Tag: kelly hogan

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

Posted on by Editor

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.

 

MIXTAPE: Patterson Hood’s Americana 101

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Americana was a name that used to trouble me when it first came into semi-vogue in the late 1990s. I didn’t really like alt-country, either. So many people tended to love the music and hate the various names for the genre that the original No Depression magazine even poked fun at that on their nameplate. That said, it was probably the most exciting sub-genre of its time and has had a quite impressive afterlife, growing to actually be a somewhat mainstream way for a wide variety of excellent artists to be marketed to an increasingly larger audience.

My playlist leans heavy on the turn of the (last) century’s roots of this genre, but I also hope to incorporate a little of the more interesting current songs and maybe a couple that pre-date the movement that are excellent examples of its origin. — Patterson Hood, Drive-By Truckers

Son Volt — “Windfall” (from Trace, 1995)

Probably the one song that best exemplifies and encapsulates everything that is great about this genre in three glorious minutes of musical confection that is so good it set up a blueprint for a genre and transcends most everything that followed that path.

Lucinda Williams — “Drunken Angel” (from Car Wheels on a Gravel Road, 1998)

Lucinda’s long-delayed Car Wheels on a Gravel Road survived its troubled gestation to become one of the genres first breakout hits and turned her into a bonafide star, winning Grammys and a life-long following along the way. Picking one song from this album was hard, but to me, the best of all was this ode to the life and untimely death of Austin Texas singer/songwriter Blaze Foley. Stunning.

Merle Haggard — “If I Could Only Fly” (from If I Could Only Fly, 2000)

Merle predates anything else in the Americana genre, but his music defined the best that it had to offer. By 2000, country music had moved in a much more mainstream direction, and Merle found a new following among the disaffected punks and roots rockers that alt-country drew and that he continued to inspire. ANTI- Records seized this opportunity, and gave Merle the chance to make exactly the kind of album that mainstream country wouldn’t. He rose to the occasion with this masterpiece. Merle was, himself, one of the best songwriters of all time, but for this compilation, I chose his cover of Blaze Foley’s masterful song that Merle loved enough to make the title cut of his “comeback” album.

The Silos — “I’m Over You” (from The Silos, 1990)

Although Americana is most widely associated with the late ’90s through the present, it had roots dating back to The Basement Tapes by Bob Dylan and the Band and the tons of incredible albums that it inspired, followed by the cult status of a wonderful band from St. Louis, Missouri, called Uncle Tupelo. However, in the most unlikely of times — the ’80s, which were way better known for new wave and bad drum sounds — R.E.M. and the Silos made records that took the best elements of those sounds and made them their own. The Silos never had near the amount of fame that they deserved, but their records still hold up as among the best albums of their time and beyond.

R.E.M. — “(Don’t Go Back to) Rockville” (from Reckoning, 1984)

Although they are usually better known for their later hit records, this gem from R.E.M.’s second album helped lay out a blueprint for the Americana genre and still holds up as an example of just how wonderful they always were. There’s no overstating what a breath of fresh air this song was to our ears in the mid-80s nor how great it still sounds over 30 years later.

Steve Earle — “Ben McCulloch” (from Train a Comin’, 1995)

Another artist that pre-dated (and probably hated the term) Americana, Steve Earle broke big in the ’80s with his debut album, Guitar Town, before descending into a haze of addiction and even jail time. Upon his release from jail, he laid the groundwork for his comeback with this stripped-down collection of excellent songs, none better than this tale of a scared and disgruntled Civil War soldier.

Townes Van Zandt — “Waiting ‘Round to Die” (from Live at the Old Quarter, 1977)

Although mostly pre-dating the term Americana, no one better represented all that was great about it than Townes. Steve Earle once famously said that Townes was the greatest songwriter in the world and that he would stand on Dylan’s coffee table and shout it out anytime. I imagine that that quote has out lived its intention, but this song shows a little bit of what Mr. Earle so grandly stated. This version — and the live album that it comes from — is a great introduction to the majesty of Townes’s songwriting and the power of song in general.

