Basic Folk: Edie Carey & Sarah Sample

Friends and collaborators Edie Carey & Sarah Sample teamed up in 2014 for their first album, ‘Til the Morning: Lullabies and Songs of Comfort. The pair both had babies and were wanting to do a project that centered around calming music for both children and adults. They were shocked at the album’s reception by adults (AKA non-babies) who listened after experiencing grief, trauma, and huge loss. This type of music certainly had an important place in the world. Now, they have done it again, but with more of a focus on calming music for adults with their follow-up. Lantern In The Dark: Songs of Comfort and Lullabies includes some originals, their first co-write, and new interpretations of songs by Wilco, The Beatles, Cyndi Lauper, and James Taylor.

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In our Basic Folk conversation, we tackle the concept of comfort and what they experienced in the surprise reaction from their first record. What is a good balance of comfort? It was also a great time to talk about their experiences as touring musicians with young babies. For instance, the types of questions they would get asked that they are sure their male counterparts with young children would not get. They talk about the songs on the album, one of which was written by Edie in the aftermath of her mom’s sudden and recent passing. We wrap it all up, of course, by hearing each of their James Taylor stories and a delightful bedtime-themed lightning round.


Photo Credit: Steve Willis

Basic Folk: Lisa Loeb

Looking back at her wildly successful and always adventurous career up to this point, it feels inevitable that Lisa Loeb was always going to be a songwriter. But young Lisa probably could have done any creative job well. She grew up surrounded by music, yes, but she also had a passion for theater and got her degree in comparative literature. It was her theater and film side hustles that led Lisa to her first big break. Lisa’s friend Ethan Hawke shared her song “Stay” with Ben Stiller, who included the song in the soundtrack for the film Reality Bites. “Stay” was a massive hit and Lisa was the first-ever artist to have a Number 1 hit on the Billboard charts without a recording contract.

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The second act of Loeb’s career is the main focus of our Basic Folk conversation. This chapter in the book of Lisa Loeb is all about… children’s music! As her latest album, That’s What It’s All About, demonstrates, Loeb has managed to keep playfulness and curiosity at the center of her life well into adulthood. She has figured out the delicate balance of making music for kids that adults can relate to as well. Happy memories of music from her own childhood, as well as nods to her elders, make this new record a sonic storybook that listeners of all ages will enjoy.


Photo Credit: Juan Patino

Cathy Fink & Marcy Marxer Conquer Cancer and Filmmaking with ‘All Wigged Out’

There is hardly a sphere of the music industry that musicians and community builders Cathy Fink & Marcy Marxer have not conquered, from bluegrass and folk music to children’s music and the Grammys. Now, these multi-hyphenate musical polymaths have set their sights on a new medium through which they can create, storytell, and connect with audiences: film. 

All Wigged Out is a documentary musical film that tells the story of Marxer’s journey through breast cancer diagnosis, treatment, and recovery. The film, which will be available on demand May 16 on Amazon, Google, and many more, utilizes musical mastery, eclectic wit, storytelling, and comedy to share the poignant, bittersweet, hopeful, and downright zany tale spun together from Marxer’s unique perspective, writing style, and multi-instrumental approach. On April 28, an album of the catchy, hilarious, and touching songs from the musical – entitled, All Wigged Out: Songs from the Musical – will be available wherever you download and stream music. (Pre-order on Bandcamp). Watch a trailer for the film:

“[All Wigged Out] is a way to entertain people, but educate at the same time – educate patients and caregivers,” Marxer explains via phone. “Not educating in a condescending way, but there were just so many things that I could not expect, that I didn’t know how to deal with. This is just a way of sharing my experiences – which is just one experience – and help folks to live life one day at a time, doing your best with what you’ve been given to make decisions and move forward. And the next day, when everything changes, you still just make the best decisions that you can at that moment. Then you can live life with no regrets.”

“And don’t lose your sense of humor!” Cathy adds from the background – they both laugh.

