Best Lullaby Albums

It was foolish, perhaps, but I went ahead and did it anyway -- I boiled down more than a decade's worth of listening (and more than a half-century's worth of recordings) to what I thought were the five most essential albums for new parents.  Despite my trepidations in providing such a list (including the insanity in thinking that such a list could even be limited to five), it seemed to be well-received.

So now I'm providing my second list of top albums -- this time, it's my list of best lullaby albums.

Before I provide my list, I should note that, unlike the broader set of albums for infants, toddlers, and preschoolers, as far as I can tell there weren't nearly as many lullaby albums dating back a half-century -- I can't find evidence that Pete Seeger or Ella Jenkins, for example, bothered recording a specific album of just lullabies.  That is an interesting musicological question worth exploring, but not today.  In any case, the upshot is that the notion of a "classic" or "best" lullaby album is far less settled than it was for the "new parents" list above.

As a result, this list feels more idiosyncratic to me than that other list, like I'm going out more on a limb.  I do have a particular preference for lullaby albums in a way I might not for kids music albums generally and that preference is for music that would conceivably be played to lull a young child back to sleep.  I have memories of taking the 3 AM feeding shift, or of calming a restless infant, and sometimes (some of) these albums were the soundtrack for that. In my experience, many lullaby albums seem far too hyper and vocally piercing to be very useful for that quiet, darkened room.

So, with that, here are my five picks, listed alphabetically by artist.


Lullabies: A Songbook Companion cover

Lullabies: A Songbook Companion cover

Julianne Baird, Madeleine Kapp, Mela Tenenbaum & Richard Kapp: Lullabies (A Songbook Companion) (1997) -- This might have been the first lullaby album we had that we truly enjoyed, so it's possible that personal affinity drives this selection more so than most.  But as with the other albums here, even today it holds up very, very well.  With piano, violin, and viola accompanying the vocalists, this is unsurprisingly by far the most traditional (and classical) album of all those listed.  It covers a wide range of lullaby songs from not only the English-language tradition, but also others.  There are also a handful of instrumental tracks that serve as nice counterpoints to the vocals.  And while a few tracks are more emotive than I'd prefer, on the whole, it's both thorough and gorgeously done -- a one-stop lullaby shop.

Now the Day Is Over album cover

Now the Day Is Over album cover

The Innocence Mission: Now the Day Is Over (2004) -- This album more closely resembles the majority of the lullaby albums here -- unique interpretations of songs, only some of which might originally have been considered lullabies.  This is the band's only venture into the kids music world, and were it not for the cartoon-y cover art, the listener might not necessarily file it there at all.  Low-key, minimally-arranged, the "hushed" on this album is dialed up to 11.  Singer-songwriter Karen Peris' voice is distinctive and has a bit of a distinctive taste, but I've heard this album so many times that I can't think of many of the songs they cover ("Stay Awake" and "Moon River," among others, along with some instrumentals and one original) without it.  Definitely a secret to be passed from one fan to another.

Napper's Delight album cover

Napper's Delight album cover

Dean Jones: Napper's Delight (2007) -- First, yes, that's an awesome album title.  But moving beyond that, this is probably the most daring lullaby album on here (it's the one whose inclusion on the list I took the most time debating).  How many times do you hear drum machines on lullaby albums, or at least on lullaby albums you want to listen to repeatedly?  More so than the other albums listed, this is also more of a journey as the first few songs aren't super-sleepy.  But give it a few songs and by the time Elizabeth Mitchell lends her vocals to "Grow Little Flower," the relaxed vibe is definitely established.  Jones' eclectic taste in instrumentation (see drum machine above) makes this the most unique album here -- definitely not a lullaby album in the strictest definition of the phrase, but a superb take on sleepy time and relaxation.

