OWTK Interview: Peter Himmelman

Peter Himmelman is a fascinating man.  He's an accomplished musician, having released countless albums, scored numerous TV shows and commercials, and is the host of a long running webcast called "Furious World".  He's also a Grammy nominated children's musician (for his 2007 album "My Green Kite") and recently launched a kid's webcast, aptly titled "Curious World".  

Early this year Himmelman released the follow up to "My Green Kite", the new album, "My Trampoline" (read the OWTK review here), is a stunning work by a man who knows that kids are smarter than most adults give them credit for.  There is nothing 'dumbed-down' in Himmelman's work for kids, a fact that delights me.  In speaking with Mr. Himmelman it quickly becomes clear that he has no interest in making banal music, for anyone, let along the single digit crowd.  It's also quite clear that Himmelman is one thoughtful dude.  Below are his unedited responses to my handful of questions.

OWTK: I recently described some of your new kid’s tunes as “epic”, “grand”, and “far reaching”.  Tell me about your approach to writing all-ages tunes?  How does this differ from writing music for adult ears?

Peter Himmelman: Jeff, thanks for the mighty props. It makes me feel really good on a Monday morning. The only difference I can see is that just as I wouldn’t (probably wouldn’t) write an adult album in Aramaic, I wouldn’t make a kid’s record about themes that kids will have no context for. This goes for the harmony as well but to a lesser extent. I other words, the only difference is, will kids be able to relate to it. As far as I’ve seen, I do consider that my work for kids has a pretty broad take on what kids will and can appreciate. My thinking is that a kid is just as smart in “kid form” as he will be when he gets to “adult form”. He’s bright and intuitive and able to make all sorts of connections… just bearing in mind that he needs a context from his experience for what he’s listening to.

OWTK: Which artists/bands inspired you to begin recording albums for the whole family?

PH: Assuming the truth is “almost” always best, let me go with this: As every artist (and blogger) knows, the harsh truth is that nothing inspires like a paycheck and a due date. Mine came in 1996 when the now defunct Baby Music Boom company gave me a few bucks and a release date for a children’s record. I’d never made one but since I’d had four kids at the time…three of them in diapers and not much in the bank account, it was easy for me to come up with what I think is still a really enduring piece of work –My Best Friend is a Salamander. As far as artists and bands…writers too- that have inspired me and continue to do so here are a few: Roald Dahl, Barney Saltzberg, Maurice Sendak, Shel Silverstein, William Steig (probably my favorite), The Beatles, The Monkees, The Rolling Stones, John Lee Hooker, Jimi Hendrix, Miles Davis, Oscar Peterson, The Isley Brothers, Isaac Bashevis Singer, Prince, Bob Marley, Debussy, Igor Stravinsky… and last but not least: Jonathan Edwards with my all time favorite song, Sunshine

OWTK: What is your perception of the family/kid’s music world in 2009?

PH: You know, I’ve always been a bit of a hermit, cocooned away with my friends and family with my head into whatever I’m doing so I’m probably not the most articulate voice on this subject but one thing I can see is that there are so many players in this kids’ music game than when I started in 1995-96. It’s almost like people saying, “There’s gold in them thar hills!” Everyone’s rushing to it, some doing it brilliantly and some less so.

OWTK: Music was once a communal affair, a shared experience where traditions and stories were passed on to younger generations. What role do you see music playing in a modern home, one ripe with electronic devices, countless media outlets and more technological diversions than we know what to do with?

PH: A beautiful and meaningful question. I’ve wrestled and continue to wrestle with what impact all this technology has on us and on kids in particular. Here are a few thoughts:

We never had a TV in our home as our kids were growing up. Still don’t have cable. The reason I elected to do this (and you’ll have to ask my wife her reasons) was to sustain –to prolong the period of childhood whereby kids are allowed their innocence; and not only from sexual or violent images but from advertising as well. Those images which come through the electronic sewer to tell us all that we’re not enough, that we don’t own enough, that to define ourselves and our self worth, we need to buy. Always to need and to buy, to consider our sense of lack, our paucity –and then to buy some more. It’s a horrible form of commercial – dare I use the word? – pornography that I wanted to shelter my children from. And today, my 19 year old son can reflect back on that “sheltering” and say that not only does he now appreciate it, he admires it.

Having said that, technology is simply neutral. Like the as-yet-unsurpassed technology of the human voice or human hands clapping to the beat of an ancient folk song, technology is what you make it. I love Facebook (if you become my “friend” you’ll know that in an instant). Like Twitter, like FriendFeed… all these different access points are really just neutral forums for communication. Now, the fact that they are often used for the most banal conversations in the world – or worse - really isn’t the issue. Just like the human voice or the human hand, these technologies can be used for good or evil, to inspire or to anesthetize. On another note, as observers of the Jewish Sabbath, a day which precludes the use of all electronic devices (along with a host of other regulations), My family is able to completely disconnect from the deleterious aspects of technology almost 70 days a year (including other holidays). Imagine divorcing oneself from TV, Twitter, the radio, Facebook, the cell phone, the pager, the automobile, the computer, the toaster, etc., etc., for nearly 700 days over a 10-year period. I’m not advocating this, it’s just interesting to note that perhaps one of the reasons I love the new technology so much and feel excited about its possibilities is that I know for a fact that I’ll never be controlled by it

And finally, in answer to your question, music when it’s good (an impossible distinction, and yet, I’ve made it), is necessary for a family to function well. Like a sense of humor (another lacking quality in many homes) music lubricates the tensions of the day, inspires imagination, and increases intelligence and good looks – I made that up.