Over the course of their widely variable careers, Fink and Marxer have certainly never lost their senses of humor – cancer or not. Together and separately, their careers have exceeded four decades in folk music, old-time, bluegrass, children’s music, and so many other realms of the entertainment industry. It comes as no surprise, that despite not having any prior experience writing, producing, and staging a musical documentary film, that they were able to leverage their personal and professional communities, teach themselves these often punishing skill sets with steep learning curves, and put together a film that’s musically engaging, humorous, joyful, and actually says something. All at a markedly clean-and-crisp, professional level.

All Wigged Out also shines a spotlight on Cathy & Marcy’s relationship, the way they rely and depend on each other not only in their musical careers, but also in their personal lives. They demonstrate, through this film and in all their efforts, that their penchant for community and community building starts at home. They’re committed leaders, mentors, and friends to all in the roots music industry and beyond, so it feels absolutely grounded and genuine to see them both expand their vision for community to include cancer support groups, associations, and all kinds of organizations with missions of supporting and uplifting folks who have had cancer touch their lives. 

With no shortage of laurels and film festival accolades, All Wigged Out is certainly poised to bring Fink & Marxer and their community-minded music to so many new audiences within and outside of the music community, especially with their activist and organizing experience. They’ve taken All Wigged Out to screenings, talk-backs, fundraisers, discussions, and panels, often partnering with Cancer Support Communities and Gilda’s Clubs, as well as making appearances at the NC Museum of Art, Silicon Valley Chamber of Commerce, American Nurses Association, National Women’s Music Festival, and so many more.

This week, in celebration of the film’s release, they’re partnering with Ebeauty on a film screening and panel that features Marxer, her surgeon, and a representative from Ebeauty, which is a non-profit organization that facilitates cancer patients obtaining wigs and other cancer resources. During the event, Marxer will donate the film’s titular wig to Ebeauty, which will use the hair piece to train wig technicians and cosmetologists on wig styling for patients, then the wig will be passed along to another cancer patient facing hair loss as part of Ebeauty’s wig exchange program. This is just one example of the many ways this film and its music can touch folks’ lives and help them on their own journeys back to health and wellness.

Whether teaching ukulele, competing in local fiddler’s conventions, participating in diversity, equity, and inclusion efforts, or just camped out in a festival parking lot picking, Cathy Fink & Marcy Marxer lead by example, putting their hearts and souls into everything they make and by doing so, they open a wide, hospitable door to anyone and everyone they meet. The connection, compassion, and poignance of All Wigged Out will make this task even easier, despite its often challenging or bittersweet subject matter. The joy – and the belly laughs – in this film are second only to what we love most about Cathy & Marcy to begin with: their music.


Photo credit: Todd Rosenberg

Sara Watkins Finds a Dreamy Rhythm With ‘Under the Pepper Tree’

The Schinus molle — more commonly known as the California pepper tree — can grow up to 45 feet high and 50 feet wide, producing small yellow flowers and rose-colored berries, and bringing shade to everything within reach. For Nickel Creek originator Sara Watkins, the pepper tree brings about memories of family, youthful fun, and inspiration for her latest record, Under the Pepper Tree. Produced by Tyler Chester, the 15-song album is a personal project for Watkins, including songs from her own childhood alongside a few original compositions. Reuniting Nickel Creek, I’m With Her, and a range of guest performances, she tackles favorite songs such as “Pure Imagination” (from Willy Wonka and the Chocolate Factory) and “Blue Shadows on the Trail” (from The Three Amigos).

BGS caught up with Watkins from her California home to talk about the inspirations behind Under the Pepper Tree, and the experience of making a record like this during the COVID-19 pandemic.

BGS: Was the making of this album a different experience from those you’ve done in the past?

Watkins: Yeah, and not just because we did it during COVID. That was a huge appeal in working with Tyler Chester — he can play so many instruments so well. His musicality comes out on each instrument really well. Other than that, I knew early on that it would be necessary for the songs to weave together. As I was collecting these songs, realizing that so many of them are kind of dreamy and mellow, I wasn’t dealing with the typical balance of “up” songs, “down” songs, “sad” songs, “happy” songs, the way those things can affect the sequence of a normal album. Because of the nature of this material, a lot of the songs had a similar dreamy quality, so I thought by connecting them all, that would let the album kind of drift along, and hopefully sweep you up in a way that might not happen if they were all just 15 individual tracks. 

