As we’ve alluded to in our recurring Covered in Kidfolk series, there’s a growing universe of family-friendly music out there that doesn’t suck, and a large portion of it seems to be centered around the American Northeast region which we call home.
Not all of it is folk, of course – increasingly, alternative music, world music, and even rap have found a niche in the hands and ears of cool moms and dads, who continue to insist on healthy yet artistically mature songs which they can enjoy alongside their offspring. But collectively, such music provides an apt antidote to the Disney, Kidz Bop and Barney crowd, filling a need for those of us who want our children to appreciate “real” music which nonetheless still contains themes and narratives which can appeal to the young.
Though surely supported, at least in part, by hip, up-to-date TV programming from Yo Gabba Gabba to Laurie Berkner to Sesame Street, it is also true that even as music listening habits move ever-closer towards the private headphone experience, global sea-changes have provided a more stable platform for family-centric music. A growing set of kidblogs and radio programs seem to be sustaining a renaissance of anti-pop, hold the cheese; “kids tent” performers continue to astound at local festivals from Clearwater to Falcon Ridge, and increasingly, concerts and festivals for kids can be found well beyond the traditional places – mostly elementary schools and libraries – to find a home in local churches, rock clubs, parks and outdoor arenas.
Here in our local area, for example, we find a cohesive community continuing to build around Bill Childs, who along with his daughter Ella hosts Spare The Rock, Spoil The Child, a weekly “indie music for indie kids” program which first began broadcasting on a small community radio station when Ella was just a toddler. Spare the Rock was picked up by regional AAA indie-to-folk alternative station WRSI a year or so ago, and since then, Bill and now-nine-year-old Ella have leveraged the exposure into a growing empire of dad-mom-and-tot-friendly music, encompassing multiple local weekend matinee concert series, Many Hands: Family Music for Haiti – a benefit CD which kidblog Zooglobble called “the year’s best family music compilation and one of the year’s best kids music CDs, period” – and Kindiefest, a Brooklyn-based family music conference and concert scheduled for the end of April, set to feature Elizabeth Mitchell, Robbie Schaefer, Dean Jones, Laurie Berkner, Verve Pipe and more as panelists and/or performers.
More broadly, on a universal scale, the new musical models of distribution which typify the digital age seem to have leveled the playing field somewhat, making what was once a niche market better able to thrive alongside the broader spectrum which the web supports. A trip to your local library may reveal a surprising upgrade in the taste and spectrum of what’s available out there, with delightful small-label and self-released works from Trout Fishing In America, The Nields, Hullabaloo, and much, much more, their bluegrass and folk finding space in and among the Raffi, Pete Seeger, and Ella Jenkins collections which have traditionally been the mainstay of any good kids audio collection. Heck, I’ve even found myself skimming the stacks for works which will ultimately be more for me than the kids, depending on their taste, despite the children’s label.
One of the biggest drivers of this trend is Putumayo Kids, who – like their parent company before them – has carved out a place for their well-curated world and folk music collections both within and beyond the usual venues for music. Their product, found but on the shelves of trendy, upscale, and bohemian toy stores from here to California, stands along with Melissa and Doug projects, toys, and puzzles, raw cotton dolls, wooden playsets, and other such deliberately crafted delights an an antithesis to the music which lies dying and unsold alongside the plastic trinkets and popcult princesses that populate mall culture.
Putumayo Kids’ newest release, Acoustic Dreamland, which is due to drop February 22, is a particularly strong example of the increasingly great work which comes from the well-respected publishing house, and I’m quite proud to have had a hand in helping to curate the songs on this particular sampler. The selection is inspired, if I do say so myself: delightful covers and originals from Hem, Rosie Thomas, and other artists which we have touted for their more mature, adult-themed work here on these pages stand alongside surprisingly mature work from Rick Scott, Victor Johnson, and others who have dedicated their careers to making music nominally for kids, though I think you’ll find that this is a set which stands on its own as sheer music, joyful, pensive, and potent, regardless of who’s listening.
As with most Putumayo’s output, most of the songs here have appeared elsewhere – we’ve previously shared Lucy Kaplansky’s delightfully smooth, sweet take on Mary Chapin Carpenter lullaby Dreamland, for example, which appears on 2007 kidfolk lullaby collection Down At The Sea Hotel, and I’ve posted my own contribution, the atmospherically layered acoustic dreamscape William Fitzsimmons makes of James Taylor classic You Can Close Your Eyes, which originally appeared on 2008 classic popfolk covers collection and Teach For America benefit Before The Goldrush, more than once as well.
