Disney Offers a Nice Mix of Christmas Classics With a Few New Tunes

We've moved into full-on Christmas mode in my house this year, so when I recalled that yesterday was Mickey Mouse's birthday, a Disney Christmas album seemed like a good way to celebrate. So it was that we stumbled upon Disney's Family Christmas Collection, a group of 20 songs befitting the season.

Many of the songs here just have a pleasant, generic feel to them. Some have a peppy kid's chorus and sometimes an adult soloist in the tradition of many classic Disney recordings. Songs in this vein include Frosty the Snowman, Joy to the World and We Wish You a Merry Christmas. Most of the tracks are quite short, ranging from about a minute to two and a half minutes, which keeps things moving along quickly and almost guarantees that if you don't like the current song, you'll soon find a song that you do like.

The album isn't especially well mixed, as the first batch of songs generally has a much more upbeat feel, while the second batch is more sedate. Still, this could be handy, as kids might prefer the first half and adults the second. Hark! The Herald Angels Sing and Winter Wonderland are both tracks that appear earlier on the album but better fit the tone of the second half, as they are short choral arrangements with plenty of harmony. Other tracks in this style include the serene Bring a Torch Jeannette, Isabella, the madrigalesque Carol of the Bells and the reverent O Come All Ye Faithful.

Then there are the traditional songs that highlight individual singers. My favorite of these is probably Jolly Old St. Nicholas, which is performed by Anndi McAfee, whose childlike voice is sweet, strong and perfectly suited to the innocence of the narrator. Though I didn't realize this initially, she voiced Cera the triceratops in several sequels to The Land Before Time, a staple of my childhood.  Catherine Lucille's lovely version of Silent Night, backed by an "ooh"-ing chorus, is one of the album's longest tracks at nearly four minutes in length. Another is Chris Martin's slightly Celtic-tinged What Child Is This? Meanwhile, Terry Wood's a cappella rendition of Away in a Manger is just over a minute long.

Other songs seem to be new. The album concludes with Martin's touching Angel Time, which has to do with the idea that we are all observed and protected by angels. On the sillier end of things is Rayvon's Santa Rap, a beatbox-heavy rap that deals with the distribution of toys to kids. My definite favorite song along these lines here is Rare Old Christmas, an old-timey, pipe-laden song performed by Ed Miller, who sounds like a charming elderly Irish pub denizen as he offers a benediction to listeners, wishing them laughter and the joy of music.

Of course, it would be disappointing to listen to an album in honor of Mickey if the mouse himself didn't put in a few appearances. He, Minnie and Goofy are an integral part of the bouncy Jingle Bells and Deck the Halls, and they also chime in on Here Comes Santa Claus. Donald is a bit quieter on this album, perhaps because of his poor enunciation skills, but he's right in the thick of things on the sound effects-laden Sleigh Ride. The more prominent duck, however, is Ludwig Von Drake, who sings the only unique Christmas song that involves the Disney characters. That would be the very entertaining The Science of the Season, which attempts to explain such phenomena as flying reindeer and Santa squeezing into chimneys but ultimately chalks much of it up to magic.

This album includes 20 tracks but is only 45 minutes long, so it really is fast-paced. Plenty of certified Christmas classics appear here, though, and most of them are quite straightforward. While I generally prefer a little more personality and comedy in a novelty Christmas album, the more general tone of most of these tracks makes it fitting for background music at a party, and if anyone listening closely happens to recognize Mickey, Minnie, Goofy, Donald or Drake, that should just be more reason to smile.

Embrace the Magic of Disney's First Soundtrack With Snow White and the Seven Dwarfs

When I think of my favorite Disney soundtracks, I tend to gravitate toward the 1990s, with a side trip to the 1960s for the wonderful Mary Poppins. However, great music has been a part of Disney all along, as early as Snow White and the Seven Dwarfs, so I recently took that first soundtrack, which had been lovingly pieced together and remastered, out of the library and gave it few spins.

Naturally, this 26-track album has a rather old-fashioned sound to it, with lots of woodwinds and strings helping to set the arboreal tone, sometimes beauteous, sometimes perilous. Many of the instrumental tracks, such as the eerie Magic Mirror, ominous Queen Theme and whimsical Let's See What's Upstairs, are quite short, while others, like the half-comical, half-alarming There's Trouble A-Brewing and the dark I've Been Tricked, pass the four-minute mark.

The Overture serves as a lovely preview to the rest of the album, while the organ music in Chorale for Snow White, the last purely instrumental track, is fittingly mournful. One of my favorite pieces of music is Why, Grumpy, You Do Care, the flutey tones of which sweetly accompany a wonderful moment in the film that demonstrates the effect this innocent young woman has had on the grumbly Grumpy.

The relationship among those seven endearing bachelors and the naïve princess is the heart of the movie, even more so, really, than the true love that awaits at the conclusion, and the tracks that explore the dwarfs' personalities and reactions are a lot of fun. These include It's a Girl, the longest instrumental track; the upbeat Hooray! She Stays; and the gentle Pleasant Dreams.

Snow White's instrumental tracks reflect her naivety and the beauty of the woodland that surrounds her. Far into the Forest starts off bucolic before turning panicky, while the harp-drenched Just Like a Doll's House is pure delight. By contrast, the tracks involving the queen are unsettling. A Special Sort of Death prickles with malice, while Makin' Pies goes from pretty to urgent as an innocent activity takes a dark turn that culminates in the short but distressing Have a Bite.

While the score by Paul Smith and Leigh Hairline makes for great listening, it's the songs by Frank Churchill and Larry Morey that really capture one's attention. I'll admit that the extremely high voice of Adriana Caselotti as Snow White grates on me a bit at times, but I still enjoy her songs. Animal Friends / With a Smile and a Song and Whistle While You Work complement each other perfectly, demonstrating her ability to be upbeat in the face of challenges and establishing the tradition of Disney princesses to whom animals are magnetically attracted.

Someday My Prince Will Come is a romantic classic, and I like I'm Wishing / One Song even better, though that's mostly because of Harry Stockwell as the prince, whose melodious ditty returns as part of the lush finale, Love's First Kiss. All the romance in Snow White is incredibly simplistic and idealized, of course; she and the prince fall in love instantly without knowing a thing about each other. Still, for what it is, I like it.

Still, I prefer the songs of the dwarfs, given voice by Roy Atwell, Pinto Colvig, Otis Harlan, Billy Gilbert, Scotty Mattraw and Eddie Collins. The distant, malevolent queen never gets to sing for herself, but the dwarfs express themselves quite freely, and their comical, good-hearted camaraderie is my favorite part of the movie and soundtrack alike.

Heigh-Ho is probably the song that has permeated the public consciousness most completely - not so much the earlier, sound effects-laden discussion of their work in the mines, but the cheery chant that accompanies their departure. The largely instrumental Bluddle-Uddle-Um-Dum (the Dwarfs' Washing Song), led by Atwell as Doc, includes lots of silly noises and a great Grumpy moment as his companions force him to clean up for dinner. More silliness follows in the gleefully nonsensical The Dwarfs' Yodel Song (the Silly Song), which allows most of the dwarfs a moment in the spotlight.

This album also includes two tracks omitted from the movie, both of them involving the dwarfs. Music in Your Soup makes a natural follow-up to the washing song as the dwarfs sing their way through dinner, slurping and clanging all the way. The sound quality is definitely sub-par on You're Never Too Old to Be Young, the last track on the album, which starts with the yodeling from the yodel song. This one is a lot of fun and reminds me of Dr. Seuss's You're Only Old Once! Unlike the other deleted song, however, I really can't see it fitting into the movie. For one thing, it really is geared toward seniors, who will best appreciate all the specific ailments mentioned here; for another, it seems an odd song for them to be singing to Snow White, though I suppose the point would be to assure her that they know how to party despite all their creaks. I think this would have made a fun stand-alone short, and I don't think there would have been much reason to have Snow White in it at all.

While there are Disney soundtracks that rank higher on my list of favorites than Snow White and the Seven Dwarfs, this is still an excellent album that captures an essential piece of Disney history.

Disney Presents Some of Its Greatest Love Songs in The Essential Disney Love Song Collection

Some of the greatest love songs of the past 70 years have come from Disney movies, so it makes sense that they would be the theme of several albums. One of those is The Essential Disney Love Song Collection, an 18-track album featuring six songs lifted straight from the movies, 11 “romantic renditions” of movie songs and one song original to the CD. While I’m a little disappointed at some of the songs excluded – particularly Candle on the Water from Pete’s Dragon and Jolly Holiday from Mary Poppins – and I’m a bit puzzled about the reasons for having this mix instead of all established recordings or all new ones, I found it a pretty nice collection overall.

When You Wish Upon a Star - I like that the beginning of this track includes a musical nod to Little Wooden Head, the sweetly quirky song Geppetto, my favorite character in the movie, sings to Pinocchio before he comes to life. Craig Toungate performs the song against lush instrumentation, and something in his tonal quality reminds me of Jiminy Cricket. While I don’t really consider this a love song, I seem to keep encountering it in that context, and it’s not too much of a stretch to make it fit.

Can You Feel the Love Tonight - The general sound of this one is very similar to the movie, though the voices, especially the singing voices, are obviously different. Assuming the names are listed in order, Dennis Razze and Toungate are Timon and Pumbaa here, and they approximate their voices pretty well for their banter, but Alicia Kay, Virgil Seals and Patty Rowell have a significantly distinct sound. While I prefer the original version, this one is almost as good.