Before going in to record the project, we did a bit of a practice swing, just to see how the sequence might work together. We made some changes to the sequence and adjusted the transitions accordingly, so that everything went together as well as possible. This is the first time I’ve sequenced an album before going in to record, and I really enjoyed the result and how it affected the process throughout. It’s definitely something I’m going to bring with me into my future projects, even if I don’t do it exactly the same way. I’m going to consider it very seriously before starting records. 

How did getting to be home during the pandemic influence your day to day, and outlook on this album?

If affected it completely. I don’t think I would have made this record without the experience of just being home, and realizing that I needed some kind of rhythm, needed something that would tell me that today was passing. I’m new to being home, the way that all musicians are. That, combined with having a toddler now, was a new experience. The first couple years of being a mom I was on tour, and the rhythm of tour life is built into the work, the way that most people’s jobs provide a rhythm for their life. I think a lot of [musicians] were discovering that we needed to create those rhythms, by taking morning or evening walks around the neighborhood, by spending more time making meals or cooking, or doing whatever it is that helps cycle you in to the next part of the day. 

I was digging through my old record collection, and I would listen to five a day, and decide whether or not I wanted to keep them or whether I was done with them. A big part of me creating Under the Pepper Tree with vinyl in mind was because of this wonderful freedom that it gave me to put on a record and not have to make a choice for a while. I could just listen to it and not have to worry what song came up in the algorithm next, or decide whether or not I wanted to skip ahead. That freedom of just making one choice and being able to go about the rest of the things that I needed to do, it felt really liberating, like a kindness that I could do to myself. 

That also played into why I wanted to make this album with record listening in mind. It works great on digital too, but I imagined it being an A and B side. If you only listen to side A, you can get a full arc and it can send you into dreamland. And if you want to listen to it altogether, that’s another experience. 

Like with Nickel Creek on “Blue Shadows on the Trail,” were any specific guests important to certain songs?

“Tumbling Tumbleweeds” with Aoife [O’Donovan] and [Sarah] Jarosz, my I’m With Her bandmates, was just as important, because I really wanted both of those bands on this record. I feel like this album in a lot of ways celebrates this time in my life, and the music that I grew up with. For me also, it was an incredible way to get those two bands together on an album, because they’re both so meaningful to me, and have played such huge roles in my life, and in my growth and development as a person, as a mom. So it was incredibly meaningful to get to have them on it. 

All of the players on the record mean a lot to me, but I really also loved having Davíd Garza on this record, who is a dear friend. In particular, he plays this beautiful solo on “Moon River.” There’s a song on Emmylou Harris’ record Roses in the Snow when Willie Nelson comes in with a guitar solo, and then it sounds like he just goes away. When I first heard that record — I think it was in my early 20s — it was pretty informative to me about how a lot of times musicians can be known for one or two things, but they might not often get asked to just be a musician on somebody else’s record. I just love that [Harris] didn’t get Willie to sing on it, she got him to come in and play a guitar solo. That was really eye-opening for me, and changed the way I thought of playing with people. 

On “Moon River,” I specifically had that moment in mind where Willie comes in and plays a solo and goes away, and so Davíd graciously agreed to be my Willie Nelson on this song, and he does a wonderful job. 

Having a couple of original tunes on the record, what was your process behind writing something that incorporates naturally with these classic songs?

I felt like there should be a spot for fiddle on this record. I knew that I wanted to have an instrumental on here, and I knew that I wanted to write it. It was important to have a little break in the lyrics. It was great to expand my childhood story with the title of the [instrumental], “Under the Pepper Tree.” That has very personal weight to me. A lot of instrumental titles are pretty arbitrary in my experience, but this was an opportunity to share a little bit about my own childhood. 

There’s a tree that I spent a lot of time growing up with, playing in and imagining in. There are several very important pepper trees in my life. One of them is at my aunt’s house, where my grandma used to live. There were two huge family reunions under that pepper tree. I just remember running around with my cousins, playing tag, listening to my aunt’s laugh, all that stuff. It’s a really beautiful thing, and I think that had a natural place on the album. 

