Well if you haven't heard of Brady Rymer, and are as yet unaware of his significant contribution to family music then you must have been living under a rock! Brady is one of the longest lasting and most prolific artists of his generation, emerging on to the family music scene way back in 2000. A rebel without a pause, he is still creating some of the finest music around to this day.
His new single "D is For Dancing" portrays the artist in fine form, with its melodic retro vibe, and exuberant energy. Here, the song takes the listener on an extraordinary journey across the alphabet, with the letter D coming out on top because "D is for Dancing" and we 'want more and more'. For me, the music conjures up images of American nostalgia, where we are seemingly treated to a cameo performance from the Crystals on the set of Happy Days.
The music also exudes a slight Beach Boys influence, largely due to the delightful harmonies which add an additional layer of sonic texture to the track. Despite the delicate intricacy of the music, the rhythm section really packs a punch, sparring with some inspired keyboards in fine style. The guitar is generally used sparingly until the break, where it really lets rip adding an electrifying alternative to the vocal melody.
Brady Rymer is a star in his own right, a man on a mission who along with his superb band manage to create electrifying pop seemingly at will. His new single further cements his growing reputation as a true master of his craft, with his unique ability to create inspired lyrics, magical melody and imaginative harmonies. Perhaps most importantly, his music succeeds in celebrating how learning can be fun, and dancing is truly the best. The song will be released worldwide on April 12th. Happy listening!
Brady Rymer and the Little Band That Could - alphabet rock.
"Funky Dance" is the latest release from Mr Super Dude and Kinderchartin'. Guaranteed to have everyone up and moving, the song provides an interesting blend of pop, hip-hop and funk with an explosion of sound that immediately grabs your attention.
The overall vibe reminded me a little of Talking Heads, with perhaps a modicum of assistance from Run DMC on the way. The lyrics are largely descriptive, where a series of actions are described and 'a hop and a skip and a roll' are seemingly the order of the day.
The rhythm section is highly percussive, creating the required space for a penetrating brass section to swoop in and out of the track adding additional texture. The dynamics are highly effective with the music gradually building in intensity, as we are all invited to 'do the funky dance'.
A highly innovative piece of music, that will have you up and on your feet dancing in no time at all. If you put Talking Heads, Run DMC and perhaps the Wiggles in a studio, you could possibly come up with something like this. Original, uplifting and inspirational, these guys clearly have their fingers on the pulse and their eyes on the prize.
Mr Super Dude and Kinderchartin' - a musical explosion.
I first met Lucas Proudfoot when my band shared a bill with him at the Playgroup Children's Festival back in 2012.Lucas was the opening act, arriving on stage before the event had really got going, so needless to say the audience was pretty small. It didn't bother Lucas though, he was simply delighted to be there, and performed like he was in a sold-out stadium.
As a result of his seminal performance, we now have a saying in our band when things aren't quite going to plan. We loudly exclaim "Lucas Proudfoot" to try and harness the energy and enthusiasm of what we saw that day. We then stand up tall, smile and give it our absolute all.
I later met up with him again when he kindly agreed to play the didgeridoo on our song "It's Our World". He was the consummate professional, adding a certain mystique and depth to the track, in no time at all. His enthusiasm and conviviality on the day provided a real boost to the entire recording process.
Since then, I've observed Lucas' rise to the top with increasing admiration, from the intimate library event I reviewed at Mt Ommaney library back in 2015, to his headline performance at QPAC - Brisbane's premiere theatre venue. What I wouldn't give to play on that stage!
His original stage show incorporated a unique blend of live music; stand-up comedy, and a historical dive into Indigenous culture. Although I haven't yet seen Lucas' new stage show, I am reliably informed it contains all the previous elements plus a whole lot more. Including a full-colour animated cast of characters adding further potency to the overall mix. There really is something for everyone here, and on this form, I'm convinced Lucas will continue to go from strength to strength.
If you are not yet familiar with Lucas' work, I suggest you check him out on Spotify or his YouTube channel at your earliest convenience.
The digital revolution has undoubtedly made it easier for musicians to make music than ever before. It could even be argued as Harold Macmillan once famously declared, 'you've never had it so good'. Recording costs have plummeted, and these days a song or album can be distributed around the world with the simple click of a button. Furthermore, gone are the days when musicians had to go down on bended knee to gain the approval of a record company. According to John Lennon, this was one of the main reasons why the Beatles launched Apple records back in the sixties; somewhat ironic I know.