True Love’s Kiss - The first song on the album that is the original rather than a new recording. Amy Adams has such a perfect Disney princess voice, and she bubbles over with innocent enthusiasm here as she imagines the ecstasy of the kiss that will change her life. James Marsden, when he finally shows up here, makes a wonderful complement to her, and the uncredited woodland creatures are adorable. The song mostly feels like a slightly tongue-in-cheek nod to Snow White and the Seven Dwarfs’ I’m Wishing / One Song; it is very sweet and slightly silly.

Bella Notte - I love the mandolin and accordion that usually accompany this song, as well as the thick Italian accent on the singer. Those elements are present in this new version performed by Joe York and Scotty Roberts, so I’m happy with this track, which clocks in at under a minute and a half.

Kiss the Girl - Samuel E. Wright is so wonderfully expressive as Sebastian, the Jamaican-accented crab who serves as King Triton’s advisor in The Little Mermaid. This is another original, so you’ve got his wonderful performance, along with all those great reggae-ish instruments that help set a mood that is both exotic and persuasive.

So This Is Love - Meredith McCall sings this new version of the Cinderella classic, another short one at just over a minute and a half. Accompaniment is minimal, with strings and occasional harp plucking; the main thing distinguishing this is York’s presence as the very stately-sounding prince. I’m torn, but I think I might like it even better as a duet.

Once Upon a Dream - This Sleeping Beauty tune has very similar accompaniment and a comparable feel to it. York is the prince again, and he sounds about the same as in the last track, which works because really, while Phillip is more developed than his predecessors, it’s easy to get those three early Disney princes mixed up. Another nice duet.

A Whole New World - Given the immense popularity of the movie version, performed by Brad Kane and Lea Salonga, I’m not surprised this was one of the tracks that stuck to the original. It’s an exhilarating ballad with the music evoking the joy of a world-traversing magic carpet ride and the eager voices reflecting the thrill of awakening love. I’ve read many comparisons of Tangled’s I See the Light with this song, and they are apt, though I still consider the latter an exquisite song in its own right. In fact, I prefer it, but that doesn’t stop me from loving this exuberant duet as much as I ever did.

Something There - Interestingly, this album includes two songs from Beauty and the Beast, and both are the original versions. While this is not as iconic as the title song, which comes later, I like it better, since it feels much more down-to-earth and personal. The other one is grandiose and archetypal; I prefer listening to these specific characters express their confusion and wonder as their feelings for one another change, not to mention the astonishment and excitement of their enchanted observers. It’s such a perfect movie moment.

One Dance - This one is interesting because Jodi Benson, who plays Ariel in The Little Mermaid, performs the song, but it’s a new rendition because this is from the Broadway show and was originally recorded by Sierra Boggess. I have yet to see the stage musical or listen to the cast recording, so this song was new to me, but it’s easy to see how it would fit in. Ariel’s ardent devotion to Eric despite their limited interaction is apparent. I confess I’ve always struggled with Ariel, finding myself troubled by her eagerness to cast off the world of her youth and so permanently separate herself from the family and friends who love her. However, her assertions here feel very true to her character.

Baby Mine - This is obviously a song of love, but when I hear “love song,” the implication is generally that we’re talking romance, especially when the liner notes use the words “romantic renditions.” This new version by Paige Morehead definitely feels like a lullaby, with guitar and keyboard adding a gentle musical backdrop. It’s not romantic, but it’s very tender.

I Won’t Say (I’m in Love) - This sassy “methinks she doth protest too much” song from Hercules has the same basic sound to it as the original, with Rebecca Schoolar taking on the role of emotionally wary Megara and Laura Benedict, Alicia Jones and Chris Martin filling in as the Muses who aren’t buying her objections. It’s a fun song, in part because it’s such a change from the instant, unprotesting ardor of so many Disney heroines. Her practical objections feel more realistic, while still leaving room for her true attraction to peep through. Probably the peppiest song on the album.

If I Never Knew You - Jon Secada and Shanice perform this radio-ready end-credits duet from Pocahontas. It’s the original version, which is interesting because it has much more of a pop sound to it than the other straight-from-the-movie tracks, which feel more like Broadway. One unusual aspect of Pocahontas is that the main romantic couple does not end up together. Of course, in real life, they weren’t a romantic couple at all; as fast and loose as Disney played with history here, separating Pocahontas and John Smith at the end definitely was the right call. This song is similar in many ways to Wicked’s For Good, a duet celebrating a powerful relationship that cannot last but that has changed both parties profoundly. While I find the sound of the song a little over-the-top, it’s a touching testament to the strength of a bond that will remain although circumstances force a parting of the ways.

You’ll Be In My Heart - This new version of the Tarzan song, performed by Rolan, is very short but still a great track, with the strong male vocals complementing the jungle-inspired instruments. A touching lullaby along the same lines as Baby Mine.

I Wonder - This Sleeping Beauty track, a new rendition by Leslie French, captures the wistful sweetness of the original in a mere 83 seconds. The harp is an especially nice touch.

My Gift Is You - Craig Hella-Johnson and Leslie Whitely perform this new song, a mellow Christmas love song that, based on the liner booklet illustration, I take to be a duet between Mickey and Minnie, though their voices sound nothing like the high-pitched mice. This acoustic number is pretty standard domestic holiday fare, full of cozy images like hot cider and falling snow and an overarching assertion of mutual affection.

Beauty and the Beast - Angela Lansbury’s mature British voice brims with wisdom and good will in the final movie version on the album. The advanced age of her character makes her especially suited to interpret what has been happening between the title characters, and the timeless quality of the song assures that it will continue to strike a chord for many years to come.

Stay Awake - It makes sense that this reverse-psychology lullaby would be a final song on an album, but I confess I find it a strange choice for this album, since this is most definitely not a romantic song, at least not in context. I suppose that this rendition, sung by Karen Taylor-Good and accompanied by delicate harp, could be interpreted in a romantic light, but that seems a stretch. It is a beautiful performance, though, and whatever the type of love at play, the desire for the addressee to have a good night’s sleep is a caring sentiment.

This album fills a similar niche to Disney’s Fairy Tale Weddings as it features mostly new recordings of classic Disney love songs. Eight of the songs found in this collection are on that one as well, though of course they sound different. Those looking for something unique may be frustrated by the original tracks and those eager to listen to songs they know and love may be thrown off by the new versions, but for me, it works. The attractive liner booklet, which has a red, white and pink color scheme and includes pictures of pertinent characters, along with lyrics to the songs, is the icing on the cake. I don’t know if I’d call this album “essential,” but it certainly makes for easy listening.

Take a Walk on the Wicked Side With Disney Villains: Simply Sinister Songs

Disney is full of characters audiences just love to hate. When these antagonists are allowed to sing for themselves, the results are often both unnerving and irresistibly catchy. The album Disney Villains: Simply Sinister Songs compiles, in chronological order, an unlucky 13 of these songs that revel in dastardly deeds.

Pink Elephants on Parade (Dumbo) - I raised an eyebrow when I saw that this song opened the album, since I never really thought of it as a “villain’s” song. Yeah, those pink elephants are pretty creepy, but they’re also figments of Dumbo and Timothy’s imaginations, and all they’re really doing is giving them a massive hangover to look forward to in the morning. The sequence in the movie is one of the trippiest in Disney history, though, so while it’s not these elephants’ fault that Dumbo and Timothy dreamed them up, it’s certainly spooky, and the demented laughter toward the beginning sounds absolutely demonic. “I could stand the sight of worms and look at microscopic germs, but Technicolor pachyderms are too really much for me!”

Siamese Cat Song (Lady and the Tramp) - Peggy Lee provides the voice of these duplicitous cats who begin to make Lady’s life miserable from the moment they enter her house. I have read criticisms of this song because of the Asian accent Lee employs and the general idea that these villainous characters are so identifiably Siamese. The song has a very Asian sound to it, but aside from the rather questionable syntax, the lyrics are basically just reflective of the way any sneaky cat would act in their situation. Unsettling for sure. “We are Siamese if you please. We are Siamese if you don’t please. Now we looking over our new domicile. If we like we stay for maybe quite a while.”

Cruella De Vil (101 Dalmatians) - This track is a bit of a disappointment because it is mostly instrumental. Sure, it’s fun to hear Roger ragtiming it up on the piano, but what most people really want to hear is the portion that is sung. Though there’s not a lot of music in 101 Dalmatians, this song is absolutely iconic, and it’s partly because of the list of Cruella’s undesirable traits, rather like the one in You’re a Mean One, Mr. Grinch. It’s a very catchy tune, but I think the excess of purely instrumental piano may wear on some. “Cruella De Vil, Cruella De Vil. If she doesn’t scare you, no evil thing will. To see her is to take a sudden chill. Cruella, Cruella... She’s like a spider waiting for the kill; look out for Cruella De Vil!”

I Wan’na Be Like You (The Monkey Song) (The Jungle Book) - I tend not to think of this as a villain song either, but I guess King Louie, who is so desperate for Mowgli to teach him how to make fire, does qualify. It’s just that the jovial orangutan seems considerably less threatening than Shere Khan or the tiger or ever Kaa the python. While the first three songs on the album sound sinister, this one is a jazzy dance party led by Louis Prima, with Phil Harris popping in partway through to provide his own scatting, which is really pretty accomplished until he gets a bit too carried away with things. “Oobee do, I wanna be like you. I wanna walk like you, talk like you, too. You see it’s true, an ape like me can learn to be human too!”

Every Little Piece (Pete’s Dragon) - This is the only song on the album from a live-action film, and it’s a grand one. Jim Dale and Red Buttons ponder the delicious potion-making possibilities presented by the presence of Pete’s dragon. Doc Terminus is the main schemer here, perusing lists of dragon-related concoctions and getting more excited by the minute, but his faithful assistant soon gets caught up in the anticipation as well. It’s a song that feels simultaneously sophisticated and grotesque. While there are several villain songs in the movie, this one is the most gleefully malevolent. “Dragon cartilage keeps you thin. Dragon fat is for burns. A dragon tear will clear up your skin. Watch the profits come rolling in. Watch the profits come rolling in!”

