Album Review: Dream Big - The Wanna Bees

A few years ago I asked my daughter’s friend, then aged eight, what she wanted to be when she grew up.  Her response was quite elucidating, and perhaps typical for someone of her age.  She wanted to be an actress, a singer and a doctor.  No shortage of ambition here I thought.  Nonetheless, it seems that despite our best efforts, we are still subject to a somewhat flawed education system focused on circumventing the dreams and aspirations of children.  It is refreshing therefore, to discover a band, which have targeted this theme, and in doing so have managed to highlight the inner world of a child’s mind, one of seemingly endless possibilities.

Dream Big, the new album by The Wanabees, is the perfect follow-up to their debut Work Together, which I reviewed back in February.  Here we have a whole cast of new characters on display, including pilots, vets, school teachers and firemen introduced to inspire children and empower them to dream big.  The album is also literally brimming with funky rhythms, catchy melodies, and emphatic statements throughout.

The opening track “We are the Wanabees”, is something of a foot stomping crowd pleaser, which reminded me a little of “We Will Rock You”.  The song is a real statement of intent full of enthusiasm, and assisted by a highly effective horn section. “Do You Like” has a pulsating rhythm, and is used on a number of occasions throughout the album as a kind of persuasive chant to introduce each of the characters described.

“Valerie Vet” is more dance orientated, with a stop and start arrangement for additional effect.  There is also an imaginative keyboard on display, which further embellishes the sound, alongside anthemic vocals and pulsating drums.  “Stephanie Stethoscope” combines dance with heavy rock, as the lyrics demand to know ‘are you pumped up’?  Fireman Freddy has an interesting seventies influence, which conjured up images of Starsky and Hutch, if you’re old enough to remember them the first time round.  “Hooray for Heidi Hose” has some delightful children’s backing vocals, which soften what is a quite powerful and percussive track.  The middle eight sounds like you are actually experiencing the ride on the fire truck.  The keyboards again give the song something of a seventies vibe, although the main strength of the song is its superb melodic chorus.  “Pilot Pete” is another super song which reminded me a little of “Give Me Some Loving” by the Spencer Davies Group.

“Penny Plane” introduces some good old-fashioned rock and roll, more reminiscent of Chuck Berry’s “Johnny B. Goode” than the Beatles.  “Terry Teacher” combines rock and rap very effectively; with that notable seventies style guitar riff again dominating the sound, along with some highly charged drumming from Rob Donaldson.  “Charlie Chalk Board” opens with quite a grungy guitar, and some interesting keyboard patterns throughout.  The song is built around the rhythmic delivery of the title, with the chant ‘Charlie Chalkboard’ vehemently delivered into the microphone.  The lyric ‘he’s old school but we think he’s cool’, is perhaps referring to the proliferation of interactive white boards in classrooms.  The brass section adds further melody to the overall sound, as well as contributing to an almost reggae inspired finale.  “Dream Big”, arguably the best song on the album, brings up the rear with its powerful message right on cue.

There is no shortage of variety or imagination on this album.  The band has once again dreamed up an assortment of compelling characters, which they sing about with gusto and relish.  The songs are catchy upbeat and informative, and the individual musicianship adds an additional layer of melody to the overall sound.  You are left with the impression of a deeply committed band that really cares about their subject matter.  Furthermore, they have managed to capture the spirit of childhood ambition and dreams, through highlighting the importance of role-play in learning.  Full marks to The Wannabees and let the children play!

Album Review: Raise Your Hand - The Not-Its!

Armed with their skinny ties, pink tutus and grungy guitars The Not-Its! have exploded onto the American music scene, with their unique brand of family entertainment.  Their latest album Raise Your Hand is excellent, drawing on influences from sixties psychedelia, seventies new wave and nineties grunge, and delivered with uncompromising power.

An attempt to make a video with an uncooperative cat may have inspired the opening track “Funniest Cat Video,” where an exploding guitar introduces the pristine vocals of Sarah Shannon.  The song reveals the band has a sense of humour, and is able to deliver music that is cool, sophisticated and amusing.  “When I Fell” hints at their Seattle roots, particularly through the grungy guitar intro, which can be heard screaming out of each speaker.  “Motorcycle Mom” benefits from some engaging guitar melodies throughout, and a very catchy chorus.  “Bee’s Knees” emphasises the importance of bees in the food chain, and does so through a child’s perspective, highlighting the declining bee population.