If you were ever actually fortunate enough to sign a record deal; which was some achievement back then, the wheels of the music industry moved relatively slowly. Records were generally packed into copious boxes on their release date, before been driven around the country and distributed to retailers by hand. I was somewhat familiar with this arduous process, as I used to pack and distribute records for both Virgin and Rough Trade Records back in the day. I remember whenever the Smiths released a new album, we had to work the whole weekend to get it out on time such was the unprecedented demand. Clearly a lot more physical work was involved in those days, and that's without even considering international distribution.
Nonetheless, this new found freedom has undoubtedly come at a considerable price. Yes, artists can record, release and distribute their music at minimal expense and incredible speed, but they no longer have the weight of a publishing company to protect their intellectual property. Consequently, they are now more vulnerable than ever to exploitation, because any guard rails that previously existed have been unceremoniously blown off.
Bearing this in mind, I recently came across the disturbing case of children's musician Ronnie Boy, who discovered that his song "Burger" had been used by a restaurant chain on an Instagram video, without recognising him as the originator of the music. To add fuel to the fire, over one thousand reels were created from the original upload which has now received a staggering eighteen million views. Regrettably, the view tally has been credited to the uploader of the video and not Ronnie Boy himself.
I'm not sure if this issue has been resolved at the point of writing, but I would imagine it is somewhat unlikely, given the state of the new music industry, where piracy is ubiquitous. Without the backing of a publishing company to represent you, anyone, seemingly anywhere in the world, can exploit your music for their own illicit purposes, and it seems there's not much you can do about it.The music industry is now more competitive than ever, and situations like this certainly don't help new artists. I imagine that eighteen million views on social media would be a considerable game changer for any aspiring musician. I'm sure many like-minded artists would be furious if they had experienced something similar. This is particularly significant today, where just a small fraction of major artists dominate the airwaves like never before.
If you are looking for justice, you won't find it in the music industry. Promotional opportunities are often restricted for lesser known artists, where creative output is often overlooked in favour of numerology and over-hyped social media accounts. Or as Depeche Mode so eloquently put it, 'everything counts in large amounts'. Haven't these digital monoliths ever heard of career development or artistic growth? It surely begs the question, how many years did the Beatles or David Bowie have to slog away at their craft before they finally broke through? Clearly increasingly inequality, and the inherent injustice of the one percent, is not restricted to the boardrooms of Wall Street or Goldman Sachs.
In my experience, musicians are somewhat naive when it comes to business matters, and have long been exploited by nefarious operators who are clearly not in the game for the love of music. Nonetheless, can you imagine shamelessly advertising someone else's song to serve your own interests without prior permission, before the arrival of social media? Such audacious operators would have been sued into oblivion, and deservedly so. In light of all this, it is crucial that artists are recognised and fully compensated for their work, because in terms of making an impact, it has never been harder, such is the intense competition of the new music industry.
To digress slightly, I have just finished reading Naomi Klein's latest book "Doppleganger", where she explains in considerable detail how her name became confused with the conspiracy theorist Naomi Wolfe. As a result, she was targeted on social media by both the left and the right for her so-called extreme views, many of which have nothing to do with her. This confusion has been further exacerbated by complex and aggressive algorithms, which have conflated the two writers, and created more confusion and pain than you or I could ever imagine.Whether it is Ronnie Boy, Naomi Klein, or whoever may be experiencing the Orwellian impact of the online world, we are clearly living in an increasingly vulnerable age. Where the considerable benefits of this new found artistic freedom for an emerging musician, or an acclaimed author, are consumed by sharks ready to pounce in either direction.
In the meantime, I would like to give a quick shout-out to Ronnie Boy the aforementioned artist, and his innovative song "Burger", a track which succeeds through combining haunting harmonies with an infectious rap. On first listen, you can see why it has gained traction, such is the raw simplicity of the lyric and its relentless hypnotic groove. Surely the way forward in such cases, is for the uninformed retailer to take responsibility, and commission a song from Ronnie Boy directly, rather than plundering his creativity to serve their own purposes.
I hope that at some point this issue will be resolved and the artist will be fully compensated, or at least recognised for his innovative work. For now, we'll have to wait and see.