OWTK: What are you and your kids, as a family, listening to these days?

PH: My kids are older now, 19 –13, so we’re pretty much enjoying the same things. My eldest son, whom I mentioned earlier, supplies us all with mix CDs of the hippest new stuff from Kings of Leon, the Ting Tings, Andre 3000, Bright Eyes, Nas, Snoop Dogg, even some old Cat Stevens, and all sorts of things I’ve never heard. He’s just got an amazingly broad range of tastes and he really knows what’s cool.

OWTK: What’s your favorite track on “My Trampoline”? Why?

PH: You know you’re never gonna get a straight answer on that don’t you?

They’re like my chidren each one of these gems… blah blah blah.

Ok, I’d have to say my favorites are:
“Imagination” –cuz it skanks and it rocks,

“Are There Any Kids Named Steve Anymore” – cuz it’s funny and true,

“My Trampoline” –cuz it’s swampy and sounds like lazy jumpin’,

and maybe most of all

“Ten Billion Blades of Grass” –because it made me cry a bit when I wrote it, made me think of my own family and how it feels to be safe and together, and feel apart of something.

*Photo credit to Liz Linder

OWTK Introduces You to DALA

“Everyone is Someone” is the 4^th album from Sheila Carabine and Amanda Walther, a pair of effervescent Canadians known as Dala, and it’s gaining traction here in the States.  This is in large part due to a game changing Sunday brunch performance at the 2009 Newport Folk Festival (the historic Festival’s 50^th)  

Shortly after their small stage set ended, Dala performed their pop-masterpiece “Levi Blues” on the massive main stage, sandwiched between sets by Neko Case and Arlo Guthrie.  It was the only unscheduled “tweener” of the weekend. 

I spoke with Ms. Carabine briefly after their Folk Fest performance and then again a couple weeks later.  She admitted the pair arrived in Rhode Island with “no expectations” and went on to add “…we were kind of worried that nobody would come to our show!  Those feelings quickly transformed into elation, as we looked out onto a sea of new fans. It all unfolded like a fairy tale.”

That sea included fans of all ages.  While the band’s new album is not a kid’s recording per se, Dala is seeing more and more families in the crowd (including my 5 and 2-year old, both of whom were singing along), and according to Ms. Carabine, the feedback from the moms has been overwhelmingly positive. After just one look and listen, the reasons for that become clear.

The relaxed beauty and grounded, humorous attitude of the twenty-something ladies undoubtedly aids their commercial appeal but Sheila Carabine remarked bluntly that the duo “have no interest in compromising [themselves] for short-term gain. It would be meaningless.” Dala, with their angelic voices, songwriting chops and grace as individuals, appear ready to stake claim to being the conscience-clearing alternative to the shiny, sexy, relatively hollow pop music world.  They offer poetry over perversion, and parents need not cringe when their kids view Google Image results for this duo.  The same cannot be said of some other female pop stars today.

Dala’s sound doesn’t resemble American tween pop music and that’s not surprising. They (with a big hat tip to producer and co-songwriter Mike Roth) craft classic pop music, where melody takes precedence over midriff. That theirs is an intoxicating mix of classic acoustic folk, ethereal pop and sweeping balladry is no accident.  Sheila and Amanda were raised on a healthy musical diet consisting of “lots of Cat Stevens, Bob Dylan…Neil Young and Led Zeppelin”.  Ms. Carabine admits she “fell in love with Paul McCartney when I was 13, and suddenly I saw music as an integral part of my identity. All I wanted to do was go online and learn the guitar tabs for every Beatles song ever written.”  The web searches paid off.  McCartney’s influence is undeniable. Listen to Dala harmonize on “Stand in Awe” and you will do just that.

While they honor legends, Dala also draws inspiration from 21^st century sounds. I asked Ms. Carabine to play record store employee and planogram the CD rack around “Everyone is Someone”.  Amidst fears that she’d “sound conceited,” she imagined Dala’s latest disc surrounded by “Simon and Garfunkel, Joni Mitchell, Fleet Foxes, Sarah McLachlan, Neil Young, Bob Dylan, Tegan and Sara and The Barenaked Ladies.” That desired peer group gives clues as to why Dala’s music is proving so multi-generational. 

The acoustic pop gem “Levi Blues”, the 1^st single from “Everyone is Someone”, proves the perfect showcase for their alto/soprano harmonies, with ornamental tickling of the ivories added for good measure.  This travelogue love song is the type of tune capable of making, and defining, a career.  According to Ms. Carabine “[Levi Blues] was one of those gifts you dream of as a songwriter. We came up with the first line "I've been waiting for a guy like you" almost immediately, and we wrote the whole thing in less than an hour. We knew that it was special, if only because we couldn't get it out of our heads for weeks.”

On “Horses”, the pair prove they’re able to tackle weightier subjects with as much fervor.  The song was written for a young man who had so much of his life stripped away after an accident.  “Horses” frames his sadness and stands as a stunning portrait of internalized grief.  The track should come with a 3-tissue alert.  Ms. Carabine believes “[they] captured some pretty intense emotions in the words and melody.” She goes on to say, “it is incredible to look out and see people in the audience crying when we sing that song.”