All Through the Night album cover

All Through the Night album cover

Mae Robertson & Don Jackson: All Through the Night (1995) -- I don't even remember how I first heard this album.  I think it was probably one of the (comparatively) few (at the time) kids music CDs at the library, but I remember playing it over and over in a darkened nursery.  Robertson has a lovely voice, but doesn't oversell (i.e., over-emote on) the songs.  Her choice of songs -- relatively few of which would be considered lullabies in any traditional sense -- delighted and surprised me.  And the musical arrangements from Robertson and Jackson, featuring guitar, piano, and a handful of other stringed instruments, are warm enough to snuggle in.  In short, this is the lullaby album I imprinted on and the one I still implicitly judge all other lullaby albums by today.

It's a Big World album cover

It's a Big World album cover

Renee and Jeremy: It's a Big World (2007) -- Finally, this album is the most modern-sounding lullaby album on this list, a combination of Jack Johnson and Elizabeth Mitchell with a series of (mostly) original lullabies.  I remember liking the album a lot, then hearing it on a really good pair of headphones while recording an NPR review of the album and being blown away by how spare and intimate the album sounded.  Since then, I've also become a much bigger fan of how Renee Stahl and Jeremy Toback meld their voices together.  Between the sound, their intertwined voices, and the whimsical cover art, this is the lullaby album most likely to be named "not your parents' lullaby album."

As with any of these "best" or "most essential" lists I'm creating, limiting your choices to these is a little foolish, but people also want them.  But if you're looking for a few more suggestions, here are some other categories of lullaby albums you may want to consider:

Artists I've Already Mentioned: Raffi (with his Quiet Time compilation), Laurie Berkner (with Laurie Berkner Lullabies), Caspar Babypants (with Night Night), and Elizabeth Mitchell (with significant chunks of most of her albums) would definitely have been under consideration for this list were it not for the fact that they already appeared on my best kids albums for infants and toddlers list.  Somehow it's not surprising that artists who record a lot for the youngest of listeners know their way around a lullaby.  As for Justin Roberts, his album Lullaby is excellent, but since he'll be appearing on a future list, I omitted him from consideration for this one.

Putumayo Kids: As I noted in the earlier "new parent" list, Just like its "parent," the themed albums of kids offshoot of the Putumayo label scours are a nice way to dip into the music of a non-American culture (though they offer some nice English-language compilations, too).  Their "Dreamland" albums feature lullabies from around the world -- the sounds can sometimes be unfamiliar to the older ears of the parents (and therefore less than fully relaxing), but that shouldn't be a problem for the kids.

The Secret Mountain: This Canadian label has had an excellent run of nearly 15 years of publishing books and accompanying albums (or is it the other way around)?  I've found their non-lullaby works to be pitched at a slightly older crowd (meaning, non-infant), but their lullaby albums, just like Putumayo's, span the globe in their coverage.  Now if would only start publishing picture or board books that were specifically targeted at kids who might be just year or two old, that would be an awesome combination.

Review: Tomorrow Is a Chance To Start Over - Hilary Grist

Tomorrow Is a Chance To Start Over cover

Tomorrow Is a Chance To Start Over cover

It didn't occur to me until I sat down to write this review, but the label that has released the biggest, most diverse set of original music for kids and families over the past several years is a book publisher: Montreal-based The Secret Mountain.  They've released 23 albums over the past decade and more -- some totally in French (as would befit a publisher based in Montreal), some in English, some in languages from around the world.  Their book/CD collections have featured lullabies, folk music from around the world, even a couple books from the longtime kids musicians Trout Fishing in America.  And while some of the albums are re-releases of albums, dressed up with the accompanying book, many (like the Trout Fishing) albums are entirely new.

The 23rd and latest album from The Secret Mountain is a book/CD titled Tomorrow Is a Chance To Start Over, a "Bedtime Story and Dream Songs" collection from Vancouver-based musician Hilary Grist.  In both its music and its accompanying pictures, it is to my mind the most modern- looking and sounding release from TSM.  Grist has four folk-alt-pop albums for adults under her belt, and this new album sees her turn her attention to that most unconditional of love songs, the lullaby.  The title track is one of the most gorgeous songs you'll hear all year, for kids or not.  Its message of dropping worries, that tomorrow is, well, a chance to start over, is reassuring for sleepyheads of all ages, and Grist's vocals are somehow soaring without being totally inappropriate for a sleepytime disk.