Poor Unfortunate Souls (The Little Mermaid) - Pat Carroll brings a definite Broadway flavor to this showy song in which sea witch Ursula tries to persuade Ariel that she has her best interests at heart. It’s quite a lyrically dense song, so it’s hard to catch all the words on the first listen. Even now, I find myself struggling with the words during the most rambly parts of the song. It’s a wonderful anthem, though, an over-the-top declaration of innocence from someone we know to be vile, and her delivery betrays that even as her words hide it. Jodi Benson’s Ariel seems impossibly naive next to her, or just so fixated on what she wants that she will do almost anything. Although the circumstances here are very different, the end of the song, with Ursula demanding that Ariel sing for her, reminds me a lot of The Phantom of the Opera. An impressive song. “Come on, you pour unfortunate soul. Go ahead! Make your choice! I’m a very busy woman and I haven’t got all day. It won’t cost much – just your voice!”

Gaston (Beauty and the Beast) - This is the ultimate Disney villain’s song. It isn’t until The Mob Song that we see the heights of Gaston’s wickedness in musical form, but this is his shining moment, the time when everybody in town gets to band together and reassure Gaston about how great he is. Egomaniac that he is, Gaston does not take much convincing. Richard White’s strong baritone rings out over all the other voices here as the list of his outstanding traits and accomplishments grows. Most of them reveal him to be burly and macho but not inherently a bad egg, though his perpetual self-aggrandizement is a tip-off. “No one hits like Gaston, matches wits like Gaston. In a spitting match nobody spits like Gaston!” “I’m especially good at expectorating – ptooey!” “Ten points for Gaston!”

Oogie Boogie’s Song (The Nightmare Before Christmas) - I’m a little less familiar with this song than most on the album, having only seen the movie a couple of times, though I did see a memorable rendition of it at a high school dance concert not long ago. Oogie Boogie is a demonic entity who has Santa Claus in his clutches and is lording it over him. There’s a soulful vibe to this one; it reminds me of something that might have come out of New Orleans. Plenty of brass and woodwinds join in with jazzy piano and the deep, borderline demented voice of Ken Page, who displays the same alarming enthusiasm in his song in Don Bluth’s All Dogs Go to Heaven. Definitely one of the spookiest songs on the album. “You're jokin'. You're jokin'! I can't believe my eyes. You're jokin' me, you gotta be. This can't be the right guy! He's ancient, he's ugly; I don't know which is worse. I might just split a seam now if I don't die laughing first!”

You’re Only Second Rate (The Return of Jafar) - Strangely, this song is listed as having been from Aladdin and the King of Thieves, the third movie, but it is actually from the second. It’s odd because it combines the menace of Jafar, so silkily voiced by Jonathan Richman, with the showmanship of Genie, since this is Genie Jafar, who is even more powerful than the lovable blue lug who completely stole the show in the original movie. It’s sort of an anti-Friend Like Me, and Genie’s manic energy just doesn’t quite sound right coming out of stately Jafar. It’s a little overly goofy for such a fearsome villain, and some of the lines seem to be there just for the sake of rhyme and don’t make a lot of sense. Entertaining, but a notch below most of these tracks. “So spare me your tremendous scare! You look horrendous in your underwear! And I can hardly wait to discombobulate. I'll send ya back and packing in a shipping crate. You'll make a better living with a spinning plate. You're only second rate!”

Be Prepared (The Lion King) - I love this song led by Jeremy Irons, who, like Richman, really has icy sophistication down, and backed by Whoopi Goldberg, Cheech Marin and Jim Cummings as the clueless hyenas. This is a truly harrowing track, and yet it’s also fun, largely because of the unusual African instrumentation and the hyenas’ eerie harmonies. The summer The Lion King came out, I spent a couple weeks visiting my cousins, and we listened to this song over and over, switching off on who sang which part. It was a blast. Scar sounds regal here, using lofty language and keeping a tone of snide superiority in his voice that is only occasionally diminished when he loses patience with the hyenas’ incompetence and snaps at them. Bone-chilling. “I know it sounds sordid, but you’ll be rewarded when at last I am given my dues and injustice deliciously squared. Be prepared!”

Snuff Out the Light (Yzma’s Song) (The Emperor’s New Groove) - As I listened to this, I was puzzled because I had no memory of it at all. Granted, it’s been years since I’ve seen the movie, but I still would have thought the song would ring a bell. What’s more, I really couldn’t see how it fit into the plot at all. After a little looking, I was relieved to discover that I had a good reason for thinking it out of place. The song never made it into the movie and is a relic of an earlier plotline. Eartha Kitt is darkly eager here in this bouncy song in which the evil Yzma rails against the sun for the damage it has done to her. Anyone who has dealt with heatstroke or skin cancer can appreciate her standpoint, but her desire to destroy the sun is a little much… “Bats and owls and coiled sea dragons, crocodile and carrion beasts swirling in the growing darkness, join us in the coming feast.”

Yodel-Adle-Eedle-Idle-Oo (Home on the Range) - Pink Elephants on Parade has a rival in this bizarre number that is Old West meets acid trip. It starts off normal enough, with Randy Quaid’s cattle rustler Alameda Slim sounding growly and intimidating as he prepares to boast of his prowess, but suddenly it takes an unexpected turn. When I saw this in the theater, I literally fell out of my seat laughing. I gasped for breath. Tears rolled down my cheeks. Rarely have I had such a powerful attack of the giggles as I did once Slim started yodeling his head off, instantly sapping the character of any true menace. Luckily for me, the theater was almost empty. You’re missing the visuals here, which include glassy-eyed cows marching in kaleidoscopic formation as colors flash wildly, but just the audio is enough to convey how ridiculous all this is. Most of the actual yodeling is done by Randy Erwin and Kerry Christensen, while Quaid, along with David Brunham, Jason Graae and Gregory Jbara, who play Slim’s lackeys, sing the verses. After the beginning, the declarations devolve into utter lunacy and include a lot of jokes about his excessive girth. Almost certainly the goofiest villain song I have ever heard. “They call me mean, boys, depraved and nasty, too, but they ain’t seen, boys, the cruelest thing I do. You see, I yodel-adle-eedle-idle-oo…”

Friends on the Other Side (The Princess and the Frog) - This song performed by Keith David ends the album on a shuddery note. Reminiscent of the Oogie Boogie song, particularly when given the focus on the dead, it is incredibly creepy, with Doctor Facilier bragging of his skills as a necromancer. This is very dark stuff indeed, with the “Shadow Man” trying to work his persuasive magic on the unwitting prince much as Ursula does with Ariel. Upbeat but nightmarish. “The cards, the cards, the cards will tell the past, the present, and the future as well. The cards, the cards, just take three. Take a little trip into your future with me!”

This is not an exhaustive album; The Great Mouse Detective’s Ratigan and Hunchback of Notre Dame’s Frollo are two characters whose songs would have fit in well here, and they’re not the only ones. Still, this is a solid album, and while a couple of the tracks are less familiar, most are instantly recognizable classics. While few of the songs have a specific Halloween connection, the villainy being celebrated seems especially appropriate for this time of year. As October winds down, why not dust off your evil laugh and give Disney Villains a spin?

Riders in the Sky Make Monsters, Inc. Musical With Scream Factory Favorites

I love the funny, heartwarming and wildly imaginative Pixar movie Monsters, Inc., but it’s not a movie I associate with Disney’s tradition of excellent music. Sure, it’s got a fun theme song that plays over the credits, but it’s not a musical. However, I now have more melodious associations with this movie thanks to Scream Factory Favorites, a tie-in album featuring songs set in its unique world.

Riders in the Sky, the group who performed Woody’s Round-Up in Toy Story 2, received a Best Children’s Album Grammy for this album, which, despite the band’s distinctly Western slant, incorporates a variety of styles, including doo-wop, big band and reggae. Its key members include “Ranger Doug” Green on guitar, “Too Slim” Fred LaBour on bunkhouse bass, “Woody Paul” Chrisman on fiddle and “Joey the Cowpolka King” Miskulin on accordion, piano, banjo, FX and synthesizer. The four share vocal responsibilities and get some help from a variety of other musicians, including Josh Archibald on piano, John Gardener on percussion, Chris Leuzinger on guitar and ukulele, Jonathan Yudkin on violin, George Tidwell on trumpet, David Hoffner on synthesizer, Bob Mater on drums, Jimmy Capps on guitar, Stu Basore on steel guitar and Harry Stinson on vocals.

If I Didn’t Have You - This Randy Newman song, performed by John Goodman and Billy Crystal for the movie, gets the Western treatment, with fiddle and accordion coming together to remind me of some of the songs on the Disney cowboy songs collection Pardners. This is an ode to friendship and its power in our lives that here specifically applies to the bond between steady blue furball Sulley and one-eyed wisecracker Mike as they sing to each other. “You and me together – that’s how it always should be. One without the other don’t mean nothin’ to me…”

Doo-Wah Diddy Diddy (Mike’s Song) - This upbeat oldie gets a monster makeover as Mike sings of falling for Celia. The sound is pretty similar to the original version, but the lyrical alterations begin to become more frequent as the song progresses. While the first two verses scarcely change at all, this is definitely Mike’s song by the end. “I said Celia, shmoopsie-poo, I’m on my bended knee, singing Doo Wah Diddy Diddy Dum Diddy Doo. Celia, sweetie pie, please marry me, singing Doo Wah Diddy Diddy Dum Diddy Doo.”