Behind a strong new album, an impressive foundation and an unwavering commitment to their craft, Dala is poised for greatness at home and in the U.S.

Visit Dala online.

Photo: Dala's tweener 1-song set on the main stage at The Newport Folk Festival 50.  Photo credit to Wiqan Ang.

John and Mark's Children's Record - OWTK Kid's Music Interview

John Upchurch and Mark Greenberg, under the John and Mark's Children's Record moniker, have released one of the better family albums of 2009. Being new to the family music playground, I wondered about how they got here, how long they'll be hangin' around, if we'll ever get the chance to hear "Pat, the Alligator Lady" and "A Counting Error" live, and if The Coctails will be reuniting anytime soon

Both guys took a few minutes to answer a handful of questions. Read on...

OWTK: What was your experience with/perception of the kid’s music genre before making the record?

Mark Greenberg: There is a lot of "kids music" that stands so well on it's own without relegating it to just that sub-genre and audience. Raymond Scott created amazing electronic records for infants and toddlers using the very first synthesizers... Woody Guthry and Ella Jenkens childrens records stand among some of the most fun folk recordings ever made... Joe Raposo and his great music on Sesame Street seeped into our generation's subconscious... then there was the bizarre world of Bruce Haak's electronics for kids too.... A lot of our time in the Coctails we were seeking out likenesses between different music forms rather than getting hung up on the differences. Free jazz and folk, lullabies and dirges, pop songs and rainy day melancholy, the sad and the silly... it's all fair game and seems to mix and match well. I feel like a lot of the music the Coctails made could be good music for kids.

John Upchurch: I think any parent is exposed to a a certain range of kid's music through friends, family and cultural osmosis. I've spent road trips listening to Raffi, Tom Chapin, and other collections of children's folk songs–and I do sort of like that my oldest learned a mess old traditional songs that way, but by the time our sons were born we had sort of graduated (or devolved) to just singing them ourselves in the car.

Limiting what you listen to with your kids just to those things from the kids section unfairly constrains the options for both the parents and the kids. I enjoy that you could take a song off of a They Might Be Giants kid's music album and put it on one of them for the older set or vice versa and for the most part none would be the wiser. There's that whole magically ineffable quality to music that can make a rhythm or melody funny or joyous or melancholy that goes beyond a single genre. Kids are sensitive to many of the same moods and emotions found in the broad spectrum of music. Judging by the soporific effects, my middle child's favorite lullaby albums when he was a wee one included Neil Young, Miles Davis and Marvin Gaye (though I obviously had a fair amount of control over the playlist).

I heard one of the folks from Pixar once say that essentially they write for themselves in an effort to make something that they would enjoy and then they just make sure that it works for kids. I think music that comes from that same space works best.

OWTK: Musically, J& M’s Children’s Record has an old-fashion, loose, organic feel to it. What music influenced your first recorded collection of family tunes?

MG: With the songs I wrote on the record, I had in the back of my mind to try and create strange little settings for each trying not to depend on traditional forms and instrument combinations... wanting them to seem more like something odd found under a rock.... that's how they started anyway. You never know where things will go but starting in a specific place with a specific idea can help cast them in the right direction.

JU: I was a fan of the Woody Guthrie "Songs to Grow On for Mother and Child" tunes even before I became a dad and, in time, I sung variations of many of those to my kids. I'm also a big fan of the Pete Seeger Town Hall Concert for Children.

The Woody Guthrie tunes have such a natural, informal simplicity that you can almost see them being created on the spot for his kids. That was a bit of the inspiration for a few of these–Piggyback Ride, Humdrum Bumblebee and A Counting Error all started with me singing to a kid in the moment. A lot of the tracks on the record evolved organically by singing to a kid while playing or putting them to sleep and–especially in the latter case–you have a lot of time to let the song find its own way.

The great thing about that Pete Seeger concert is the songs he plays and the interaction with (and reaction from) the audience. He's keeps that comfortable, storyteller stance and sings songs from ballads to silly songs and he never seems to be performing down to them. He's got this high level of respect for both the kids and the music he performed and it just made this great atmosphere. I've listened to our record in our van with our kids and other kids and I really enjoy hearing them laugh over rhymes and imagery or finding some weird detail to focus on.

OWTK: What are you and your kids, as a family, listening to these days?

MG: We actually listen the the J&M record a lot. Our two year old loves it and dancing around to it which of course cracks up our two older kids... so they play it over and over for him. Other than that a lot of Abba has been playing in the house lately as well as the new Azita record when I can elbow my way to the stereo.... and a great Folkways compilation and a CD of the 'Frances' books read by Glynis Johns for long car rides.

JU: We're kind of all over the place in our house. My daughter is thirteen and she's notably more selective, but she's fairly sophisticated in her listening habits–we've avoided all the tween musical acts (with the happy exception of Smoosh). The boys are all over the place with my ten year old with Queen and Django Reinhardt getting equal time on his iPod. I've been on a classical kick lately and my wife listens to a lot of middle eastern stuff.

