven't jazz musicians devoted more attention to classic kids' songs?

On her new album, the Canadian jazz singer Panton doesn't reach all the way back to "Twinkle Twinkle Little Star" and "Mary Had a Little Lamb," but instead uses classic twentieth century songs written for kids' entertainment as her starting point. So she turns to Sesame Street songwriter Joe Raposo, Kenneth Ascher and Paul Williams' songs from The Muppet Movie, and some Disney, among others. Panton's crystal-clear voice is a delight to listen to, with her backing musicians (primarily Reg Schwager on guitar and Don Thompson on bass, piano, and vibraphone) providing a subtle background from which her voice shines without being brassy, which would serve these songs poorly. As lovely as the renditions are, the musicians explore the songs to a point that some listeners with short attention spans may drift off ("When You Wish Upon a Star" clocks in at nearly six minutes). As a result, I'll peg the 55-minute album's target age range as ages 5 and up.

I hesitate to call this "kindie" or "kids music" -- remove the delightful album art by Jacqui Lee and replace it with abstract shapes or stylish pictures of Panton and her band, and it's a tossup as to whether it'd be filed in "children's music" or "jazz." Having said that, the answer to that question is probably a tossup under the current album art as well and probably irrelevant -- it's an album kids and adults are both likely to enjoy settling down with. Recommended.

Note: I received a copy of the album for possible review.

Itty-Bitty Review: Meet You By the Moon - The Que Pastas

The Texas-based band The Que Pastas started out as a somewhat jokier band. (They also started out as a Colorado-based band, but that's an entirely different story.) Over time, while they haven't exactly dropped their sense of humor, chief Pastas Gene Davis and Simon Flory have added a healthy dose of heart to their songs.

Meet You By the Moon, their recently-released second full-length album, is a major step forward for the band, a solid collection of Americana with touches of the Beatles and the third grade cutup. The band's always had a bit of Americana sound, but with producer Salim Nourallah (Old 97s, Rhett Miller, among others) at the helm, it's brought more to the fore in sound, attitude, and instrumentation. There's the stomp of "Llama," the hint of zydeco on the reading anthem "Book Lion," and the fiddle accents on the suffused-with-heart "Saturday Morning." And for every jokey song like "Common Denominator" (a re-recorded version of an early demo track), there's a new song like "Helen's Song," written from the perspective of a parent looking forward to future awesome events in their child's life (e.g., first corn dog at the State Fair).

The 26-minute album is most appropriate for kids ages 4 through 8. While the band's fans who grew up appreciating the band's outgoing attitude with a touch of class clown in their songs will still find songs to scratch that itch, wearing more heart on their sleeve will hopefully expand their audience further. Definitely recommended.

Note: I received a copy of the album for possible review.