The other song [“Night Singing”] was a poem that I wrote, that eventually fell into a guitar part. Originally, I thought that this record would be a lullaby record, but my goal for the record changed. It was to make something a little more deeply transitional for people of all ages. But “Night Singing” is a true lullaby, for my daughter, for myself, and for my friends. 

Do you have any specific plans you’re looking forward to taking on when we climb out of this pandemic? 

This fall, my brother [Sean Watkins] and I are going to do some touring behind our Watkins Family Hour album brother sister, which came out a year ago now. We weren’t able to tour it, but a lot of the dates we had for last fall have been rescheduled for this fall, 2021. We have some dates on the books starting in August, which is kinda hard to believe! So this fall we’ll be able to do some in-person shows, and I’m really looking forward to it. 

I feel very stopped up in terms of creativity, because we wrote the brother sister record, recorded it, and put it out, and haven’t really been able to celebrate it with an audience. Then I put together Under the Pepper Tree, recorded that, released it, and I haven’t been able to do shows for it. There’s been writing for other projects, but I honestly feel a little bit stopped up creatively. I think I just need to perform some of these songs, and get them out of my body, so that I can put more stuff in. As alienating as this whole thing has felt for us, and as isolating as it has been, there has been to some degree a shared experience, and the universality of that has been reassuring at times for me. 


Sara and Sean Watkins, as Watkins Family Hour, are coming to Colorado in March 2022! Grab your tickets here.

Photo credit: Jacob Boll

The Show on the Road – Shovels & Rope

This week, The Show On The Road celebrates the newest record by Charleston’s hellion harmonizers, Shovels & Rope, with a new conversation with the married duo of Michael Trent and Cary Ann Hearst.


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You’d be hard-pressed to find two harder working singer-songwriters than this prolific duo, even before they got together to record their honey-voiced self-titled debut over a decade ago. Thinking it was just a sonic souvenir before they split off again to pursue their barnstorming bar-band solo careers, their human hearts and some encouraging listeners had other plans, convincing them to keep creating as a team. They’ve been off to the races ever since — making five acclaimed records of originals beginning with O’ Be Joyful and following with three gritty covers albums with collaborators like Lucius, Shakey Graves, Brandi Carlile, The War & Treaty, and more.

Shovels & Rope’s newest cover project, Busted Jukebox Volume 3, which dropped on February 5 via Dualtone Records, is a new experiment. You could say it’s an angsty rock record for kids or maybe it’s an homage to the yearning, defiant, ever-hopeful teenager in all of us. With indie-darlings like Sharon Van Etten sitting in on standouts like the Beach Boys’ “In My Room” and Deer Tick joining a rollicking version of the Janis Joplin favorite “Cry Baby,” like a good Pixar animated flick, this collection has just as much to offer Mom and Dad as it does for the kiddos.

If you’ve seen Shovels & Rope live, you’ll notice that Trent and Hearst often face each other, not the audience; their eyes never seem to leave each other. Almost all their songs, like the award-winning favorite “Birmingham,” include spot-on harmony and intensely-focused unison singing. Somehow they create a blisteringly big sound despite always remaining a duo. Even on the biggest stages, from Red Rocks to their own acclaimed festival High Water Fest (set in their longtime South Carolina home base), they stick to their simple but potent formula. Switching back and forth between jangly and crunchy guitars, humming keyboards and pounding piano, hopping from sweat-strewn stripped-down drum kits to aching accordions, their joyous garage-rock Americana keeps gaining them new fans worldwide.

If you’re stuck at home and have kids running rowdily through your house like Shovels & Rope do, (this taping had to be rescheduled three times), maybe try turning on Busted Jukebox Volume 3 nice and loud and see what little ones think. Or just put them to bed and rock out yourself!

Stick around to the end of the episode to hear Shovels & Rope present the sweet campfire jam “My Little Buckaroo” featuring M. Ward.


Photo credit: Mike Crackerfarm

MIXTAPE: Music to Drive Your Kids Around (Without Driving Yourself Crazy)

Among the many writer’s hats I wear is one of children’s music reviewer. When my daughter was in grade school, it was fun playing various kids CDs for her. She’s in college now, so those days are gone. I did keep her in mind, however, when putting together this playlist, thinking about songs that she would tolerate listening to now.