The family listening is most pronounced when planning road trips. While we generally listen to audiobooks on long drives, I generally keep an eye out for oddball stuff to surprise the kids (and, in turn, occasionally annoy the wife) with. That usually entails a trip to WFMU's blog where there are always a few gems. One of these was a cover of the Star Wars theme played by a Canadian mom-dad-son combo, The Bordens that was played easily thirty times. Another winner is the collection of video game themes arranged and played on by Martin Lueng, the Video Game Pianist–mostly Nintendo 8-bit stuff played like they're ragtime tunes. He has a playing style that lets us segue into some Scott Joplin, Gershwin sometimes even Satie. We'll mix tracks from King Kong, The Ramones, various mash-ups, stuff from the old Ernie Kovacs show and generally try to keep things fun and varied.

OWTK: What is your favorite track on your children's record? Why?

MG: I love all the songs but my current favorite is John's "A Counting Error".... it was the last one we did and is the freshest in my mind... I think the simplicity of the lyrics, the playful melody, the horn section, and the funny voice all works really really well. It says and does so much with so little.

JU: I really enjoy "Pat, the Alligator Lady". There's this degree of lunacy in the instrumentation that matches the imagery really well. The variety of sounds layered in there make carries it along like some cock-eyed calliope.

OWTK: Are there any plans to hit the road behind the Children’s Record?

MG: No, but hopefully we will start on our follow up record... it took so long to finally finish this one that John came up with the idea to name the next one "John And Mark's Grandchildren's Record". I already have a few I'm working up for it.

JU: Considering that just the two of us played all the instruments, I'm not sure how we'd pull it off on stage. We did do sort of a karaoke-style show at a street fair a few years back that went OK if I recall. Still, I think the most likely road for us to hit is the old information superhighway.

OWTK: What does the future hold for you two as an all-ages/children’s music act?

MG: I love making up songs and music and recording them. I hope we can do some more of that together. It's a fun way to hang out with John, too.

JU: There were a couple other songs that weren't quite ready to go when the time came to wrap this effort up, so I wouldn't mind seeing those come to fruition. Right now, I think we're both enjoying the fact that we can see each other without having this project hanging over us.

OWTK: (As the members assisted in the making of the record) Can we expect a proper Coctails reunion coming on the heels of your debut children’s release?

MG: We are all four still friends and see each other and work/play together in some way or another which is really nice. No more Coctails reunions though I fear. I think we already did too many... but during our post break-up years we got to play with the Pixies, tour Japan, record a Japanese released 10" record, record a version of "Sixteen Tons" for our label's 16th birthday as well as being the final band to play on the Lounge Ax stage.... so I have no regrets, but I can't imagine more.

JU: I have to agree. I enjoyed our time together as an actively touring, writing and recording group–and I enjoyed the various occasions that have brought us out of "retirement", but I can't think of anything else that could sufficiently entice us. We've had a few irresistible opportunities that Mark mentioned (Pixies, Japan) and some occasions to express our gratitude towards some people who were invaluable in their support back in the day (Lounge Ax, Carrot Top). I wouldn't be surprised if we were to work together in twos, threes or maybe all four of us, but I can't see a formal reunion.

Billy Kelly - An OWTK Kid's Music Interview

A few days ago OWTK sat down with Billy Kelly for a lil' Q&A. Technically speaking, I was standing. Billy could have been standing as well or sitting or laying down. I'm going to assume he was sitting while answering my email but kneeling is also possibility. Kneeling isn't really comfortable though, so he probably wasn't doing that unless he was working in a garden but how could he have been answering email while gardening? I guess he could have been dictating his responses to one of his handlers as he planted petunias and dahlias.

I wanted to chat with Mr. Kelly to clarify a few things about his identity and also to learn a bit about the origins of his fantastic debut family record "Thank You For Joining The Happy Club".

In the end, I came away even more confused but chuckling all the while. Mr. Kelly is one funny fella on record and via email. Read on...

OWTK: Earl Pickens, Billy Kelly...who the heck are you sir?
Billy Kelly: Even I'm not sure sometimes. My rule of thumb for figuring out who I am at any given moment is: Earl Pickens rides a unicycle and dresses like a cowboy. Billy Kelly just rides a unicycle.

OWTK: Where did "...The Happy Club" come from? What made you record and release an All-Ages/Family record?

BK: I'm always writing songs and — well, not always. Right now I'm doing this interview, for example. But I'm always writing songs when I'm not doing this interview. Love songs, dance songs, political songs, sad songs, funny songs; all different types of songs.

After a few years of writing I found that I had a handful of songs that didn't quite fit in with my other songs. Some of them, like "Thank You for Joining the Happy Club", were written specifically for my kids, but others I wrote solely to amuse myself. ("People Really Like Milk" & "I Can't Get Away From Myself" for example.) Obviously, I am very easily amused.

I was looking for a New Years Resolution for 2009, and I settled on the idea of recording a CD of my weirdest songs. Since my daughters would often ask me to play these oddball songs when I was practicing in the house, I decided to approach the project as a children's album.

OWTK: Stylistically, where did the record originate? What music influenced the music on "Thank You For Joining The Happy Club"?

BK: We were out for a family [trip] on New Years Day and we were listening to "The Monkees Greatest Hits" in the car. After a few songs, my then-5-year-old asked "Is this CD for little kids?" I told her "No, not really," and explained that The Monkees were sort of a band for teenagers and grown-ups, but that little kids seem to like some of their songs too. She replied "Well I think this CD is for little kids." That became my approach to "Thank You For Joining the Happy Club". I didn't want to make a kids album that adults could tolerate, I wanted to make an adult album that kids would love. The fact that roughly half of the songs are straight-up kids songs didn't really cross my mind. Me and The Blah Blah Blahs (my super-duper band) worked on this record like it was a greatest hits pop collection.