But the collection overall is seamless, making sequence and the novelty of any new discoveries well worth any duplication. As with previous Putumayo releases, too, this collection, while cohesive, is also diverse enough to pretty much ensure that many artists here will be new to you, and those that are will surely prompt futher discovery – for example, I’m determined to pursue the works of Daniel Martin Moore after his utterly amazing original The Hour Of Sleep, whispery with piano, plucked tenor guitar, brushed drums and strings, got stuck in my head on first listen, and I had totally forgotten about the late-night majesty of Mark Erelli’s lullaby rendition of Wilco deep cut My Darling. And two previously unreleased tracks, otherwise unavailable – a gorgeous sleepytime rendition of the Allman Brothers’ Blue Sky from Elizabeth Mitchell in an increasingly rare solo turn, and an original track from Frances England entitled Here With Me which I find truly charming – are almost enough, in themselves, to justify the cost.
Highly recommended, in other words – both for adults and kids. And though I hope you’ll buy copies of Acoustic Dreamland for every expectant and new parent you know, thanks to the kind folks behind the record, I’m offering two lucky readers a copy of the CD totally gratis, so you can sample the wares for yourself before you stock up for summer births and birthdays.
To enter to win a copy of Putumayo Kids Presents: Acoustic Dreamland, comment on this entry with your opinion about the songs and strategies discussed at the END of this entry, OR email me with the same information. Don’t forget to include your email, so we can notify you if you win.
In the meantime, here’s a pair of favorite covers from the new collection, plus a few other tracks from previous gems in the Putumayo Kids catalog, to listen to while you cue up to enter the contest or go off to purchase the CD for yourself. Trust me: whether you’re a parent or just a fan of good acoustic songcraft, this one will stay in the disc changer for a long while to come.
As a coda of sorts to today’s feature, let me note that although we generally stick to celebration here at Cover Lay Down, and though I truly love the Allman Brothers cover above, I have mixed feelings about Sunny Day, Elizabeth Mitchell’s newest album – partially because I think Mitchell’s voice seems weaker here, partially because there’s less of the transformed-for-kids pop and rock songs which she featured on previous releases, and partially because as her family ages, Mitchell and her performing partner and husband Daniel Littleton have begun featuring their daughter Storey’s untrained voice in an increasingly doggerel-driven canon.
Don’t get me wrong, here: I’m not suddenly turning against Mitchell and her family. We’ve long championed Mitchell’s work as a trailblazer in the world of gentle, truly beautiful folk interpretations of pop, rock, and classic children’s tunes for the younger set; I still maintain that anyone who has not purchased Mitchell’s first few albums cannot claim to have a functionally complete set of good kids music in their home. And both Putumayo and the Spare The Rock crowd respect her work as I do: Mitchell is a mainstay of Putumayo Kids canon, and she was given late-afternoon feature act status at last year’s Many Hands release concert, which was sponsored and emcee’d by Bill Childs.
But though some of the tracks on Sunny Day are sweet and light, albeit a little more ragged than her previous work, those which include her daughter are much harder for me to listen to. There’s love there, for sure, and smiles beaming through the music, but prioritizing that love over performance isn’t without its cost: music by kids doesn’t always have the same raw audiophillic tone or represent the same mastery from a purely artistic perspective, and that’s absolutely the case here. And I worry that Mitchell has sacrificed some of the music’s appeal in her attempt to continue what we surely should respect as an organic and fully celebratory evolution of the family as music-maker.
Should we listen all the same, to honor that artistic process? Should we reserve judgment, and see what the kids say? Is it simply mean to criticize a kid singing joyfully if somewhat shyly on her parents’ record, or is it acceptable to criticize the parents for asking us to lower our expectations for what their music sounds like in return for celebrating their process and family life? I’m not sure. But I will say that the goal of our Covered in Folk features has always been to find and feature music which can be shared, and I’m not sure this new path Mitchell and her family have chosen includes me or other adults as a listener. As such, if we’re talking about music for children and adults to enjoy together, I can’t recommend this one as highly as I did her previous works – and would note, as well, that at the aforementioned Many Hands release concert, neither parents nor kids seemed as engaged with Mitchell’s family music as they did with the higher-energy acts which preceded or followed them, though to be fair, that may have been the result of putting music which has always thrived on intimacy in a large, open-air space.
Maybe it’s just me. Maybe, unlike her previous albums, this one isn’t for me, and I’m just missing the concept. But either way, I’d be interested in your opinion – and I’m interested enough to make it a criteria for today’s contest to win the Putumayo Kids Acoustic Dreamland CD. So here’s a covertrack or two from Sunny Day, one with Storey, and one without; let me know what you think, making sure I get your email address alongside, and I’ll enter you in the Putumayo Kids contest.