With the exception of "Cradle Song," a reworking of Brahms' Lullaby, which concludes the album, the rest of the songs are original lullabies.  Some of them like "Fall in My Loving Arms" and "I'll Be There sound as if they might have been originally written for an adult audience (though not inappropriately so), others ("Say Goodnight" and "City of Green and Blue") feel more kid-centered.  Of course, the beauty of many of the best contemporary lullaby albums lies in part in the ability of the singer to pull together different songs to weave an overall mood of unconditional love.   And songs like "Float Away," "Le Petit Oiseau," and "Still" help produce that mood.  The album starts out a little "loud" for a lullaby album, but by the end, it's all very

The book features an original story about brother and sister Ira and Isabelle, who find themselves struggling to fall asleep and so take a boat far away but instead of finding a Sendak-ian collection of wild things, are greeted by a robin who encourages them to drop their worries and fly.  (The theme leads well into the title track.)  The siblings' clay characters were created by Grist, and the photographs -- a first for a Secret Mountain book as opposed to illustrations -- a distinctive mixture of collage and tiny models by an artistic team led in part by Grist's husband Mike Southworth.  Babies won't appreciate the photographs, perhaps, but their parents certainly will.  You can also hear Grist read the story as the album's first track.

I think that most successful lullaby albums work for both the target age range of kids ages 0 through 5 as well as their parents, and by that measure Tomorrow Is a Chance To Start Over succeeds quite well -- it's a lovely collection of songs, with some memorable images to match.  Here's hoping The Secret Mountain continues to bring new artists like Grist into their fold in future years.  Definitely recommended.

Note: I received a copy of the book/CD set for possible review.

 

Video: "Tomorrow Is a Chance To Start Over" - Hilary Grist

Tomorrow Is a Chance To Start Over cover

Tomorrow Is a Chance To Start Over cover

This week sees the release of another dreamtime book/CD collection from Canadian publisher The Secret Mountain, but unlike their last release, the classical "hits" lullaby collection Sleep Softly, this new release is a collection of 21st century folk-pop.  It's called Tomorrow Is a Chance To Start Over, and features songs, a story, and clay characters created by Vancouver musician Hilary Grist.

I'll have a review of the album and book soon, but thought that this video was too lovely not to share first.  It's for the title track, a melody featuring Grist's clear voice, which hits gorgeous heights on the chorus.  The video features the brother-and-sister clay characters Grist created to illustrate the story.  Perhaps you'll see the robin whose voice I think Grist is inspired by in the chorus.

Hilary Grist - "Tomorrow Is a Chance To Start Over" [YouTube]

Review: Watching the Nighttime Come - Suz Slezak

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Lullaby albums can be a nice way for an artist who typically records music for adults to slide into the kids music world -- maybe record a few public-domain lullabies and/or some love songs appropriate for tender ears, and with relatively little change, presto, you have a lullaby album!  The potential downside is that you get a bunch of songs recorded too loudly and with little of the magic that makes parents repeatedly put  good lullaby albums back into the CD player night after night.

Suz Slezak certainly could have gone that route.  Along with her husband David Wax, she's part of the folk-roots rock band David Wax Museum, but Slezak chose to record and release Watching the Nighttime Come, her first kids' music album, a lullaby album, under her own name.  She could have easily gone the route I outlined above, but instead this new album is remarkable for how much Slezak the vocalist fades into the background and lets Slezak the musician step forward.  I tend to think of the start of the album as being the aural equivalent of the album cover -- playful as day's last light fades and, well, waiting for nighttime.  Slezak's songs "Where Did You Come From" and "You Got Love" are dreamy tracks, but ones on which her vocals take something approximating center stage.

As daylight fades, however, the overall feel of the music, rather than anything vocally-based, becomes most important.  The heart of the album -- "Jessie's Waltz," "Tallis Canon," and "Caballito Blanco" -- are, respectively, an instrumental, a 6-minute version of a 450-year-old hymn, and a Spanish-language lullaby.  Those are not the artistic choices of someone who just wants to create a lullaby album with a snap of her fingers -- those are the choices of an artist who's deliberately creating a hushed mood.  That mood on the album eventually breaks somewhat, as all nighttimes break.  Here it's with a cover of Leonard Cohen's "Hey, That's No Way To Say Goodbye."