"The Monkees" ended up being my starting point for every song in the studio. I love their harmonies and backing vocals in particular, and on this CD I tried to do my own version of things I heard in the background on their songs. I always think of The Monkees as the plastic Beatles, and it was fun trying to copy them knowing that they were copying someone else. Who the Beatles were copying I don't know. It would be weird if they were copying the Monkees.

OWTK: How does an alt-country crooner make the transition to kindie (kids+indie) rock? I mean, seriously, what gives you the right?

BK: I believe it's in the Constitution. Right after the right to keep bare arms. I think it's the Constitution. Maybe I'm thinking of the Magna Carta. I often do. Man, I love the Magna Carta.

OWTK: Any plans to play some all-ages gigs in support of the record?

BK: YES! I want to tour this summer. I have a vision of the Kelly family hittin' the road; my guitar and a box of CDs strapped to the roof of the car. We drive to a nice town, hang out all day & take in the sights and then I play a show somewhere. Meet some people, entertain 'em, talk to 'em after the show and bid them a fond fare-thee-well as we Kelly's roll off to the next nice town and do it all again.

I've never toured in the proper music industry sense, because I don't like to be away from my family. If I could work out a way for us all to go on tour together then time on the road would suit me just fine.

OWTK: I count 3 songs with blatant spelling lessons. Do you have some radical agenda to educate our children? Dude, you're going to teach them to spell...don't you realize we parents depend on their inability to spell as a means of communicating around them. There goes my chance to ask the Mrs "do you want to let her make a S-N-O-W-M-A-N now or after nap?"

BK: The songs with spelling lessons in them are there because I was trying to teach you to count to three. You counted them all, so it looks like I succeeded. Good job, Jeff. My work here is done.

OWTK: What was your goal in making your debut kiddie record?

BK: My goal was to make the best record I possibly could, and to put a little extra sunshine into the world. I guess that's two goals. I thought it was one goal at the time, but now that I see it written out it's pretty obvious that it's two different goals. Sorry.

OWTK: Now that it's done, what are your plans for the future of the free world or (if your unwilling to share THAT level of detail) what are your plans for your future in the family music world?

BK: I've got big plans. I'll let the future of the world take care of itself (for the most part) while I work on trying to get my music out to anyone and everyone who will enjoy it. I really like the idea of making people happy. Making millions of people happy would be great. To that end I'm producing music videos for the songs from "Thank You for Joining the Happy Club", working on a children's book idea, and creating my own online show for kids.

I'm running a DIY operation here, so in addition to all of the above I'm also looking for ways to promote my cd to radio stations and to music reviewers, keeping up with orders and mailing CDs, building my web site, practicing with The Blah Blah Blahs, booking shows, playing shows, not to mention writing more songs. Oops! I mentioned writing more songs.

OWTK: Finally, tell us about The Billy Kelly Show...what should we expect? when should we expect it?

BK: "The Billy Kelly Show" is a live action/animated, serious/nonsensical theatrical production/youtube show that focuses on some version of my life that may or may not be stranger than reality. It will hopefully be "Thank You for Joining the Happy Club" brought to life. Music videos, stories, poems, jokes, illustrations, cartoons, puppets, band practice. It's all in there. I wouldn't go expecting it at all if I were you, that way you'll be really surprised when it comes out some time over the next few days!

You should become the newest member of The Happy Club. Today. Right now. Why are you still reading this? Go now and buy the CD!, which comes with your very own Happy Club membership certificate.

Dreyer Family Band - An OWTK Kid's Music Interview

Yesterday, OWTK reviewed "Family Photograph" by the Dreyer Family Band. Having become so enamored with the bi-coastal clan's debut collection of family-friendly tunes, I decided to shoot over some questions in an email to the West Coast Dreyers. As luck would have it, the entire family chimed in with responses. As you will soon discover, the Dreyer folks come off as approachable, passionate and friendly in a Q&A as they do on CD.

OWTK: Family Photograph began as a personal musical family scrapbook, of sorts, at what point in the process did it become evident that you needed to share this music with the world?
Dreyer Family Band: We wanted to share this music from the very beginning; with each other and with anyone who would patiently listen to us, because a good project is exciting and contagious. The sharing-it-with-the-world part evolved as the music was made, one song at a time. We just fell it love with it and, you know how that is, you just can’t keep it in. Once this collection was contained within the walls of a mastered CD, we knew we told our story as a family, as parents, and it just felt like we wanted everyone who has ever held a newborn to have this record. Really, the band didn’t create the music, the music inspired us to create the band (OWTK: emphasis added)

OWTK: What music influenced the making of the record? What does the Dreyer Family listen to when not making music?
DFB: I can hear someone else besides us singing every song, in my head. There’s a Cat Stevens in there, a definite Billie Holiday, obviously a Johnny Cash, a Woodie Guthrie, a Mama’s and the Papa’s, a Crosby Stills and Nash, a Neil Young, a Bill Withers, a Sly and the Family Stone, a Sam Cooke … those guys are all in there. Right now I am listening to M.Ward; lately Fleet Foxes, Madeleine Peyroux, and forever Van Morrison. The kids love all of the above including Dan Zanes, Free to be You and Me, the Beatles, show tunes, etc. Right now in our car CD player is a collection of Odds Bodkins story-songs (particularly, "the evergreens" and "three little pigs"). We love him.