A lot of people associate children’s music merely with those simple, preschool music-time tunes about numbers, letters, and other lessons for toddlers. And there certainly a lot of those songs. But, as in any genre, there is a lot of interesting children’s music being made too.

This mixtape is a “mix” in a several ways. It mixes together songs by “adult” musicians who have ventured nicely into the family music world as well as children’s musicians with what some might call “crossover potential.” There are originals and covers. Fast songs and slow ones. And hopefully it’s a mix that Bluegrass Situation families can enjoy on an hour-long drive, whether it’s a fast drive or a slow one.

To create some parameters, I chose recordings released since 2000, only recordings made for children, and, yes, only recordings found on Spotify (I couldn’t find Jessie Baylin’s Strawberry Wind or I Love: Tom T. Hall’s Songs of Fox Hollow or else they might have been represented here). Also, I also stayed away from songs that seem to appear on every fourth children’s album (sorry, “Rainbow Connection”). — Michael Berick

The Okee Dokee Brothers – “Hope Machine”

These “brothers,” Joe Mailander and Justin Lansing, have put out a handful of excellent, old-school, folk-inspired albums that mix originals with traditional tunes. You can hear the Woody Guthrie influence in this cheery, gently philosophical original from their 2020 album, Songs for Singing. Here, as in all their music, there’s a wonderful, easy-going approach that doesn’t dumb down to kids.

Elizabeth Mitchell – “Blue Sky (Little Martha Intro)”

This Elizabeth Mitchell isn’t the actress from Lost, but the singer/guitarist from ’80s indie rockers Ida. Over the past 20 years, she has also made many terrific children’s albums, mainly for Smithsonian Folkways. Featuring nifty guitar playing from her husband and longtime collaborator Daniel Littlefield, Mitchell’s acoustic cover of this Allman Brothers classic hails from her Blue Clouds album, where she also reconceives Bowie, Hendrix, and Van Morrison songs.

Randy Kaplan – “In a Timeout Now”

On his album Mr. Diddie Wah Diddie, Randy Kaplan has great fun taking “poetic license” with old blues tunes and, in this case, the Jimmie Rodgers hit “In the Jailhouse Now.” Kids will love the comical lyrics and parents will appreciate Kaplan’s inventive, child-friendly renovations on roots music nuggets.

Laura Veirs – “Soldier’s Joy”

I read somewhere that “Soldier’s Joy” is one of the most played fiddle tunes of all time — and that it was a slang term for morphine during the Civil War. Veirs, who hails from the Northwest indie rock scene, keeps her version on the toe-tapping PG side. This duet with The Decemberists’ Colin Meloy comes from her highly recommendable, and only, children’s album, Tumble Bee.

Wee Hairy Beasties – “Animal Crackers”

This kooky side project by alt-country all-stars features Jon Langford (Waco Brothers/The Mekons), Sally Timms (The Mekons), Kelly Hogan, and Devil in the Woodpile. Pun lovers of all ages will revel in the wild wordplay running through the title track to this decidedly goofy 2006 album.

Little Mo’ McCoury – “The Fox”

Little Mo’ McCoury arguably stands as the most authentic bluegrass album for children, at least in the 21st century. Ronnie McCoury leads his family band through a set of old-timey tunes plus “You’ve Got A Friend” and “Man Gave Name to All the Animals.” While there are some overly familiar choices (“This Old Man,” “I’ve Been Working on the Railroad), “The Fox” provides a frisky workout of this bluegrass standard.

Meat Purveyors – “The Crawdad Song”

“The Crawdad Song,” along with “Froggie Went A-Courting/King Kong Kitchie Kitchie Ki-Me-O” must rank as the traditional tunes most frequently recorded for children. I included “Crawdad” here because it is the one ingrained more in my brain. And I picked this version because of the Meat Purveyors’ speedy bluegrass-y rendition. You’ll find it on Bloodshot Records’ irreverent kids’ compilation, The Bottle Let Me Down (although parents might want to listen to it before sharing with their little ones).