Gillian Welch — “Revelator” (from Time (The Revelator), 2003)

Gillian sprung from the mid-90s Americana scene and was further propelled by the success of the Coen Brother’s 2000 film O Brother, Where Art Thou? and its breakthrough soundtrack. Then she suffered a backlash from people accusing her of being a retro-novelty act. She fired back with this shape-shifting and time-traveling masterpiece that condenses a history of folk and blues into her personal here and now and, at the same time, takes two acoustic guitars and two singers and somehow, without a hint of shouting, manages to rock like Zeppelin and Crazy Horse. Over a decade later, I’m still in love with every song on this album, but this one seems to be the one that best encapsulates it all.

Wilco — “California Stars” (from the Billy Bragg and Wilco album Mermaid Avenue, 1998)

When Uncle Tupelo broke apart in the early ’90s, the two principles formed Son Volt and Wilco. Although initially considered the lesser of the two, Wilco has gone on to become one of the foremost bands of the last 20 or so years creating an eclectic body of work that still manages to challenge and surprise each time out. In 1998, Wilco joined forces with British folk singer Billy Bragg to put music to and perform previously unheard lyrics from Woody Guthrie. The result was two of the best albums of their time. The standout and breakthrough track off this collaboration was “California Stars” — a sublime piece of work that connects several generations of artists and shows the timelessness of great songs.

Centro-matic — “Flashes and Cables” (from Love You Just the Same, 2003)

One of the greatest and definitely most underrated of bands of the last couple of decades, Centro-matic hailed from Denton, Texas, made over a dozen wonderful albums, and toured relentlessly for nearly 20 years before disbanding in 2014. Prolific to a fault, many of those songs sound like mega-hits that somehow forgot to become such. None more than this track from their 2003 masterpiece. I can’t listen to it without visualizing an arena full of fans singing along with the catchy “bye-dee-ahhs” of the finale, a musical hook so relentless and endearing that it frequently soundtracks my dreams.

Jason Isbell — “Elephant” (from Southeastern, 2013)

I first met Jason in 2000, and it was love at first song. He was barely 20 and about to drop out of college, and I was blown away by his talent as a singer, songwriter, and guitar player. A couple of years later, he began a five-year stint playing in my band. By the time he left to pursue his solo career, he was drinking very heavily and his life was spiraling out of control. In 2011, he quit drinking and pulled his life back together, documenting it all in a masterpiece of an album called Southeastern. The standout track (and that’s saying a lot, in itself) is this song about a friend’s struggle with cancer. It’s literally a perfect song.

The Bottle Rockets — “Kerosene” (from The Bottle Rockets, 1993)

Barreling out of Festus, Missouri, in 1993, Bottle Rockets put the pedal to the metal, blasting dive bars across the country like an unholy amalgamation of Skynyrd and Doug Sahm mixing punk smarts and country fury with great songs and a rocking live show. Their literary smarts were never better represented than on this gem from their self-titled debut. “Kerosene” tells the tale of being down-and-out white trash, giving heart, soul, and life to a story that — on the surface — sounds like a laughable headline of Darwinistic stupidity. A trailer fire, told from the grave with simplicity and grace: “If kerosene works, why not gasoline?” Like the best songwriting, what’s said is only a fraction of the story and the real majesty is in what is left untold. One of my all-time favorite songs.

Kelly Hogan and the Pine Valley Cosmonauts — “Papa Was a Rodeo” (from Beneath the Country Underdog, 2000)

Kelly Hogan hailed out of Atlanta, Georgia, was one of the founders of its ill-fated Redneck Underground scene, and was the lead singer in the Jody Grind, who were poised to great success before a tragic van accident that killed two of its members in 1992. Later, Kelly (who was thankfully not in the van at the time) relocated to Chicago, Illinois, where she has enthralled everyone who has ever heard her magnificent voice. She has made several albums as a solo artist, and served as a much in-demand backup singer (Neko Case, the Decemberists, Jakob Dylan). For her second solo album, she was backed up by Jon Langford’s ensemble, Pine Valley Cosmonauts, and here, along with Atlanta crooner Mike Geier, she covered the Magnetic Fields classic and made it her own. Sublime and timeless.

This is just a surface scratcher, but hopefully it will serve as an invitation to delve further into these great artists and so many more. ENJOY!

Photo credit: rkramer62 via Foter.com / CC BY