Review: Rabbit Days and Dumplings - Elena Moon Park & Friends

It would be hard for me to review this album without establishing my affinities up front:

1.  I Kickstarted this album.

2.  Our son (AKA Little Boy Blue) was born in Asia (and adopted into our family as an infant).

3.  Dan Zanes has provided a healthy part of our family soundtrack over the past 10+ years.

4.  I love kimchi.

OK, now that we have that out of the way, is it any surprise that I am very charmed by Rabbit Days and Dumplings, the first album from Elena Moon Park?  (No, it shouldn't be.)  Park, the fiddler and instrumentalist from Dan Zanes' band, has taken music from her own Korean (by way of Tennessee) heritage, mixed it with other Asian family-friendly songs, and given the songs a Zanesian flair.  The result is exactly what you'd expect -- songs from a very different culture made accessible to an English-speaking, Western audience and just as importantly, made fun as well.

There are lots of singalong chorsus on the album, starting with the album opener, "Sol Nal."  Park doesn't attempt to provide lyrics for each song in her liner notes; rather, for many songs, she picks out a single phrase as the hook.  So, for "Sol Nal," it's "Sol Nal / Sol Nal / Sol Nal Un Cho Ah Yo," which she translates as 
"New Year / New Year / I like New Year's."  Or, for the train-inspired bluegrass-y "Diu Diu Deng," singing along with "Diu! Diu!," the sound of raindrops is enough.  Language is fluid in the songs, with Park and the other vocalists flowing in and out of the native tongue of each song and English.

Just as with the lyrics, where Park clearly tried to honor the original song and language but didn't feel like she had to sing every word in that original language, the arrangements have been blended into new, often Western forms.  For example, for the Japanese fishing song "Soran Bushi," Park turns it into a rousing sea shanty, "envisioning groups of men on boats singing it," as she puts it in the liner notes.  ("A Dokkoisho!," or "heave, ho!," could be your family's next motivating call.)  The Chinese song "Diu Shou Juan" is performed in New Orleans brass band style.  And as with every Dan Zanes album, Park has recruited a kajillion different musicians (the Kronos Quartet and Wu Man among them) to play along, often letting them take the lead.

With the (partial) language barrier, age is less of an issue with this album than others, but the subjects are often most appropriate for kids ages 3 through 7.  As you would expect from the folks at Festival Five, the album packaging is first-rate, but regardless of whether you get the physical copy or order mp3s, you can also download full lyrics, translations, and chords at the album's Songs page.  Listen to a sampler of songs here.

I'm clearly biased, but I think Rabbit Days and Dumplings is a great album.  If you're put off by the description of it as folk and children's music from East Asia, I encourage you to give it a chance, as you'll discover a set of songs from that, in these renditions, are very accessible to Western ears, and even voices.  Elena Moon Park have put together a remarkable album here, one that deserves a larger audience than it might otherwise be consigned to.  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.

Review: Can You Canoe? - The Okee Dokee Brothers

I know, I already reviewed the album for NPR.  But it's always good to get a few more words in.

***

It could have been -- it should have been -- a gimmick.  The Okee Dokee Brothers, the Minneapolis duo of Joe Mailander and Justin Lansing, heading down the Mississippi River in a canoe for a month, just the two of them, with the goal of producing an album's worth of river/exploration songs by journey's end.

But the resulting album, Can You Canoe?, exceeds all expectations in its breadth and scope, its heart and humor.  Their take on the traditional "Haul Away Joe," featuring The Band's Garth Hudson, tempts me to pull out every synonym for "joyful" in my thesaurus -- boisterous, rousing, or, perhaps most appropriately given the nautical theme of the album, buoyant.

In its boisterousness, "Haul Away Joe" is probably more the exception than the rule on the album, with songs tending more toward the contemplative, such as "Thousand Star Hotel," or "Small and Simple," featuring Elizabeth Mitchell.  The opening title track is the gentle invitation to exploration that serves as the throughline of the album.  What happens on the river doesn't stay on the river -- it sticks with you for a long time.  And it's not so much the big things as it is the small, such as the animals and bugs (see "The Bullfrog Opera" and "Rosita").  And while there's certainly a time and place for solitude in nature, one often needs companions to make that exploration work, a theme emphasized by "Haul Away Joe" and "Along for the Ride," which features Rachel Loshak.  Producer Dean Jones does a nice job directing traffic and filling out the Brothers' Americana sound.

Justin and Joe didn't actually canoe down the river by themselves -- they had a couple other folks along helping out and filming a DVD with interviews and music videos packaged with the CD.  There's nothing essential about the DVD -- if for whatever reason you prefer the digital mp3s, you and your family can probably get along with out it -- but it's certainly a step above most bonus DVDs.  (Most of the footage is now available on the band's YouTube channel.)

The album is most appropriate for kids ages 4 through 9, but the album approaches Dan Zanes and Elizabeth Mitchell territory in terms of its being truly suitable for all ages.  Can You Canoe? is wide-eyed in the best sense, and easily one of the best kids albums of the year.  Highly recommended.

Review: Adventures of Chicken Weebus (Volume 1)

For a variety of reasons, it takes me longer to get to story reviews.  I apologize, therefore, that I didn't write this review three months ago.  My bad.

So let me introduce to you Chicken Weebus, a plucky little chicken -- more like a chick, really -- whose adventures in The Town There are the funniest audio plays you and your family will hear all year.  Chicken Weebus is the brainchild of husband-and-wife producers Karl Hirsch and Lauren Proctor.  Adventures of Chicken Weebus (Volume 1) collects the first four stories they wrote and recorded with a fine cast of talented voice actors, and it's a great way to amuse your kids (and maybe you) for more than an hour.

Trying to explain Chicken Weebus too much would be to diminish the slightly absurd joy and probably make it sound dorkier than it really is.  Think of Chicken Weebus as akin to a slightly-less-worldly Kermit the Frog -- the straight man (albeit with a dry sense of humor) amidst a large cast of characters, many of whom are, like, Gonzo or Animal, crazy in their own little ways.  It's that interplay between the nasally Weebus and the rest of the town (like Officer Longneck, the slow-talking cop, or the self-important narrator) that makes these plays so much fun.  Each story does have a lesson for the listeners to learn, but it's doused with sufficient cheese sauce that the broccoli is easily digested.  And the characters break the fourth wall and have just a tiny bit of knowing attitude just enough that the age range for these stories goes up higher than you might think.  My favorite of the stories is "City Chicken, Country Chicken," but there isn't a weak link.

The stories are most appropriate for kids ages 4 through 10.  You can preview the four main stories on the CD -- and download the entire first story for free -- here.  You can download the stories; the CD also includes interstitials not available for download -- they're funny, though not essential.

Adventures of Chicken Weebus (Volume 1) is a smartly-conceived and well-produced set of audio stories.  Funny, smart, and knowing without being smart-alecky, I can see these stories becoming a well-loved part of many families' car trips and lazy afternoons.  Bring on Volume 2!  Highly recommended.