Red Yarn – “Rabbit in a Log”

Red Yarn (the nom de plume for Oregon-based musician Andy Furgeson) makes rootsy music that appeals to all ages. He frequently travels an early rock and roll route but he follows a more acoustic road on this hopped-up banjo-powered take of the old folk tune that appears on his Born in the Deep Woods album.

Johnette Downing – “J’ai Vu Le Loup, Le Renard Et La Belette”

Louisiana music is a popular Americana style in children’s music, probably because it so easily gets kids dancing. On her album Swamp Rock, the New Orleans musician Johnette Downing does a marvelous job presenting, and explaining, a variety of Louisiana-bred music and culture. This bilingual animal tale (“I Saw the Wolf, the Fox and the Weasel”) showcases two Cajun greats: fiddler Joel Savoy and accordionist Roddie Romero.

Kare Strong & Josh Goforth – “To The Country We Will Go”

Slowing down the tempo a bit, “To the Country We Will Go” offers a leisurely family trip. This song, as with most Kare Strong’s music, contains elements of English folk ballads. Providing the banjo, fiddle and other musical accompaniment is Josh Goforth, a bluegrass vet who has played with David Holt, Appalachian Trail, and Carolina Road.

Francis England – “Blue Canoe”

Sticking in the traveling mode, “Blue Canoe” is a charming little outing from Francis England, who makes consistently excellent music for families. This tune appears on her debut, Fascinating Creatures, an album where I would recommend “Charlie Parker” and “The Books I Like to Read” too.

Dan Zanes featuring Valerie June – “Take This Hammer”

While Zanes is right at the top of the best-known kids musicians today, I couldn’t resist including something by him. He has a whole bunch of fine tunes to choose from and I wound up landing on this one, which he sings with Valerie June, from his 2017 tribute album, Lead Belly, Baby!

Sarah Lee Guthrie – “Go Waggaloo”

I couldn’t exclude the name “Guthrie” from this mixtape. For this title track to her family music album, Sarah Lee (Woody’s granddaughter and Arlo’s daughter) wrote a song using unpublished lyrics her grandfather had written. Starting off like a silly sing along, the tune quickly goes deeper becoming a somewhat autobiographical look at Woody’s life.

Josh Lovelace with Spirit Family Reunion – “Going to Knoxville”

Lovelace took a break from his day job as keyboardist in rock band Needtobreathe to make a kids album. A standout track on Young Folks, “Going to Knoxville” is joy-filled, driving-in-a-car love song, with Spirit Family Reunion’s Nick Panken and Maggie Carson contributing some singing and banjo playing.

Beth Nielsen Chapman with Kid Pan Alley – “Little Drop of Water”

Kid Pan Alley, a Virginia-based nonprofit, sends songwriters into schools to collaborate with students. Chapman wrote this song with a third-grade class. Besides its strong message about water conservation, it’s pretty darn catchy too. My family still remembers it over a dozen years after the disc was last in our car’s CD player.

Justin Roberts – “Rolling Down the Hill”

One of the most skillful songwriters in the children’s music scene, Roberts usually operates in the pop/rock field, so this is a rare tune of his with a fiddle. Roberts injects just enough details into this playful ditty to make it resonate with both parents and kids — without slowing down the momentum.

Shovels & Rope with The Secret Sisters – “Mother Earth Father Time”

The just-released third volume in Shovels & Rope’s Busted Jukebox series is a set of family-oriented covers entitled Busted Juicebox. The husband-wife duo Michael Trent and Cary Ann Hearst partnered with The Secret Sisters for a sweetly sung rendition of this tune from the 1973 animated film version of Charlotte’s Web.

Sarah Sample and Edie Carey – “If I Needed You”

These two singer-songwriters teamed up back in 2014 to make ‘Til the Morning, a lullaby album that shouldn’t just be restricted to nap time. This Townes Van Zandt gem was a particularly inspired choice and their tender interpretation is quite moving.

Alastair Moock with Aoife O’Donovan – “Home When I Hold You”

Moock is a Massachusetts singer-songwriter whose family albums often tackle themes like inclusivity or social action. This track comes from Singing Our Way Through, an inspiring, powerful work he made for families dealing with pediatric cancer. His duet with Aoife O’Donovan conveys a simple yet poignant message of love from parents to a child.