"Fairy Fiesta" is a musical collaboration between Em and Me and Rainbow Rosalind. The former a mother-daughter duo from Dunedin in New Zealand, and the latter a real-life singing and dancing fairy also from New Zealand. The song also features on Em and Me's debut album: 1, 2, 3 Dis-Go!
The music is quite funky, largely due to its innovative bass line, which weaves its magic spell throughout. The electric guitar is equally impressive; dominating the sound with the type of rhythmic intensity that Chic made famous in the seventies. A sparse keyboard further lifts the intensity on the chorus adding additional dynamics to the overall vibe. The bridge features an inspired rap using a truly minimalist approach, where bass, drums and hand claps create the space for the vocals to instruct the audience in true instructive fashion.
The lyrics describe a series of unfortunate incidents in some detail; whether this involves 'slamming your finger in the door' or 'dropping your ice cream on the floor', it's all revealed here. Nonetheless, there is an upside to these calamities in that, if 'you're feeling down', then don't worry join in the Fairy Fiesta and allow us to 'sprinkle our magic everywhere'.
The overall vibe reminded me a bit of Dee-Lite's famous "Groove is in the heart", where the music presents itself as if there is a party going on, where everyone's invited, and having heaps of fun in the process.
This is a fabulous song, which is easy to dance to and ultimately succeeds in leaving the listener feeling 'Fairytastic'. Here, melodic inspiration and musical dexterity merges with the type of innocent charm that can only make you smile.The lyrics are both imaginative and effective, where we are encouraged to forget the doom and gloom, 'turn off your frown' and dance along to the "Fairy Fiesta". I'm sure this song would be a huge hit both in the classroom and at children's parties. I highly recommend it.
Em and Me and Rainbow Rosalind - the perfect match.
Another brilliant slice of musical mayhem from the remarkable Poco Drom, who have reinvented Christmas for the modern age with a restless energy second to none. Their new EP, Awesome Christmas Feelings, provides a spectacular interpretation of some classic songs, where distorted guitars, mesmerising keyboards and a hypnotic drum machine are the order of the day. Not what you would normally expect from a Christmas EP, but this is Poco Drom; who specialise in the sound of the unexpected. The EP also features three stunning music videos on YouTube which you should check out at your earliest opportunity.
"Step Into Christmas" kicks off the EP in fine style, where OMD meet Kraftwerk and hire Elizabeth Fraser on vocals. The lead vocal truly is sublime, merging superbly with the harmonies hovering away in the background. The somewhat anarchic guitar creates a noticeable tension, allowing an array of sound effects to swoop and soar throughout the track.There is so much going on here, it powers away without pausing for breath. Magnificent!
"When Santa Got Stuck Up the Chimney" continues this upbeat approach, with a distorted guitar included once again for additional impact. The dichotomy presented between the purity of the vocals, and the timely aggression of the backing track is like nothing I have ever heard. Somehow the music sounds modern and retro simultaneously, where scintillating electronica is repackaged just in time for Christmas.
Slade's classic "Merry Christmas Everybody" begins slowly before really exploding on the chorus where an almost sci-fi sound dominates the air space throughout. Here swirling synthesisers meet crystal clear vocals, delivering the kind of atmospherics that provide a breath of fresh air to the festive season. Once again a distorted guitar and pulsating keyboard dominate the sound, punctuated by a hypnotic drum pattern throughout.
Poco Drom are clearly one of the most exciting and innovative acts on the planet, and are way ahead of their competitors when it comes to pushing the boundaries of family music. Here Santa arrives in a space rocket, propelled by the most magnificent experimentation you are ever likely to hear. The music is engaging, unique and completely different to anything else around at the moment. I'm sure even Noddy Holder would agree. Truly remarkable, I take my hat off to them.
Canadian artist Heather Feather's debut album Songs For Growing is a truly inspired piece of work. Featuring twelve songs of imagination and intrigue, the album boasts musicianship and arrangements of the very highest standard. The lyrics are quite superb, and serve to soothe, inspire, educate and uplift throughout. Her voice is both warm and engaging, and provides the perfect fit for such highly melodic songs, which will undoubtedly provide huge appeal to children across the globe.