I Only Have Eye for You - Coming right after that last one, I thought when I saw this title that it might be a direct parody of I Only Have Eyes for You, but aside from the basic thematic connection, this is an entirely distinct song from Mike’s perspective written by Green. There’s the rather incongruous pairing of brass instruments with yodeling, though the latter is not as pronounced as it is on the first track, but what mostly distinguishes this track is the unconventional list of things that Mike loves about Celia. Most gals would not consider these traits too flattering, but something tells me Celia is eating it up. “I only have eye for you. Your kisses taste like glue. Your snaky hair keeps waving in the moments when we’re kissing; are you whispering ‘I love you,’ or is it just your hairdo hissing?”

Monsters, Inc. March - LaBour has writing credit on this spooky-sounding song that reminds me a bit of Dumbo’s Pink Elephants on Parade and the Winnie-the-Pooh classic Heffalumps and Woozles. The factory workers band together on this one to enthusiastically promote their cause, and it’s easy to imagine them parading through town to share their message with all of Monstropolis. “We scare, scare, scare because we care, care, care. We’re Monsters, Incorporated.”

Monsters ABC’s - LaBour also wrote this one, which has a doo-woppy 1950s flavor to it. The ooh-ing chorus and snapping fingers add to the ambiance in what amounts to a musical version of a Monsters, Inc.-themed alphabet book. The rhyme is strong during the alphabet portion of the song, the rhythm not so much, but that adds to the humor in this longest track. Some of the letters stand for specific characters, some for scary noises, some for just generically unsettling things. Well, I don’t find geeks unsettling, but maybe that’s just me… A very cute take on the ABCs, and since they sing the alphabet through a couple of times with only the letters, if you listen to this one enough, it could just end up replacing the traditional Twinkle, Twinkle Little Star melody in your mind. “R is for Roz and Randall, too. S is for Sulley, he’s always true blue. T is for Trouble U Under your bed. V is Very scary. W Wazowski he’s mostly all head…”

Lullaby for Boo - This song by LaBour and Chrisman is unusual in that it is sung by Sonya Isaacs rather than a member of Riders in the Sky. This is a lovely, whispery song with guitar accompaniment that has a soothing quality to it. I like the comforting tone, though I’m not crazy about the chorus, since it seems to imply that she just dreamed up Sulley and the gang, and in the Monsters, Inc. world, they are more real to me than she is. Is this an indication that when she gets older, she is supposed to simply believe that “Kitty” was her imaginary friend who she outgrew? That thought makes me sad… “The monsters that we played with have all gone home again. They know the show must end; they’re only just pretend.”

If I Didn’t Have You - The Western flavor of the opening track is intensified by turning it into a pure instrumental, highlighting the fiddle and accordion. Even without the lyrics, this song has a very friendly feel to it.

It’s Our Job - This Miskulin song brings back the fiddle but also has a bit of a 1920s sound to it, especially at the beginning when the piano is most prominent. Like Monsters, Inc. March, this song is from the perspective of the factory workers ,who take pride in their strong work ethic when it comes to scaring tykes in order to generate energy. Lots of shrieks and goofy sound effects add to the fun of this one. “It’s our job to be frightful and scary. Some of us are all hairy; some of us have got horns and tails. We hide and wait ‘til you are finally sleepin’. That’s our cue to come creepin’ ‘cause it’s our job.”

Paperwork (Roz’s Song) - Green is the songwriter behind this Caribbean-styled tribute to paperwork that intersperses an upbeat chorus of guys with the droning dialogue of Roz, a tedious crank who would feel right at home in Office Space. Her voice is only slightly less obnoxious here than in the movie; you really don’t want this slug on your back. While the lyrics address children, warning them of the annoyances of adult bureaucracy, adults who have experienced the joy of drowning in extraneous forms will probably appreciate this one most. “When you grow up you’re gonna find just when things are going fine, someone will sneak up from behind and want to see your paperwork.”

Monsters’ Jubilee - Chrisman and Green collaborated on this square dance in which the dance caller announces himself as a member of Riders in the Sky. It’s the shortest track at well under two minutes, but the lively tone of this heavy-fiddle song, coupled with the specific motion instructions, make it highly interactive. “Put your right paw in the air. Hold it up and wave it there. Hop three times now one, two, three at the monsters’ jubilee.”

Under the Bed - This one by Green has a similar sound to Monsters, Inc. March, with brass instruments giving a sense of mingled suspense and revelry. The spooky laugh and the musical quote of an iconic series of creepy notes whose title escapes me demonstrates how much fun the monsters are having and the narrator isn’t. His straightforward delivery amuses me; he’s supposed to be in nursery school, but he’s most definitely a grown man, making his worried proclamations funnier a la Allan Sherman’s comedy classic Letter From Camp. “Under the bed I hear them slithering and slinking. Under the bed their chains are softly clinking. They’ve got arms that wave like tentacles; at the end are great big claws. And they’re drooling and they’re slobbering with great big jaws.”

The Perfect Roar (Sulley’s Song) - While this leisurely ballad by Chrisman and Archibald is not the longest song on the album, it is the most lyrically dense with its nine four-line verses detailing Sulley’s epic quest to find his own roar. A crackin’ good narrative song with a message of affirmation at the end, it’s made more fun by the steady stream of trumpet blasts and the growly voice of the singer. I’m surprised that there’s no acknowledgment of the tune, which, despite the plodding pace, is unmistakable for the lively kiddie folk song Do Your Ears Hang Low?, but in any case, they appropriate it well. “Yes, I found my perfect roar, just as every monster owns in different shapes and sizes, for each a different tone. And none of them could find it hidden high on any shelf. A monster has to find his perfect roar inside himself.”

Big High Wire Hop - This lively instrumental is heavy on the fiddle again also includes some fun bass and guitar. It serves as the background music for the whimsical Pixar short For the Birds, which ran before Monsters, Inc. in the theater. A fun way to wind down the album.

This is obviously an album geared toward kids, and the overall tone is pretty silly, but it’s really high-quality stuff that puts a smile on my face. The lyrics do a good job of capturing the personalities of the characters and the fun of this world, and from the impersonations to the varied instrumentation, it’s obvious that the tracks were put together with great affection. If you’re looking for some fun Disney novelty albums, Scream Factory Favorites is a great place to start.

It's a Small World But a Big Ride Fit For a Big Dream

If there is one ride that I have always associated most with the Disney parks in California and Florida, it would have to be it’s a small world (un-capitalized on purpose). I believe my introduction to the song that plays throughout the ride came in the form of a small toy television I received as a toddler. As I recall, I turned the knob and the music played, albeit only an instrumental, music box-ish version, and two-dimensional versions of images from the ride paraded before my eyes. I also had the book and record inspired by the ride, and I’m sure that was where I heard the song with lyrics included for the first time. It’s one of those songs that, once you’ve heard it, you never forget it, and just a snippet of it will be enough to lodge the song in your head for a week. Many people consider it one of the most annoying songs they’ve ever heard – The Lion King even slipped in a self-deprecating joke about it – but I’ve always liked it.

This past December, I saw The Boys: The Sherman Brothers’ Story, a documentary about perhaps the most legendary songwriting duo in Disney history, and a fair bit of the movie involved the creation of this attraction. I was moved to hear Richard Sherman discuss his reverence for the project and how he really saw the song as an anthem of peace and global understanding. Yes, the words are simple and the tune is maddeningly catchy, but really, isn’t this the sort of message that’s worth getting stuck in people’s minds? “There is just one moon / and one golden sun, / and a smile means friendship / to everyone. / Though the mountains divide / and the oceans are wide, / it’s a small world, after all.”

My mom went to Disney World once with a choir, and she only had enough free time to go on three rides while she was there. This was one of them. I tend to think of it like Hershey’s Chocolate World; if you’re going to go to Hersheypark, that is the one ride you absolutely must go on. (Of course, unlike it’s a small world, it’s outside the actual park entrance, so you can go on it without actually paying park admission…) When I went to the Magic Kingdom with my aunt, uncle and cousin last month, this was my one essential ride just as surely as the pair of Walt Disney World Mickey Mouse ears was my one essential souvenir.

We spent one full day and one evening at the Magic Kingdom. The first day, we waited quite a while to get on this iconic ride. I would estimate that we spent about an hour waiting in line, in part because we happened to hit it at what seemed to be the busiest point in the day. When we rode it the second day, we only had to wait about ten minutes. The line winds down toward the waterway, where a series of 24-passenger boats wait to take visitors on their leisurely trip through the world.

I’ve seen enough representations of the ride on film and in books to have a pretty solid idea of what to expect, and there was a definite air of familiarity about it as I slowly gazed around to admire the displays. However, my first time through, I couldn’t help thinking that it may be a small world, but it’s an awfully big ride. Every time I thought that we had come to the end of the attraction, we turned a corner and entered another room just as vibrant and joyous as the one before it.

The animatronic figures all look extremely similar in basic body and facial structure, which emphasizes the common ground we all share. Yet the costumes are completely distinct from each other, as are the props filling each section. Several prominent Disney artists, including Mary Blair, Marc and Alice Davis and Walt Disney himself, were involved in the design of the original attraction, which started out at the 1964 World’s Fair and then moved to Disneyland, and although it didn’t come first, the Disney World edition still feels like a labor of love. It’s a 15-minute cruise that is meant to encourage children and adults alike to see the beauty in other cultures and contemplate our similarities while celebrating our differences.

Nearly 500 animated figures fill the ride, including both human and animal dolls as well as a variety of toys and contraptions. Every room is bursting with activity. Hula dancers offer a welcome in grass skirts; Arabian children fly on magic carpets; leprechauns linger on golden harps. In each land, you can find children dancing and playing and taking to the land, sea or sky in a variety of whimsical vehicles. Creatures ranging from kangaroos to giraffes lurk nearby, adding more unique flavor to the countries that host them. And each time the boat takes you through a different part of the world, the language on the recording of the song changes, so you hear it in a variety of different tongues. The basic nature of the song makes it ideal for translation, and the words and melody are so memorable that you always know pretty much what they’re singing no matter how unfamiliar you are with the language at hand.