Sara Watkins – “Pure Imagination”

Watkins’ first family album, Under the Pepper Tree, arrives on March 26, and its first single offers an appetizing hint of what’s to come. Watkins’ heavenly, soaring vocals highlight her gorgeous rendering of this Charlie and the Chocolate Factory tune. And celebrating the magic of creativity and the freedom of possibilities seems like a sweet note to leave families with.


 

BGS 5+5: The Bright Siders

Artist: The Bright Siders (Kari Groff, MD, and Kristin Andreassen)
Hometown: Brooklyn & Nashville!
Latest album: A Mind of Your Own
Personal nicknames (or rejected band names): How about a rejected song title? “Everybody Goes to Therapy” We actually recorded a demo of that one… but we might have to save it for these kids when they grow up!

Which artist has influenced you the most … and how?

There’s one album that influenced both of us deeply as children. The record is Free to Be…You and Me created in 1972 by author and actor Marlo Thomas, Carole Hart of Sesame Street and Letty Cottin Pogrebin of Ms. magazine. Free to Be… was a collection of songs and skits about gender issues, performed by Thomas and a cast of the era’s most prolific stars. The messages were clear to us as children (Girls can be anything! Boys can play with dolls too! Parents are people! Good stuff like that…). But the reason we listened again and again was because the music just sounded amazing. When we started to work together on the project of making kids’ music with a mental health message, this album gave us a gold standard to work toward. So here we are as adults feeling grateful for this music once again. — Kristin

What was the first moment that you knew you wanted to be a musician?

I don’t think I had a choice. I grew up in a very musical family. My parents were both music teachers as well as my grandfather. It was just a given that you would play music along with whatever else you decided to do. In my case, that was medicine and psychiatry. — Kari

How often do you hide behind a character in a song or use “you” when it’s actually “me”?

Good question for a psychiatrist. Not that often. I usually try to own my own emotions! — Kari

What other art forms — literature, film, dance, painting, etc. — inform your music?

My first true musical passion was actually traditional percussive dance, and I toured as a clogger before I started playing stringed instruments. Often, when I start working on a song, the melody and rhythm come most easily, and I always figured that was somehow related to the time I spent in the dance world. — Kristin

What’s the toughest time you ever had writing a song?

I tried to write a few songs in the early days of the pandemic but I couldn’t capture the intensity of the experience here in NYC so I chose to write a short children’s story instead (releasing soon!). — Kari


Photo credit: Jefry Wright

STREAM: Cathy Fink & Marcy Marxer, ‘WAHOO!’

Artist: Cathy Fink & Marcy Marxer
Hometown: Silver Spring, Maryland
Song: “High on a Mountain”
Album: WAHOO!
Release Date: October 11, 2019
Label: Community Music, Inc.

In Their Words: “The ukulele has as many Americana and roots music voices as the player has, and that’s what we’ve explored on WAHOO! From the Turlough O’Carrolan Irish piece ‘Morgan Megan’ to a bluesy version of Ola Belle Reed’s ‘High on a Mountain,’ we’re pushing the ukulele into places that are new and exciting and love creating unique combinations with uke and cello banjo, uke and guitar, baritone and tenor uke, uke and electric guitar, songwriting and vocals. Somehow, all of our musical worlds come together on this little four string piece of magic.” — Cathy Fink & Marcy Marxer


Photo credit: Irene Young

LISTEN: Lisa Loeb featuring Ed Helms, ‘Wanna Do Day’

Artist: Lisa Loeb (featuring Ed Helms)
Hometown: Los Angeles, CA
Song: "Wanna Do Day"
Album: Feel What U Feel 
Release Date: October 7
Label: Furious Rose Productions

In Their Words: "The song 'Wanna Do Day' is a song about too many things to do in a day and the pressure and stress of all of those things, and not enough time to do what 'I wanna do.' The song was a rambling song, to represent the feeling of that kind of day — perfect for a banjo. Ed and I saw each other recently at a TV show premiere in Los Angeles, and we talked about playing together. So, all of the stars aligned, and he came in and played the rambling banjo for me and now the song sounds like there’s a lot of activity going on!" — Lisa Loeb


Photo credit: Frances Iacuzzi