The title track “Raise Your Hand” invites the listener into the classroom, accompanied by an interesting orchestration of vocal harmonies slightly reminiscent of Queen.  The grungy rhythm provides background noise to this lyrical lesson in early development, emphasising the importance of raising your hand to be heard.  “Nose In A Book” further explores educational matters with Jennie Helman’s hypnotic bass leading the way.  Additional potency is achieved through punchy guitars and defiant lyrics, revealing the frustration of the imaginative child forced to put a book away by an overtly officious teacher.  Any song that values reading is all right by me, as the bookworm fights back, and about time too.

There is also an interesting flirtation with nostalgia on the album, where the past is revisited, in order to be shared with the next generation.  “Hey Eighties” takes the informed parent on a trip down memory lane, where Rubik’s Cube, Ghostbusters and break dancing are some of the themes explored where cherished memories are delivered into a melting microphone.  “Great Day” is optimistic, unfolding like a celebration of life, harnessing lyrics that remind the more mature listener of the timeless flight of early childhood, and of more innocent days.

However eclectic the song content appears, there is nonetheless a unifying musical style throughout.  The music revels in a consistent flirtation with punk, psychedelia and grunge.  “Haircut,” although lyrically bearing some resemblance to Crosby Stills and Nash or the Troggs, is delivered with a raw even venomous reaction to the threat of a haircut, somewhat reminiscent of Elvis Costello’s “Pump it Up”.  This conflation of musical influences serves the band well throughout. “Love Is Love” further embraces the psychedelic feel, as a wafting melody serenades an image of the love shared during a family meal.  Social issues are also addressed, as we are reminded, “love is patient and always kind, even if your family doesn’t look like mine”.

The album also benefits from some quite sophisticated arrangements.  Captivating harmonies are utilised throughout, and on tracks such as “Mosquito Eater” in particular, the boy girl vocal blend seems to add to the energy and overall vibe of the song.  The track “Echo” is also enhanced by a kind of reciprocal vocal effect, to further dramatise a family excursion to the Grand Canyon.  The song “Waiting List” a kind of cathartic rant against the frustrations of standing in line, incorporates some skilful drumming from Michael Welke, punctuating the melody to great effect. The dual guitars of Tom Baisden and Danny Adamson effortlessly complement each other throughout the album, utilising the necessary space, and playing off each other to great effect.  The guitars can also really tear it up where required on tracks such as “Flannel Jammies” where the hard-hitting guitar, reminded me a little of the Cult’s “Wild Flower”.

This album has fifteen superb songs, sung with vocals as clear as crystal and delivered with music as powerful as an electric storm.  Whether singing about ordinary everyday events, educational values, environmental concerns, love or even nostalgia it is all here in one unifying and compelling piece of work.  The music is energetic, powerful and highly melodic, and the subject matter is both cheerful and engaging.  If this band is as good live as they are in the studio, they would certainly be worth watching.  So all you motorcycle moms, do yourself a favour, check out The Not-Its! and have a truly “Great Day”.

Album Review: Everyone's Invited! - Jason Didner and the Jungle Gym Jam

Hats off to Jason Didner and the Jungle Gym Jam for their impressive new album Everyone’s Invited. The album combines an interesting blend of fine musicianship, stirring melodies and lyrical flair, and is built around four key themes - kindness, active play, imagination, and love of learning.

The album kicks off with the rocking anthem “Jungle Gym Jamming”.  Here lively instrumentation and action packed lyrics set the tone, inspiring children to clap their hands and play their air guitars as they jam with their friends.  “Window of the Train” is more mellow and invites the listener to jump aboard in order to witness the “tall and shiny buildings” or the “cows grazing in the pasture”.  The song reminds us how simple everyday things can often be a source of wonder to the young enquiring mind.

“Five Sea Lions” would be a real asset in any classroom, providing a counting theme as the sea lions swim off to the shore one by one.  The lyrics are informative, effective and educational, and the song further benefits from a hint of ska in the rhythm, courtesy of some subtle bass playing and nimble drumming.  “The People Exhibit at the Zoo” reverses traditional roles, where the animals now scrutinise the people and ‘marvel at all the silly things they do.’  “My Glasses” has a funkier feel and celebrates some interesting benefits of wearing glasses. 