I understand that at Disneyland, it’s a small world now includes several prominent Disney characters mixed in with the characters specific to this ride, much like certain characters are scattered through Epcot’s International Village. While I’m not used to thinking of familiar Disney faces like Pinocchio and Peter Pan populating it’s a small world, I imagine that this new twist would add another layer of fun, as would the holiday version of the ride, which includes lights, decorations and festive music. In any incarnation, I can’t picture myself getting tired of this attraction. With so much to see in every room, I think I’d have to ride it several times before I even managed to catch everything that was happening, and I don’t see the wonder wearing off even then. This ride is a beautiful artistic feat and the representation of Disney’s dream of a future in which children all around the world could live in harmony, a dream that the Sherman Brothers shared when they wrote the song that is one of the most performed and recognized in the world.

“There’s so much that we share / that it’s time we’re aware / it’s a small world, after all.” Yes, indeed.

Club Chipmunk: The Dance Mixes Doesn't Make Me Wanna Shout

I’ve been acquainting myself with some of the theme albums produced by the novelty group Alvin and the Chipmunks, created by Ross Bagdasarian, Sr., and carried on by his son, Ross Bagdasarian, Jr. What I’m finding is that the more specialized an album is, the more generic it tends to be. The songs are thematically linked, but the only thing Chipmunky about them is those high-pitched voices and maybe an off-hand reference or two to Alvin or one of the other Chipmunks or Chipettes.

Club Chipmunk: The Dance Mixes is probably the most uninteresting Chipmunks album I’ve ever listened to. The songs are peppy, and the technical quality is excellent, but there’s no banter, and Dave Seville is entirely missing from the album. It doesn’t help that dance music isn’t exactly high on my list of preferred genres.

Macarena - This song reached its height of popularity when I was in high school, though it’s still turned up at pretty much every wedding reception I’ve been to since then. It’s catchy, and because the moves are so simple, even a klutz like me can get out on the dance floor and not look like a total dunce. But it’s that interactive element that makes it so fun. The song itself isn’t much to listen to, and the Chipmunks add nothing new to the equation.

Vogue - GLEE recently covered this song, with Sue Sylvester putting her distinctive stamp on it in an amusing music video. Perhaps this track would be more interesting with a similar visual element, but just listening to the Chipettes, it’s another pretty much straightforward cover of a song I already find rather annoying.

Stayin’ Alive - I kinda dig the BeeGees, and this is a fun song to boogie too. It’s also rather suited to the Chipmunks, since there are already high voices at play. On the other hand, it’s harder to understand those long strings of words when they’re coming out of Chipmunk mouths, and again, there’s nothing very unique about the Chipmunks cover.

Play That Funky Music - At least this one has been personalized a tiny bit, with the word “chipmunk” replacing “white boy” after the title phrase. Otherwise, it’s another proficient but unoriginal cover, though I must admit this one had me dancin’ in my seat a bit.

I’m Too Sexy - Unsurprisingly, egotistical Alvin takes the lead on this preening song, adopting an odd accent as he does so. On the one hand, this song has more originality to it than most, with Alvin changing a word here and there - “car” to “bike,” for instance. But even though the song is little more than a list of things he’s “too sexy for,” it still feels a bit inappropriate, considering that the point of this album seems to be to have kid-friendly versions of popular dance songs. Then again, I distinctly remember my fourth grade classmate doing an upper-body strip tease to this in the middle of guidance class...

Witch Doctor - The Chipmunks add a techno beat to this song and make it funkier. Oddly, they change their own song up more than anybody else’s, when I liked their original version better than any other song on this album. This rendition is definitely skippable, and it really makes me miss lovably cranky Dave, who seems to be getting extremely short shrift on recent Chipmunks albums.

Shout - The Chipettes chime in on this song, which is more melodic than most of the tracks on the album. It’s kinda fun to listen to Alvin draw out those long notes, and the gals nail the extra high notes. It’s catchy, but again, not very original.

Love Shack - This is another song that seems a bit inappropriate to me. Yes, they played it at every skating party I went to in elementary school, but it doesn’t seem like a song meant to be sung by characters who are supposed to be just kids themselves. It’s also one of those songs that never seems to end, and I think Chipmunks songs tend to work best when they’re more on the short side. At more than five minutes in length, this is the longest song on the album by a considerable margin.

Macarena - The album ends as it began, only this time the maddeningly infectious ditty is sung entirely in Spanish instead of only partly. I guess it provides a nice bookend, but it seems a little excessive.

I doubt that Bagdasarian feels this was a wasted album; it made it into the Top 10 on Billboard’s Top Kid Audio, and I imagine the album still is making its way into kids’ parties, especially with the resurgence in the Chipmunks’ popularity following the two movies. I can also see how it might be fun to play a Chipmunks version of one of these dance staples at a wedding reception or other occasion where there’s lots of dancing. You can dance along to these versions just as easily, and it might be good for a laugh. But for such an upbeat album, Club Chipmunk is just a little too bland for my tastes.

When You Wish Upon a Chipmunk, Your Dreams of a Great Album Don't Come True

I love Alvin and the Chipmunks, and I’m one of the biggest Disney fans around, so I was intrigued when I saw that this fictional band of high-pitched critters had done an entire album devoted to Disney music. Perhaps I should have worried, given my disappointment with the Chipmunks’ experimentation with the Beatles. But I wanted to give the album a whirl anyway, and what I found was that this is not an album that represents the Chipmunks very well. They do a good job of imitating the sound of the original songs, but there’s little humor or genuine personality to be found.

Hakuna Matata - This cheerful song seems appropriate for the Chipmunks, especially exuberant Alvin. They don’t do much with it, though, aside from adding a further reference to Pumbaa’s gastronomical issues. One of the Chipmunks - I think it’s Simon, though I can’t be sure - portrays Pumbaa, making himself sound gruff but still warthog-like. Except they change the word “warthog” to “chipmunk,” so the whole thing doesn’t make that much sense. At least it’s a peppy way to start the album off.

I’ve Got No Strings - If the first song stuck pretty close to the original, this one turns the Pinocchio song into a techno mix in which Alvin, having just broken up with his girlfriend Brittany, asserts how happy he is to be independent. An interesting take, but after the banter at the beginning of the song, I expected the conversation to continue. It never does, and the Chipettes sound a little strange singing those verses from the movie in their high-pitched phony accents.

Friend Like Me - There’s a lot of comedy in this one, with the boys switching off on doing silly voices in imitation of the Genie in Aladdin. It’s a fun song, though since their voices are rarely their own, it’s hard to tell which of the Chipmunks is singing when.

Kiss the Girl - Alvin is the unwilling recipient of this stream of advice from Theodore and Simon, who don Caribbean accents for this song from The Little Mermaid. They think he has a crush on Vanessa, a character who seems to have been invented for this track, perhaps in homage to the granddaughter of Ross Bagdasarian, Sr., who created the Chipmunks. Alvin is mortified by their meddling, though whether that’s because he doesn’t like the girl or because he does isn’t entirely clear...

Colors of the Wind - The Chipettes take on this stirring song from Pocahontas. It’s a pretty somber song, and they sing it as such. Their version is respectful and very similar to the movie, except that there are more voices and they harmonize rather nicely. Pretty but a bit dull.

Be Our Guest - Another straightforward take on an iconic song from a Disney movie, this time Beauty and the Beast. It’s a very busy and chaotic song, but it still doesn’t feel very Chipmunky, though it is fun to hear Alvin don a French accent and Brittany a British one.

He’s a Tramp - Brittany sings the blues over Alvin’s rascally nature with some help from her fellow Chipettes Eleanor and Jeanette. They bring an R&B flavor to the song, which incorporates the occasional barking of dogs in the background to serve as a reminder that this was a song from Lady and the Tramp.

The Three Caballeros - This song seems very fitting for the Chipmunks, since it’s all about how these three chums are always together. It’s also the most obscure song on the album, which makes it rather interesting. The lively brass and the guys’ harmonizing makes it a fun song, though all the whistling and girl-ogling they do seems slightly age-inappropriate.

Under the Sea - The Chipmunks bust out their impression of Sebastian the crab again, which feels a bit repetitive; I’m a little surprised they included two songs showcasing the same character. Like Kiss the Girl, this is a peppy song, but it lacks any banter and pretty much just sounds like the somebody is playing the Little Mermaid soundtrack on high speed.

When You Wish Upon a Star - Brittany closes out the album with a tender rendition of this classic from Pinocchio as the rest of the gang provides back-up. A soothing finale to the album.

Kids love Disney movies and kids love Alvin and the Chipmunks, so this seems like a natural pairing, and maybe its intended audience will simply be satisfied with the silliness of all those high-pitched voices. But for me, what makes the Chipmunks so great is the comical banter and the ways in which they mold songs to accentuate the individual personalities of Alvin, Simon and Theodore, as well as Brittany, Eleanor and Jeanette - though I tend to prefer albums without the Chipettes. I'd much rather have Dave Seville, the Chipmunks' frazzled guardian, who isn't on the album at all.

This CD feels a bit slapped together, trying to cash in on the popularity of Disney music at the height of the 1990s, when Disney was clearly on a winning streak. It’s a fun album to listen to once, but instead of When You Wish Upon a Chipmunk, I’d suggest just sticking with the original movie soundtracks.