OWTK: The most prominent thing/idea that I've taken away from Family Photograph is that, despite being on opposites coasts, there is a fondness for togetherness and shared experiences within the Dreyer Family. What advice could you share with a family struggling to maintain a level of intimacy and togetherness.
DFB: Well…Matt and Craig love the hell out of each other, no matter what. That’s a good start. The fact that Cami and I have found a sister/friendship that is the best I could imagine is an unexpected gift. We really love each other’s kids and feel sad knowing that we will miss developmental milestones when we are apart, so we write family love songs. It keeps the good feelings going. I will also say that we were careful and sensitive with each other, especially while doing this project, to TRY to be the best versions of ourselves if possible. We all knew that a collaborative creation can be tricky so we did our best to stay positive. I guess, for us, the “intimacy and closeness” you mention comes from liking to live this life with these people and noticing the good stuff whenever possible.

OWTK: What is your favorite track on the record? Why?
DFB: (each member of the family answered this one)
Matt- How to Be Happy, "I love it because it is Annie and my way to explain how we have stayed together for 21 years! Plus I got the banjo part right (in honor of Neil Young’s 'For the Turnstiles'). Emmett’s high vocal harmony is pretty outstanding too."
Emmett- Imagination, "Pop sings it for me, and I love classic rock."
Mac- You Get What You Get. "It's hilarious."
Craig- Home, "Mac just kills me and the track has the 3 dimensional feel I'm always looking for in my recordings."
Cami- The I Love You Song "It's the one that started it all," Cutie Baby, "because it marks the time when Finley was a little baby like nothing else - I even call her 'bouncy ball' at times."
Annie- The I Love You Song in a tie with Big Green Tree, "I think both are what its all about!" Silas- Mad (everday for a YEAR!!)
Baby Fee- Home...imagine a litte two year old redhead singing, "home, home, home":)
Nana- (she's not technically on the record but definitely a part of the record...) Totem Party"What is it about Totem Party? Because it says a little something about each and everyone of the family."

OWTK: Are there any plans to take The Dreyer Family Band out on the road? If so, what do you imagine that would look like? (as a suggestion, a tour together as an entire family, if documented would make a wonderful DVD/book)
DFB: You know, we laugh as we think of ourselves as the Steely Dan of family music, strictly studio musicians. In reality we West Coast Dreyers are busy with co-op gardens to tend, YMCA youth basketball practice, school plays and a whole studio full of pottery students who are actual clay addicts and freak out if I take a 10 day vacation. I know the East Coast Dreyers are busy too. Craig DOES play with a number of people and tours and produces other people's records and Cami has a toddler and a busy life behind and in front of a camera. In a perfect world we would travel in a caravan like Bob Dylan's Rolling Thunder Review with Sam Shepard writing the logbook!. And when you mention the DVD tour I envision a trip of a lifetime, and a possible frightening memoir from our future adult kids! What a dream though…

OWTK: At a recent family music conference, there was a overwhelming call for authenticity in kid's music. I personally find Family Photograph to be one of the most genuine and refreshingly lovely albums to ever come across my desk. What adjectives would you use to describe the record? What words or images do you hope to conjure up in listeners as they discover and spend time with "Family Photograph"?
DFB: This record is our children and us and, hopefully, your children and you and everyone. This record to us is LOVE (cheesy as it sounds)...it’s the love in creativity, in togetherness, in nature, in memories. I hope other families feel it, and I definitely hope someone out there sings “Covers” to their babes the way we have to ours. And I hope that if the words aren’t quite exactly right for them, that they write their own songs that fit perfectly. That’s what we did.

OWTK: Musically speaking, what does the future hold for the Dreyer Family?
DFB: We have hoped since the beginning that it would all never end…that we can do it again every year and watch how it all changes as we all grow. We’ll see. If the kids are into it and willing, so are we.

Speaking on behalf of family music lovers…so are we! Here’s to hoping that as we all grow, we'll hear a lot more from the Dreyer Family Band.

Visit CDBaby to sample each track and purchase "Family Photograph".

Jitterbug TV - The World's First Kid's Music Video Site

With it's launch last month Jitterbug.tv became the world's first dedicated online kid's music video website. Off the bat, Jitterbug should be considered an asset for any music loving parent and child in large part because it serves as a handy depository for children's classics and modern kiddie rock videos. What was once scattered all over the web (Youtube, individual band websites, etc.) is now on demand in one convenient place - Jitterbug.tv

The site navigation is fairly straightforward with your options being to search by category or alphabetically by artist/band name. There is also a Featured Artist (monthly, I presume), the inaugural one (a potential trivia question answer years from now) being The Jimmies.

Late last week, I shot a few questions over to Dan Gellert, one of the two founders of Jitterbug.tv to find out more about this new kid's music resource.

OWTK: What was the impetus for creating and launching Jitterbug.tv?
Dan Gellert: Randy and I met at a dinner party just before summer. At that point Randy had started to work on an early version of the site. We started to talk about our daughters, technology and music. We were both surfing the mass social net sites (Youtube, MySpace...) in search of new music for us and our daughters. We both agreed that this process was getting “old.” As we started to talk about Jitterbug, it was clear that we both had a lot of common interest in this area and a natural partnership was born. We figured that other parents would also appreciate and be drawn to a community that hand picks the artists. I’ve been working with artists now for 20+ years and Randy has created a number of online video projects surrounding independent film. Timing is everything…

OWTK: What is the current method for getting one's video shown on Jitterbug?