The album kicks off with jazz-inspired rendition of the children's classic "Sleeping Bunnies", a song which features a nimble acoustic guitar, blending superbly with a somewhat forthright piano. In addition, what sounds like a double bass hovers its magical spell over an ambitious and instructive arrangement. Here the music ups the intensity on the chorus where the artist orders the bunnies to 'wake up', enabling the children to hop along in gleeful delight.
"Shayne The Sheep" tells the story of a sheep that is somewhat different from the crowd choosing to go his own way. He does this by choosing to moo, instead of baa as we all know sheep are usually inclined to do. A song which celebrates resilience, and in particular having the courage to rise above peer pressure and ultimately 'do what you want to do'. A song which also expresses the importance of being yourself 'because everyone else is taken'. The song has a jaunty upbeat feel, which matches the mood of the lyrics which celebrate individualism and defiance.
"I Can Eat A Rainbow" opens with a double bass jamming alongside some light percussion, before the gradual introduction of an acoustic guitar and a somewhat jaunty piano. The music is steeped in jazz, and has a superb vibe throughout. The lyrics, in stark contrast to the erudite sophistication of the music, describe how we can eat the different colours of a rainbow through the variety of colours in the food we consume. For example we can eat red cherries, yellow bananas or green beans 'because they're so good for me', and ultimately will help me 'grow up big and strong'. A novel idea, highly original, and a song which provides a colourful description of healthy eating habits.
"Migration Song" reminded me a little of "The Bare Necessities" from The Jungle Book fame, with its sprightly piano, lively bass and heartfelt vocals. Here the lyrics provide opportunities for the kids to impersonate a variety of wildlife who get to 'fly away' because we can only live 'where it is warm'. The song would be an informative addition to any music class, where the children get to dance to the music, and also receive an education about the seasons, and the migratory habits of a variety of animals along the way. Brilliant!
You can't really have a children's album without a dinosaur song and this one is quite superb. Here, a honky-tonk piano spars with a rhythm section that wouldn't sound out of place on a Charlie Mingus album. This truly is twelve bar blues at its foot stomping best. The lyrics describe the dinosaurs in some detail, as well as their daily motions whether this is stomping, biting, or even swimming, there's a lot going on here. A song that is easy on the ear, and easy to dance to, culminating in the lyrical request to 'do the dinosaur dance'.
"Hey Ho" is another foot stomper, with a slight sea shanty vibe, which pays a certain homage to the Pogues. The song is interactive, providing opportunities for the kids to answer a series of geographical questions about their homeland, before enthusiastically joining in on the chorus. The song, as you might expect also features a lively fiddle dictating the pace of the song as the music gradually speeds up. As the music progresses, you can almost picture punters dancing along in a barn to the music in good hearted revelry. Old fashioned, charming and an absolute must to get any party going.
Other stand out songs on the album include the call and response "Construction Holiday", the somewhat melancholy "Dance with You" and the sprightly "Big Feelings". My favourite track however, is the wonderful "Plant a Seed"which certainly planted a seed in my heart. The song features a Beatles inspired acoustic guitar, which serenades the soul, yet which still provides the space for the melody to soar and swoon and ultimately melt your heart along the way.
"Time For Bed" is a gentle ballad written to help get the kids to bed after an active day. A hypnotic acoustic guitar dominates the song, alongside a melancholy vocal which reminded me a little of Kate Bush. The descriptive essence of the lyrics helps the listener to picture the gentle ritual, where 'the shadows grow across the bed'. The melody is captivating throughout, as are the lyrics which describe this familiar scene, where 'nothing can harm you' because 'you are safe in my arms'. There is a lush, exotic feel to the track, which draws the listener in further, to the majestic majesty of the mood on display.
The album finishes with the single "Ants in My Pants" a delightful ditty, with a very cool vibe, where an electric guitar competes with a lively piano for space. The song is great fun, and easy to dance to, I'm sure the kids will love it. The rhythm sounds a bit like the Stones' "Harlem Shuffle" although this time speeded up for good measure. A very cool, jazzy piece of music as catchy as anything you're likely to hear and a great way to finish the album.
This is a terrific album, packed with delightful songs and potent melodies all topped off with a lavish production. The vocals are sublime, as are the lyrics which dramatise the music superbly. Despite the musical dexterity on display and the sophistication of some of the instrumentation, this by no way detracts from the playful essence of the music throughout. This album is essentially all about fun, and on this form I'm sure we'll be hearing a lot more from this exciting artist in the near future.