Chipmunks in Low Places Squeal in My Ears on Squirrel Appreciation Day

Today, in honor of Squirrel Appreciation Day, I am filling my ears with the closest thing I can find to squirrel-centric music: Alvin and the Chipmunks. After all, chipmunks have, over the years, been known as “chip squirrels,” “striped squirrels” and “ground squirrels,” so I think they qualify. Chipmunks in Low Places has a lot of squeaky voices, but it also features quite a few folks with normal voices. That’s because it’s an all-star country album, loaded with special guests that will be familiar to anyone who enjoys country music.

Country Pride - This harmonica-heavy opener starts out slow and forlorn before the rollicking piano and wailing electric guitar kicks it up a notch. Alvin takes the lead on this track that is a dizzying ode to country superstars. Have a listen to this album original and see if you can catch them all; he drops 32 names, ranging from Gene Autry to Clint Black, making this about the most crowded song since Rock and Roll Heaven. “Country colors are shades of Sawyer Brown, / Red Foley, Lee Greenwood, I love all those sounds. / I get hungry for some country when I think of Jimmy Dean / Then I get a Reba Mac attack; my appetite's obscene.”

Achy Breaky Heart - Head Chipette Brittany drops by the studio to ask Alvin permission to sit in on their recording session. “I’ll pretend Billy Ray is singing to me,” she gushes. Little does she expect Billy Ray Cyrus to actually show up, sending her into a full swoon. A lot of cute dialogue accompanies this infectious song that dominated the airwaves for what seemed like years when I was in elementary school. Alvin hopes the song will make him a chick magnet; Simon is understandably skeptical, while affable Billy Ray just seems tickled that the Chipmunks who entertained him as a kid are now covering his song. “You can tell your ma I moved to Arkansas / Or you can tell your dog to bite my leg / Or tell your brother Cliff, whose fist can tell my lips / He never really liked me anyway...”

There Ain't Nothing Wrong With the Radio - I’m not familiar with Aaron Tippin, but as a grammar geek, I love the banter he and intellectual Simon share. Simon, who insists on calling his special guest “Mr. Tippin,” takes creative license by fixing all of the grammatical mistakes in the song, starting with “There isn’t anything wrong with the radio.” So what if it doesn’t quite scan? And so what if the changes make initially friendly Aaron red in the face? Again, Aaron doesn’t sing, he merely comments on Simon’s performance - and his comments become more and more irritated with each altered “ain’t”. Very fun song.

Stand by Your Man - Jealous Brittany is in a huff because Alvin evidently has been making eyes at Minnie Mouse and Miss Piggy. She’s supposed to record Stand By Your Man, but she’s so frustrated by her “thoughtless furball” that she can barely bring herself to do it. Tammy Wynette drops by to help get her in the proper mindset, but things don‘t go exactly as planned... “But if you love him you'll forgive him / Even though he's hard to understand, / And if you love him, / Oh be proud of him / 'Cause after all he's just a man.”

Gotta Believe in Pumpkins - Alvin sings this piano-driven inspirational ballad beautifully, up until the portion toward the end when he hams it up William Shatner-style, but it’s hard to take it seriously as a rousing anthem, even when the choir chimes in for the last chorus. That’s because the context is Alvin receiving - or, rather, ignoring - a lecture from perpetually irritated guardian Dave Seville about the deplorable state of his room. Rather reminiscent of Alvin’s Orchestra from my favorite Chipmunks album, Sing Again with the Chipmunks, this original song is pure melodic mayhem. “Faith is just like planting seeds, / They help your dreams come true. / Believe in what's around you, / and good things will come to you.”

Brothers and Old Boots - Charlie Daniels steps in to break up a fight among the three brothers on this song written especially for the album. For the first time on this CD, the special guest actually sings, to the accompaniment of heart-rending violins. It’s a touching performance, at least from him; Alvin, Simon and Theodore, however, seem a little less than sincere, particularly as they alter choice lyrics. Will the message ever sink in? “Now you know there will be days / you'll think of 50 different ways / to put their little bodies in a cast. / But if someone gives you trouble, / you can bet that it’s your brother, / 'Cus bozos and old boots are made to last.”

Don't Rock the Jukebox - Alan Jackson stops by to join the boys in their recording, and before the singing starts, he confesses to some trepidation. Alvin, he’s heard, is notoriously difficult to work with. Alvin protests, but Simon figures that’s a pretty accurate assessment. A fun song, though I’m not sure what Alan is worried about since he doesn’t seem to be actually participating, unless he’s playing an instrument. “I don’t feel like rocking / Since my baby's gone, / So don’t rock the jukebox; / Play me a country song.”

Down at the Twist and Shout - It’s hoe-down time for the Chipmunks and Dave, who is eager to demonstrate what a great dancer he is as his boys sing this cheerful Mary Chapin Carpenter song. But judging by the agonized noises he keeps making, it’s not going so well... “Saturday night and the moon is out. / I wanna head on over to the Twist and Shout, / Find a two-step partner and a Cajun beat. / When it lifts me up I'm gonna find my feet.”

Outlaws - Alvin declares Waylon Jennings his hero as fiddle music plays in the background. He rhapsodizes about how cool it would be to live as an outlaw, while Waylon counters with the less palatable aspects of such a lifestyle. The back-and-forth singing is fun, with inventive lyrics and relentless percussion, and Alvin’s not-so-contrite confession of sins is pretty memorable. Another terrific song that seems to have been written especially for this album. “Robbin' banks and buyin' candy / And eat it all - all by myself. / I'd buy a brand new bike and skateboard / For me to ride and no one else. // It ain't no fun to be an outlaw / When there's a posse on your trail. / It ain't no fun to be an outlaw / Behind some bars - in a jail.”

I Feel Lucky - Another Mary Chapin Carpenter song, and a pretty rockin’ one, with lots of honky-tonk piano. The Chipettes have this song to themselves, and they seem to be doing their best to make themselves as alluring to the guys as possible. Real men, that is; evidently they’ve had it with lads of their own species. Energetic, but as it’s neither an original nor accompanied by dialogue, it feels a little flat in comparison to the other tracks. The only really distinct thing here is that a couple of lines have been sanitized for younger audiences. “Now eleven million later, I was sitting at the bar. / I'd bought the house a double, and the waitress a new car. / Dwight Yoakam's in the corner, trying to catch my eye / Lyle Lovett's comin’ over; I’m tryin’ not to sigh.”

I Ain't No Dang Cartoon - Another original song concludes the album. Alvin sings his life story as guitars twang and low-voiced guys croon in the background. The most famous of the Chipmunks sounds more countryish on this song than any other, at times lapsing into some shrieks that test the tolerance of one’s ears. Incensed at being underestimated and wearing his ego on his sleeve, he compares himself to such towering figures as Albert Einstein, Christopher Columbus and Desmond Tutu. My only complaint? That Dave never cuts in to try putting Alvin in his place. “ My face has been on plates and cups, / Bed sheets, a baby’s potty, / PJs, lunch pails, / Shoes and gowns, / From nice to semi-gaudy. / But that don't mean I'm just a joke / And don't deserve respect. / I may have a tail and be covered with fur, / But I ain't nobody's pet.”

This album, released in 1992, was one of the Chipmunks’ most popular albums, which isn’t too surprising considering all of the crossover potential. It peaked at number six on the Billboard Top Country Albums chart and managed to go platinum. It’s fun to hear the Chipmunks interact with all those acclaimed singers, but what I really love is how they put their unique Chipmunks stamp on every song (with the possible exception of I Feel Lucky). Thanks to the surrounding dialogue, the covers are funny, and the originals are clever and full of personality, so even though country isn’t a genre I listen to that often, I can happily say that Chipmunks in Low Places is one of the best Chipmunks albums I’ve ever heard.

Bert and Ernie's Greatest Hits Celebrates the Friendship of Sesame Street's Odd Couple

When I was little, I had a Bert and Ernie tape. I thought I remembered it being called E is for Ernie, but I haven’t been able to locate it since my copy disappeared years ago. But I was glad to find Bert and Ernie’s Greatest Hits, which contains most of the songs on that tape. A few are missing - the goofily theatrical George Washington Bridge and Ernie’s hilarious duet with Cookie Monster about breakfast come to mind right away - but the majority of them are here, along with several others that were new to me. Bert and Ernie sketches are often my favorite portion of Sesame Street, so this is a great collection for me and any other fans of the Street’s very own Odd Couple.

1. Rubber Duckie - Almost certainly Ernie’s most iconic song, this cheerful ode to his squeaky rubber duck has long been a favorite of mine and has cemented the yellow fellow’s role as the best of bathtime toys. These days, it’s not hard to find a rubber duck in just about any sort of dress imaginable. But it’s hard to beat the plain old original. Rubber Duckie, I’m aw-fully fond of you, too.

2. All Dressed Up - Bert shares this rather raucous song with the Anything People, who helpfully demonstrate the proper steps to getting dressed, as well as the improper steps. The visual that pops into my head with the gloves on the ears and the coat on the face is quite entertaining.

3. Dee, Dee, Dee - One of two songs on the album in which Ernie demonstrates his proficiency with letters. In this case, it’s the letter D, as in “don’t drop dishes down on the floor.” Fun.

4. Clink Clank - Bert goes all Stomp! on Ernie, turning an array of ordinary household objects into a homemade orchestra. Parents might not be crazy about this one, since Bert encourages children to find noisy objects and join in his concert. Then again, it’s nice to have something so interactive and great to see Bert so enthusiastic about something.

5. High, Middle, Low - A neat tutorial on harmony from Herbert Birdsfoot (the high part), Ernie (the middle part) and Bert (the low part). As someone who loves harmony, I get a kick out of this one, and it would be fun to try to pull it off with a couple of siblings.