“Mimi the Ladybug” has an almost English eccentricity about it, with its vocal delivery, somewhat reminiscent of Elvis Costello describing a ladybug who is amongst other things definitively ‘cute'.  “The Pick Song” uses a clever shuffle beat, and informs children ‘not to put the pick in their mouth, nose or ear’.  I hope all you kids are paying attention; a swallowed pick could be quite nasty.  “A Bowling Parade” introduces a delightful honky tonk piano, which for me really should have been louder in the mix.  Again the song benefits from a delightful chorus where we all ‘go bowling to get the ball rolling’.

“Shy in the Pool” begins with a hypnotic marching beat, and has a slightly Beach Boys feel, describing the reluctance of the child to leave the swimming pool.  The song explores the inner workings of the child’s mind with a relentless enthusiasm of delivery.  “Glass Bottom Boat”, a fascinating idea for a song, describes the variety of sea life on display such as the fish and ancient fossils on their ‘aquarium that floats’. 

“Peak-A-Boo Moon” is a gentle ballad, which was apparently inspired by the singer’s daughter.  Here the moon becomes part of a kind of ethereal game of hide and seek which keeps the child guessing as to when it will reappear.  Finally, “Down by the Bay” finishes the album similarly to the way it starts, with an upbeat track, using a traditional tune, with its own unique twist.

This is a feel good album, which stands out as a result of its wistful melodies, poetic verse and uplifting harmonies.  It has a lightness of feel and yet it doesn’t lack punch.  It also incorporates some informative and positive messages, delivered with an original lyrical style.  It is not over produced, and is a triumph of the imagination over practicality and budget constraints.  This is clearly the party that everyone wants to be at, and fortunately Everyone’s Invited. 

Album Review: Tiny, Magical People - Chibi Kodama

Calling all you little rockers out there, you better fasten your seatbelts because the new album by Chibi Kodama is set to burn your ears off.  Here grunge meets electronic, with a hint of Weezer, Metallica, The Cars and even Juliana Hatfield on display.  There is an interesting flirtation with darkness throughout, particularly through the use of a heavily distorted guitar.  Yet the album Tiny, Magical People is essentially optimistic, even informative, providing a narrative to the complex dilemmas children face each day.

The album kicks off with the track “Shorter Than Everyone”, a real indie classic, slightly funky in tone, highlighting the need to be listened to, and the frustrations of being at the beck and call of others.  “Me Time” explores the craving to be alone, and is delivered with a memorable melody, and an exploding guitar, which further cement the frustration.

“It’s Time To Make Some Noise” encourages the urge in children to get loud, and is assisted by a hypnotic rhythm and an interesting sprinkle of keyboard effects throughout.  “Mama, I’m a Warrior” begins with a slow menacing Metallica style intro, and then unravels like a cry for freedom, where the bicycle precedes the motorbike in a yearning for adventure.  

"Just Because” is also defiant in tone, but has a lighter feel on the verse, somewhat reminiscent of The Cars. The chorus urges the listener to be assertive and not follow blindly; with accompanying power chords to further emphasise the point.  “The Roach Waved Hello” is as bizarre a topic as you are ever likely to hear, describing a families’ encounter with a giant roach, and benefits from some really uplifting harmonies on the chorus.  “This Dance is Mine,” has a more esoteric feel, with its wistful melody and accompanying grunge guitar, a combination of sounds unlike anything I have ever heard before.

“Different Like Me” has more of an electronic feel, with lyrics emphasizing the importance of diversity.  “Smile” continues this electric mood, and is a great song although somewhat compromised by power chords that cut through the track like a chainsaw.  “Mama’s Bossy Friend” is actually a mobile phone that constantly interrupts; stealing precious moments from the child ‘who really hopes his battery dies’.  “Hard Times are Good Times” introduces a lovely female vocal, that reminded me a little of Juliana Hatfield.  The salient message here is don’t give up, and remember that problems are merely a prerequisite to growth.  The album closes with the gentler acoustic ballad “The Night is the Time”, a song written to help children deal with their nighttime fears.

This album takes the listener on a journey through frustration and uncertainty to redemption and understanding.  Many of the songs explore the challenges and dilemmas facing the growing child in an uncertain world, and do so at times with a ferocity that resembles such angst.  However, there is also a hint of irony in the lyrics, suggesting that kids shouldn’t take life or themselves too seriously.  The music is dark and brooding at times, but the lyrical flair and high melodic content, place it very much on the brighter side of blackness.  This album is menacing, didactic and uncompromising, but ultimately inspiring.  It pierces the darkness, and in doing so, attempts to create resilience, knowledge and the realisation for kids that they can prevail, and music can help.  So come on kids turn it up to eleven, and have a rip roarin' time!