The album is going to be most appropriate for kids ages 0 through 5, but like most good lullaby albums, it's far more all-ages than a lot of kids music.  You can stream the 31-minute album here.

This is a somewhat idiosyncratic lullaby album, and if you're looking for renditions of the same set of lullabies you might typically hear on collections of sleepy songs, you should probably move on.  But I think this is exactly the kind of idiosyncratic that regular readers of the site will dig a lot, and even if you think you want yet another version of "Twinkle Twinkle Little Star" on CD, I'm pretty sure that Watching the Nighttime Come will fit in nicely amidst your family's CD collection.  Definitely recommended.

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

Review: Night Night! - Caspar Babypants

CasparBabypantsNightNight.jpg

The family music of Chris Ballew -- recorded as Caspar Babypants -- has been so consistently good over his past eight Caspar albums.  (I don't think I've ever been as pleased with the result of any prediction of mine as the one from six years ago that suggested Ballew "might make a whole bunch of great CDs for the family.")

So when I got an advance review copy of Night Night!, his ninth album, out today, my question wasn't whether it'd be any good -- the quality goes without saying -- but whether he could translate his tightly-contstructed hook-filled melodies into lullaby form.

Because, as you might gather from the title, this is supposed to be a cool-down album.

I hope Ballew doesn't take this the wrong way, but his album is forgettable in all the right ways.  What I mean by that is the music, while catchy, isn't necessarily one bouncy hook-filled song after another.  Rather, it features a more consistent -- and obviously far mellower -- tone.  The opening track "Just For You," is a lovely song featuring words of unconditional love (one of the backbone topics of lullabies), as is "Sad Baby," but for the most part the strength of the album is that the songs almost imperceptibly slide from slightly bouncy with lyrics from the wandering brain of a child who's just turned out the light all the way to album closer "Made of Light," whose minimal lyrics and ambient sounds would fit right in amidst the contemplative "space music" of Hearts of Space.  (It's a cousin to the ambient music Ballew has started posting.)  So while there are fewer "classic" individual CB tracks, perhaps, as an album with a specific purpose in mind, it's kind of brilliant.

The 50-minute album is targeted at kids ages 0 through 5 or 6, though many of the tracks would probably fit on a relaxation album for a broader, older age range.  Night Night! is a stellar lullaby album with a set of soothing sounds for whenever a break is necessary.  Highly recommended.

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

Interview - Suz Slezak

SuzSlezak_sitting.jpg

Suz Slezak may be best known as an integral part of the indie-rock-folk band David Wax Museum with her husband David Wax, but with the solo release next month of Watching the Nighttime Come, the singer and fiddler steps out into a new role, that of gentle lullaby artist.

Watching the Nighttime Come successfully balances many challenges with lullaby albums -- sonically interesting without being distracting, making old songs sound new (and vice versa).  Slezak, who's handling preorders for the album via PledgeMusic, chatted via e-mail about her musical upbringing, creating an integrated musical and family life as a musician, and all you really need to have when touring with a baby.


Zooglobble: What are your first musical memories?

Suz Slezak: It's hard to say what my first musical memories are since music has been so integrated into my life since such an early age. Here are a few:  demanding piano lessons at age three when I found out my brother was going to start taking them; listening to my favorite record, "Seven Little Rabbits," on the record player; playing the piano with a pacifier in my mouth; singing rounds in the car with my whole family; hearing fiddles and banjos through the walls of a tent while camping out at an annual old time festival down the road from my house in Central Virginia. 

What made you want to make music for a living?

Honestly I was well into my twenties before I thought making music for a living was a real possibility. I knew I wanted a life that was interconnected -- I wanted my kids and my partner and my work to all be intertwined.  I also wanted a creative job that included travel and community.  So I feel very lucky that through playing music, all those things have become a reality.

WatchingTheNighttimeCome.jpg

Your new album grew out of a collection of lullabies you'd recorded for friends who were having babies -- what were some of the songs on those handmade CDs and how did you record those?