6. Imagination - This one reminds me of the Charlie Brown strips in which they spend the afternoon cloud-gazing. It’s very mellow and relaxed, with tinkly music box accompaniment. I wasn’t that crazy about it when I was little even though it’s sung by Ernie, who’s my favorite character, because I found it rather dull, but now I like it much better. Though Ernie does all of the singing, several characters chime in to say what they’re imagining; we hear from Bert, naturally, along with Big Bird, Oscar the Grouch, Herbert Birdsfoot, Prairie Dawn and Grover.

7. La, La, La - Once again, Ernie has to help Bert out with using letters. This is a funny song that demonstrates the differences between Bert and Ernie’s personalities. Ernie is a little closed-minded in his interpretation of what constitutes a “lovely” L word, though; I, like Bert, think “linoleum” just rolls right off the tongue!

8. But I Like You - One of my favorite books as a kid was one entitled How Joe the Bear and Sam the Mouse Got Together. In this picture book belonging to my grandma, a bear and a mouse desperately want to be friends, but they don’t seem to have anything in common. Finally, at the end of the book, they find something they can share, and none of their differences bother them anymore. That’s the general gist of this song. Bert and Ernie are very different people. But even though Bert doesn’t like rubber ducks and Ernie doesn’t get excited about pigeons, they will always like each other.

9. Pat Pat Patty Pat - Bert leads this little game that is not initially very challenging, but soon his friends join in with suggestions and the Hokey Pokey-ish song quickly becomes exhausting. “Oh, listen to the song that‘s humming in your ear / and you‘ll have more fun than you‘ve had all year...” Ernie, Herbert Birdsfoot, Big Bird, Prairie Dawn, Grover and Oscar the Grouch join in.

10. Up Goes the Castle - Another interactive song, but this one is considerably more relaxing. Ernie instructs youngsters to lie down on the ground, which they may want to do after all the activity of the previous song. This gentle narrative about a castle on a stomach, backed by a lilting flute, is one of my favorite Ernie songs. “And you breathe in, up goes the castle, you breathe out, the castle goes down. / Breath in, high on a mountaintop, breathe out, low in the town.” It’s a lesson in basic biology as well as the value of compromise.

11. Doin' the Pigeon - Bert, who really loves pigeons, has invented a dance to reflect his passion. It’s nice to see him have the spotlight to himself, and his little side comments - “Hip!”, “Too much!” - are fun and endearingly retro. Bert’s singing style on this one is whiny to the point of grating, but it’s an amusing song, even though simply listening to it gives one very little idea of how to actually “do the pigeon.”

12. Lonesome Joan - There are several songs on this album I hadn’t heard before, but this is my hands-down favorite. Bert takes up the bass, Ernie the piano, and some unknown bandmate plays the fiddle on this cowboy song whose melody reminds me of Pecos Bill. Sweet, funny and educational, it demonstrates the importance of being willing to accept help from others when one is learning something new. It’s catchy, melodious and altogether delightful. “Oh, Lonesome Joan, Lonesome Joan, / You don’t have to do everything alone. / You can use a little help. Don’t have to do it by yourself. / / Oh, Lonesome, Lonesome Joan.”

13. I Don't Want to Live on the Moon - My favorite new-to-me song on the album is immediately followed by the one that’s been my favorite Sesame Street song for as long as I can remember. Both were written by Jeff Moss, who wrote a majority of the songs on this album, while Joe Raposo wrote most of the others. In this tender lullaby, backed by guitars, flute and sweeping violins, Ernie reflects upon all of the grand adventures he would love to have but concludes that home is the place he likes best. “So if I could visit the moon, I would dance on a moonbeam and then / I would make a wish on a star, and I’d wish I was home once again. / Though I’d love to look down at the earth from above, / I would miss all the places and people I love, / So although I may go, I’ll be coming home soon...” Gorgeous.

14. The National Association of "W" Lovers - Backed by a piano sounding very much like Prairie Dawn’s pounding accompaniment of many a disastrous school program, Bert croons out his love for the letter W, much to the appreciation of those who have gathered with him to celebrate the joys of that rather cumbersome letter. Bert is in his nerdy element. Without W... “A fine word like ‘waffle’ would turn out just ‘awful!’ Oh, W’s grand as can be!”

15. Dance Myself to Sleep - At first, this seems like it might be another gentle lullaby, but Ernie quickly defies that expectation. When he has trouble falling asleep, instead of reading a book or listening to some relaxing music, he dances himself to sleep - tap-dancing to the accompaniment of brass instruments while a herd of sheep come in and dance poor Bert right out the door. The funniest song on the album, it’s a great way to end the album, as long as you’re not using it to help you off to dreamland; somehow I doubt Ernie’s strategy would work for too many folks. “I gently rock-a-bye myself across the floor. / I turn and then I toss and then I start to snore. / My trusty little bugle helps me spread the news / That I’m tapping to ‘Taps’ and I’m a-raring to snooze!”

Jim Henson’s warmth and humor, not to mention his musical talent, shine through on every song Ernie sings, while Frank Oz is excellent as always as Bert and occasionally Grover. We also hear Fran Brill as Prairie Dawn, Caroll Spinney as Big Bird and Oscar the Grouch and Jerry Nelson as Herbert Birdsfoot, a character from the early seasons who I don‘t really remember but who seems like a great pal to the rest of the gang. It’s a wonderful assembly of several beloved Sesame Street characters that celebrates the bond between the best of friends, a bond that holds fast even as they drive each other crazy.

I Stifle a Yawn as The Chipmunks Sing the Beatles Hits

I love the Chipmunks. I love the Beatles. When I found an album marrying the two, I was delighted. The Chipmunks Sing the Beatles Hits is a 1964 effort containing twelve tracks of Alvin, Simon and Theodore doing their best to imitate the mop-tops. This seemed a very exciting prospect to me, and the cover shot of the boys and Dave Seville assuming the positions (and haircuts) of John, Paul, George and Ringo is fantastic. In execution, however, it isn't nearly so interesting, since nearly every song merely attempts to replicate the sound of a particular Beatles song with higher-pitched voices. Play the Beatles sped up, and you'd probably get a similar result. Still, for an avid fan of both groups, it's worth a listen.

All My Loving - There's a really joyous tone to this song, which has bouncy guitar-driven instrumentals and tight vocals. The boys switch off on solos now and then, though this early in their career it's rather difficult to tell them apart. Still, a nice opener, especially with Dave's little introduction making sure the lads have their hair on straight.

Do You Want to Know a Secret - My second-favorite song on the album, it changes up the vocals a bit; sometimes the boys all sing together, sometimes one sings solo with the others providing an echo. A nice mellow song, it's on the lower end of the register, aside from the "ooh-ooh-ooh"s, which are soft enough that they sound pleasantly flutey instead of shrill.

She Loves You - Nice fast pace, and it gives the Chipmunks a chance to do a nice bit of harmonizing. I like the exuberance and the guitar; not so crazy about the super-high "wooooooooooooo"s.

From Me to You - I like the harmonies on this one too, and the guitar and harmonica are fun. The notes manage to stay mostly out of the super-shrill range, which is good for the ear drums, but nothing too notable about this one.

Love Me Do - This one is a logical choice since Alvin is so associated with the harmonica, but a decent-sized instrumental break where some trademark banter could have fit perfectly is wasted.

Twist and Shout - A very peppy song, and fun to listen to, except in for a couple of really screechy moments. My favorite part, though, is during an instrumental break when Dave helpfully - if a tad irately - lets Alvin know that his black wig is slipping off his head. All that twisting and shouting is to blame, no doubt...

A Hard Day's Night - I like the guitar work on this one, and it's a great song to begin with, the Chipmunks just don't really add anything to it - other than an octave or two...

P. S. I Love You - This sweet, sentimental song is my favorite song on the album, partly because it's entirely new to me. Somehow I managed to miss this one in its original form, but I'll certainly be seeking it out. The Chipmunks don't get too shrill on this one even for one note, and I love the singing style, with Alvin going solo but Simon and Theodore chiming in on certain words. There's a clarity and precision to it that's lacking in most of the other tracks, and it's wonderfully melodic.

I Saw Her Standing There - Bouncy, but it goes on too long and too often dissolves into unpleasant screeching.

Can't Buy Me Love - Another track with nice guitar and a peppy beat. Toward the middle, there's a groovy little guitar solo and a shouted instruction from Dave, but otherwise it's just the Chipmunks singing in unison and there's nothing too exciting about it.

Please Please Me - Fast and fun, a pretty good track aside from the fact that the middle portion is pretty much incomprehensible.

I Wanna Hold Your Hand - The Chipmunks do a nice job of harmonizing on this classic song, but the pace seems draggingly slow, and the note on "haaaaand" is ear-piercingly high. There's nothing uniquely Chipmunky about it, which is a shame because I would think there would be a lot of comedic potential here. As it is, it's not a terribly exciting way to end the album.

Then again, most of these tracks aren't very exciting. Voices that sound like they're on helium are fun, but what makes the Chipmunks so appealing - for me, anyway - is the humor they put into their songs. Aside from a couple of comments about the hair, that's entirely absent here, making it a fun little tribute but a pretty dull album overall that just doesn't live up to the cover's potential. It doesn't help that the Chipmunks' personalities and voices don't seem to be very well differentiated at this point. For the lover of Chipmunks and Beatles, this is a fun little piece of history, but The Chipmunks Sing the Beatles Hits isn't an album that's likely to get a lot of replay.

Paul Simon Speaks For All Devoted Dads in Father and Daughter

Father's Day is right around the corner, and it's a good time to think about some of the great songs out their dealing with father-child relationships. I can name a few right off the top of my head: Bob Carlisle's Butterfly Kisses, Mike and the Mechanics' The Living Years, Harry Chapin's Cat's in the Cradle, Luther Vandross's Dance With My Father, Rod Stewart's Forever Young, Brad Paisley's He Didn't Have to Be... to say nothing of several of the songs on Michael Card's Sleep Sound in Jesus and Art Garfunkel's Songs From a Parent to a Child. It's to Art's former partner, Paul Simon, that I turn my attention here, with one of the most recent additions to the group: Father and Daughter. Now if the title alone doesn't just scream "Father's Day" - at least for all us gals - I don't know what does.