DG: The artist and/or fans of the artists should send us a note to info@jitterbug.tv or click on the “Suggest Music / Artist” button. We then review each submission and add the artist if the work fits in. We truly see this as a community and hopefully other parents will “scout” for us.

OWTK: (If they're not currently able to...) Will artists be able to upload their own videos directly to Jitterbug.tv? If so, will there be a review process?

DG: Once we approve an artist they can upload videos and/or mp3’s directly through the site. Every upload then gets reviewed one more time before it goes live. We prefer to get videos directly uploaded to jitterbug as the quality is higher than streaming from other sites.

OWTK: Why should my readers register for Jitterbug (the what's in it for them question)?

DG: People that register can comment and give a star rating to music and videos, email friends about music they like (with one click), save their “favorite” list and choose to share their favorite list with other jitterbug users, receive our newsletter.... as we evolve, we hope to do contests and polls and promotional giveaways of music. If you're registered, you'll see a bit more functionality on the website - and more to come!

OWTK: What does the future hold for Jitterbug...where do you see the site in 1 year? (Partnerships, video premiers, etc

DG: We want to keep expanding to provide a good service for the fans as well as the artists - i.e. jitterbug radio, widgets for your desktop, playlists you can download for car rides etc., original recording of "jitterbug albums" with artist submitted songs for Christmas, summer, bedtime, dancetime....etc. etc. etc. For the fans, the bigger the variety of music and videos, the more fun the kids will have pointing and clicking. And we are determined to expose the artists to a broader audience than they might have right now. The kid's music niche is great for parents, kids and artists - we want to help the cause. Our focus will also be to present artists from many other parts of the world - the kids take to other languages easily so we'd love to make it available at jitterbug.

Sounds cool, no? Head on over to Jitterbug.tv, become a registered user, then begin watching and rating some of the best kiddie rock videos of the day.

OWTK Interview with Andi Green - creator of The WorryWoo Monsters

WorryWoo Week continues on OWTK!

Get caught up on what you've missed - read the OWTK Review of The Lonely Little Monster. Stop back on Friday for a sneak peek at what's next in The WorryWoo series!

**Remember, you still have a chance to win NOLA! See details at the bottom...after the interview!**

Andi Green - author, creator and illustrator of The WorryWoo Monsters - was kind enough to answer a few questions about The Lonely Little Monster, the process of self-publishing and the future of The WorryWoo Monster series. She also provided this image of Nola and Rue (the next character in the WorryWoo series) that originally appeared as an art installation in NYC.

OWTK: First of all, congratulations on Nola, the first WorryWoo Monster book and doll - they are both stunning works of art. How long has Nola, the book, been in the works?

Andi Green: Nola and The WorryWoo Monsters first appeared in 2001 as part of an art exhibition in NYC, at the time I called them “The Monsters in My Head”. Each monster was framed in a light box (24X 36) with a story Xerox transferred to the front. Throughout the exhibition and once it was down I kept getting asked if I would sell my pieces and if I ever considered expanding this series into a more mass marketable idea. After a year of thinking about it, I decided to give it a go. I chose Nola to be my first. I started creating her book in 2002, but it wasn't until September of 2006 that I decided to really pursue the idea of publishing my book and making an actual Nola doll!

OWTK: Describe the process of self-publishing a kid's book. Many folks may think this is an easy thing to do…is it?

AG: I wouldn’t call it easy, but it is an exciting process. There are so many things to think about when your creating a book on your own. Designing, illustrating, writing and editing your book --- where to produce and how you want the final product to look – then isbn , barcode, sans, library code number. So you get through all this and then you have a book and the next phase of selling and getting your title out there begins. I am still trying to figure out the best formula, but it is a great experience, I still can’t believe I finished my first book!

OWTK: What are your goals with The WorryWoo Monsters – where do you see the series in five years?

AG: In five years I hope The WorryWoo Collection is complete and I am at a point where I am able to focus my full attention to expanding the series - I work full time and on the WorryWoos at night. Because each WorryWoo is an emotion, I think these six are just the first of so many emotions to be explored.

OWTK: What is coming up next in the series and how long will readers have to wait between books?

AG: The next in line will be Rue, The Monster of Insecurity. He is just about complete and ideally his story and plush will be available Mid-Summer or early Fall. I can't wait to release him, he is awesome!

OWTK: What have you learned through the process of publishing The Lonely Little Monster that you wish you'd known prior to starting?

AG: That's a tough question because I am still learning, which can be looked at as both good and bad. There are so many components you have to think about before getting your book out. From early reviews to distribution it is wise to lock down a plan... I jumped into this with little to no plan.. but on the flip side if I had researched all this I may have gotten too scared and never produced Nola... HA.

OWTK: The Lonely Little Monster deals frankly with the idea of being alone, something many kids and adults struggle with on a daily basis. There are numerous kids' books that address loneliness and other emotional topics, in what ways is The Lonely Little Monster book (and the entire WorryWoo series for that matter) different?