That first collection was made in one evening in a tiny studio in Somerville, Massachusetts. I recorded everything myself: the vocals, the fiddle, the harmonies, the fiddle harmonies, and a simple guitar part too.  Some of the songs included "Tender Shepherd," a favorite childhood round; "Ubi Caritas," a chant from the ecumenical community in France called Taize where we visited as kids; some of my favorite fiddle waltzes; and "Say Darlin' Say," a traditional song recorded with my first old time band, Mill Pond Nine. 

Besides recording it in a studio, how did writing and recording Watching the Nighttime Come differ from those early lo-fi recordings?

The main difference is that this new record was really a collaboration between myself and two amazing producers, Josh Kaufman and Nate Martinez. The first recordings were really just me, my fiddle, my guitar and an engineer pressing play. Watching the Nighttime Come has textured electric guitar and synth sounds, ambiance from a simple percussion set up, and playful woodwinds and harmonica. It's got David's voice in there plus gorgeous harmony vocals by Lauren Balthrop. And half of these songs are written by me, so it's exciting to have them come alive.

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How did becoming a mother yourself affect the recording?

Oh gosh. Well, being pregnant was one of the reasons I finally hunkered down and made this happen. I knew my time would become less my own once the baby was born, so there was a pressure of getting it done before she arrived. However, after the first session in the studio when I was six months pregnant, we realized we were getting into a bigger project than we'd originally thought and knew we needed more time to work. So when our daughter was just a few months old we traveled by train back to Brooklyn and, between naps and nursing breaks, finished the record. I think becoming a mother also puts a new spin on the significance of making music, especially recordings. I love that my daughter and maybe even her children and grandchildren will be able to listen to them one day and imagine me singing to them -- which I am!

Your PledgeMusic video shows you giving a video tour of the David Wax Museum's touring van.  Did you pick up pointers from touring with a child before starting the fall 2014 tour?  What did you learn while on the tour?

We are so lucky to know a small but growing posse of touring moms. The person we owe a great deal to, however, is Rhiannon Giddens of the Carolina Chocolate Drops.  She has been an inspiration to me for several years, not only traveling with two kids, but even using cloth diapers on the road! She taught us that you really only need two things: diapers and the carrier. The rest you can do without.  Coincidentally, Rhiannon is releasing her own solo album  (with the renowned producer T Bone Burnett) on the same day (February 10).

Anais Mitchell is another touring mom who advised me before Calliope was born and reminded me how flexible little ones actually are. And I'll never forget  an article I read about Ani DiFranco who said touring was actually easier in many ways than being at home since you have a whole host of helping hands when you're on the road. And I've found that same thing to be true. Not only does the baby nap well in the car, but there are plenty of loving arms to hold and entertain her any time of the day or night.  We call the band members her Runcles (Road Uncles) and they've been a big part of her life.

And of course we couldn't do this without the amazing help of my dad who retired last year and comes on most of our tours to watch the baby. He's named himself Nanno (a male nanny) and puts up with smelly green rooms, late nights, and long, long drives for the good of the family band. 

What's your favorite song (or two or three favorite songs) to sing to your daughter?

You know, I end up humming to her more often than actually singing, which means I'm making up new tunes each night. But one of my favorite songs is "Didn't Leave Nobody But the Baby" that Alison Krauss, Gillian Welch and Emmylou Harris made famous in O Brother, Where Art Thou?. It's got such a great soothing, rocking rhythm to it. The words are a little sad though, so I've been making up my own more baby-friendly lyrics. 

What's next for you?

Well, my main project, David Wax Museum, is putting out a new album later in 2015, so we're gearing up for another couple years of touring with that record.  So that's the realistic next step. But we're often fantasizing about ways to spend more time in L.A. and Mexico. And I'm always trying to figure out how to make more fiber art.  But for now, I'm looking forward to my "Sweet Love and Lullabies" tour to release Watching the Nighttime Come. We'll be playing shows in New York, Boston and Northampton on Valentine's Day weekend.

Photo credits: Jo Chattman

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