AG: There are definitely a lot of books out there that deal with emotions. What sets The WorryWoos apart are they are the emotion itself not just a character whose story some way ties into an emotion. Every time I’d pick up a current children's story that deals with life’s hurdles, the actual emotional experience seemed to be almost hidden and overly soft. My goal was to follow in the footsteps of older authors like Silverstein and Sendack, where you go for a real journey through the good and the bad. One that is simple enough to leave room for interpretation and discussion. I've received a very positive response on this from Art Therapists and Teachers who are using Nola and The Lonely Little Monster as a means for discussion.

OWTK: Where will folks be able to pick up Nola The Lonely Little Monster Book and Doll? Can we expect to see them in some of the big box book retailers?

AG: They are available on my website and on Amazon.com. Right now I am looking into getting my products more widely distributed, ideally into lots of independent book and specialty stores. When someone buys from my site the sale actually goes to an independent store that carries my product, I thought that was cool. But I wouldn’t stop a big retailer from carrying my stuff too… ☺

******************************************************
Enter for your chance to win NOLA!

OWTK is giving away two (2) set of Nola The Lonely Little Monster. The winners will each receive the 1st edition book, signed by Andi Green, and the plush Nola doll.
For your chance to win, simply leave a comment back on the original post here telling me about your favorite childhood stuffed animal/doll/action figure/imaginary friend.
Do so before midnight (Eastern Time) on Friday the 15th and consider yourself entered in the giveaway. Winners to be announced the next day, 2/16.

*As always, I'm required to remind you that OWTK will never sell, abuse or even use (unless you win) your email address.

Gustafer Yellowgold - The OWTK Interview

Morgan Taylor, the man who brings Gustafer Yellowgold to life on stage, DVD and CD recently spent a few minutes with OWTK talking about the kids' music scene, how he got started writing tunes for younger ears, and what he thinks of the current "boom" in childrens' music & media options. He also gives OWTK a sneak-peek of the next Gustafer Yellowgold release.

OWTK: Congratulations on the recent release of the DVD/CD on Little Monster - How did the relationship with Little Monster come about? Where you actively shopping the self-released DVD to labels?

Morgan Taylor: It was more organic - like through a friend of a friend, it ended up in the hands of the Little Monster folks. They immediately "got it" and wanted to talk turkey.

OWTK: Now, let’s go backwards a bit. How did you find yourself writing kids’ songs and where did the idea for a yellow fella from the sun originate?

MT: It was almost by accident that it all fell together. I had some "misfit" songs and also a cartoon character that I had no idea where to use him. It started as some picture-books, and then we crossed paths with an animator and it quickly turned into a DVD and a live show. They didn't start as kid's songs, I have always had a side to my writing that was more cartoon-y, and so those were the tunes that naturally fit with the project. The idea for a character from the Sun literally came about because I had written a song called "I'm From The Sun".

OWTK: What drew you to the children’s genre? Do you feel you have a better chance of “making a living” in this arena as opposed to the very crowded indie/rock-n-roll space?

MT: I guess I was drawn to the children's genre because it's the most obvious place to market some funny songs with cartoon illustrations. It's really that cut and dry. I never had an epiphany to enter the kid's music market, but since I've ended up here naturally, it feels very right for someone like me, with the desire to make people laugh and play music with humor. It only seems more realistic for me to make a living now doing this, I feel like all of a sudden since I've added cartoons to my music, people are taking notice. I'd be lying if I said I wasn't happy about that!

OWTK: It would seem that, increasingly, much of the mainstream media aimed at the younger demographic (The Wiggles, most any blockbuster animated feature film, etc) exists primarily to sell related, “official” merchandise. What impact do you feel this trend is having on the way children view art, music and film going forward?

MT: I have no problem with marketing, merchandising and all that, as long as the thing it's supporting is cool. I do think kids are being over-stimulated and bombarded. I guess we were too when we were little, but somehow every generation feels the next one isn't getting substance. Somehow TV didn't seem as manic and A.D.D. inspiring back then as today's does. I'd like to think perhaps Gustafer is a mellower refuge for people who feel attacked by today kid's stuff.

OWTK: What kind of impact do you think the current boom or renaissance, if you will, in children’s music is having/will have on the youth of today?

MT: I think the "boom" you're talking about is only in quantity. Most of it isn't filling any void that existed and it's another example of today's people in general having way more choices for entertainment than we seemed to have growing up. There are also a bunch of different ways to be exposed to stuff now too. And for me I mean growing up from 1975-1985.

OWTK: When are we going to be fortunate enough to receive additional Gustafer Yellowgold DVD/CDs? Please give the readers of Out With The Kids a sneak preview of some of the adventures or characters we might expect to see in future releases.

MT: The 2nd Gustafer DVD/CD is already near completion. Here are some sneak-peeks at some song titles:

Pinecone Lovely (about Gustafer's favorite food)

The Bluebird Tree (Where Gus goes to think)

Punching Cheese (the counterpart to I Jump On Cake)

Aye Aphid (a new number for Asparagus the Dragon)

The Mustard Slugs (Evan, Kevin, Bevan and Paul)

and at least 4 more.

I can't wait for folks to see the next batch. It's way more detailed. I had a blast making it.

_________________

OWTK will be seeing Morgan and his band at World Cafe Live in Philadelphia this coming Saturday morning, 5/12/07.

Pics and a review next week.

Catch the band on tour this Spring/Summer.

Visit Gustafer Yellowgold official website.