It was written for 2002's The Wild Thornberries Movie, which I've never seen; though I tend to be a bit suspicious of a cartoon that looks so much like Rugrats, from the little snippets I've seen of the television show, I like the emphasis on conservation and on geeky Animal Whisperer Eliza's relationship with her eccentric, enthusiastic dad, and from what I gather, this is what the song celebrates in the context of the film. I presume that it's also autobiographical, as Paul's daughter Lucia was about six at the time it was written. While the movie itself didn't seem like the sort likely to win any awards, Simon picked up an Oscar nomination for Best Song, losing out to Eminem with Lose Yourself.

Father and Daughter is written as a love letter from a father to his little girl, so the lyrics are fairly simple, especially in the chorus, which includes the expansive statement "As long as one and one is two, / there could never be a father who loves his daughter more than I love you." Isn't that just the way most devoted dads feel? The mix of percussion and rambling guitar gives the film a slightly African flavor; it's easy to imagine the instrumentals as a cascading waterfall or a chorus of nocturnal creatures in the background. It feels like a bedtime song; Paul's tone is soft and comforting, and there are references to dreams, falling stars and monsters under the bed.

There is one line that strikes me as peculiar every time I hear it, and I wonder if it would make more sense if I saw the movie, or if it's some kind of inside reference meant as a nod to Lucia. "I'm gonna stand guard like a postcard of a Golden Retriever." My first thought was that Paul wrote the lyric that way just for the sake of a rhyme, which doesn't seem like his style, especially since that particular internal rhyme pattern is unique in the song. But if it were me, I think I would feel a lot better about having an actual Golden Retriever standing there; what good, precisely, is a postcard going to do? I guess it could be a comforting image, but it still seems a little odd. (Incidentally, that same year, James Taylor, who once recorded What a Wonderful World with Paul and Art, released the album October Road, which also includes a positive reference to a Golden Retriever. It was a good year for the Goldens!)

This isn't my favorite Father's Day song out there - that would be Dan Fogelberg's Leader of the Band, a tribute to a much-loved father from a son just beginning to understand his powerful influence on his life - but it's certainly a keeper. (I’m always keeping an ear out for songs along these lines, so if you have any favorites, I’d love to find a few more!) One of Paul Simon’s most tender tunes, Father and Daughter is a beautiful celebration of one of life’s most precious relationships. Eliza and Lucia are lucky girls. So am I.

Number 1200: Carly Simon Serves Up Tender, Folksy Goodness With Into White

It's been a great year for new albums. Last May, I snatched up Paul Simon's Surprise; in the fall, it was Clay Aiken's A Thousand Different Ways and Weird Al's Straight Outta Lynwood, and January brought Art Garfunkel's Some Enchanted Evening. Then along came my birthday, and with it a gem I'd overlooked: Carly Simon's Into White. I've always enjoyed her music but never included her in my list of indispensable artists. Having had an opportunity to fall in love with this gentle, folksy album - the most tender I've encountered since Garfunkel's Songs From a Parent to a Child - I may just have to amend that...

Into White - This Cat Stevens title song is a sleepy anthem to simple beauty. Simon's husky vocals are complemented by the harmonization of Jimmy Parr and rich instrumentals that occasional seem to betray a Celtic influence.

Oh! Susanna - One of those songs just about everybody in America probably knows. The mystical-sounding flute and persistent kalimba add a unique flavor to a song whose familiarity and simplicity could make for a dull track. Instead, it's ideal for both singing along or just sitting back and listening appreciatively.

Blackbird - A smooth, heartfelt rendition of a Lennon and McCartney classic. The guitar provides a nice undertone, and the chorus of "ooooh"s works well as a bridge, but it's Simon's vocals that really carry this empowering melody.

You Can Close Your Eyes - A gorgeous piano-driven track, penned by James Taylor, Simon's ex-husband. Their children Ben and Sally harmonize with her on this one, and they sound gorgeous together. I'm struck by how much Ben sounds like his father; I'm powerfully reminded of James' rendition of this song, which closed out his concert in Erie last year. It's a very intimate moment on the album.

Quiet Evening - A new composition for this album, it's a contemplative, slightly sultry song. It doesn't grab me as much as some of others, but it's a nice ode to the need for a little personal time now and then, and Simon says in her liner notes that it's her favorite song on the album to sing.

Manha de Carnaval - A Brazilian guitar-driven track in which the only lyrics are "la la la". Despite the lack of words, it's emotionally affecting, with her deft vocals mostly evoking wistfulness.

Jamaica Farewell - One of my favorite tracks on the album, it's a breezy number whose tone is slightly regretful but mostly one of golden nostalgia. Simon's voice is especially quiet here, though never to the point that it is overpowered by the guitar and other instruments, and she and Ben harmonize nicely as a segue into the next song.

You Are My Sunshine - Another of those camp song favorites. This version is much slower than I'm used to, giving it a soulful vibe. The piano, which reminds me a bit of Lean on Me, is what really sets this apart for me, along with the barely audible guitar on the outro, which is reminiscent of waves lapping upon a shore.

I Gave My Love a Cherry - Another very slow arrangement of a famous folk song. I've never been that crazy about this one, but Simon does a nice job with it, and I like the strings that offset the vocals.

Devoted to You / All I Have to Do is Dream - I wasn't familiar with the first song, which makes up the main part of the medley, but it's a very simple, lovely song, which Simon delivers with great gentleness. When the second song, which I know quite well, kicks in atop the remnants of the first, it's a beautiful meshing of voices, with Ben once again complementing his mother beautifully.

Scarborough Fair - Simon and Garfunkel! Yay!! This gorgeous Celtic arrangement of the song they made famous doesn't include their counter-melody. Rather, it has a lovely selection of woodwinds and a couple of verses Simon (Carly, that is) added to the mix. In her liner notes, she credits not only my favorite duo but also the often overlooked Martin Carthy, who showed Paul the song in the first place. Nice gesture, and very nice arrangement of a song I love.

Over the Rainbow - Fairly straightforward and piano-driven, and I think I like it better than the version in The Wizard of Oz. Then again, I never was a big fan of Judy Garland...

Love of My Life - This is the only Simon original of the album, a quiet ode to love with guitar backing. The lyrics are cute, as she lists all sorts of rather random, silly things that she loves, from avocados to Lucy, but none of them as much as the addressee of the song.

I'll Just Remember You - Written by David Saw, who also wrote Quiet Evening, and Ben Taylor, it's a charming, simple song that closes out the album on a note of appreciation. It's a love song, but it could also work as a message of thanks to her fans, helping keep her afloat through the troubles that come with being a famous singer-songwriter. At any rate, it's a pleasant end to the album.

A nice bonus with Into White is the fact that Simon comments on each of the tracks in the liner notes, which isn't something I see a lot. It's fascinating to get a little idea of what she was thinking as she chose and recorded these songs, and her comments are insightful and often very funny. The whole album has a humble feeling to it, as she's setting out to do justice to music she admires, shining the spotlight on others as much as herself. It's a far cry from You're So Vain, but Into White is most definitely an album worth embracing.

Here's Looking At Me! - Alvin and the Chipmunks

Here's Looking at Me! is not my favorite album by Alvin and the Chipmunks, but it's still pretty decent.

It's Not Hard to Love Card With These Soothing Tunes

Whenever I write a review for Epinions, I know that at least four people will read it: my mom, my dad, and my grandparents. I’m very grateful for their support, but once in a while it means them reading a review of something potentially unsavory. I’m afraid I may have rattled my grandparents just a bit with my recounting of the raucous concert I attended, and I mean to salve the shock by following it up with a discussion the softest, most inoffensive album I can find. And hopefully this review will inspire me to finally get around to all the other Michael Card albums I’ve been meaning to write about for five years.

I sometimes feel a bit guilty that essentially my entire musical repertoire consists of “secular” music. I put the term in quotes because it has such a negative ring to it, and I don’t think it should. You don’t have to be singing to a specifically Christian audience in order to have lyrics consistent with Christianity. I find God present in the songs of John Denver, Simon and Garfunkel, Don McLean, James Taylor, Gordon Lightfoot and many, many others whose music would not be featured on a Christian radio station. But while I’m hopelessly devoted to VeggieTales, most of the music sold in Christian bookstores leaves me rather cold.

That is due in large part to a lack of lyrical sophistication. Praise choruses may be easy to sing, but they sure are boring. I was mildly offended when I first heard Baptized in Water, which places very mundane and repetitive lyrics to the tune of Morning Has Broken, one of my very favorite hymns. Personally, I think that’s a melody that ought to be left alone, so perfect is the marriage between words and notes, though I’ll at least give Praise and Thanksgiving credit for trying. Anyway, this is just the stuff we sing in church. What shows up on the radio often lacks rhyme, not to mention verses. And when the lyrics are complex, they’re usually lost in a sea of electric guitars and vocals shouted in order to appeal to a hip young crowd.

Michael Card is different. He fits right in with the finest in the genre of sensitive singer-songwriters, but his lyrics convey a message that is clearly Christian and often strongly rooted in Scripture. Sleep Sound in Jesus is one of a few albums that, instead of focusing mainly on certain stories and passages from the Bible, follows a particular theme with more modern implications. This album is a collection of gentle tunes intended to serenade an infant off into dreamland. Its soothing tone can’t help but induce placid snoozing in older listeners as well.

Sleep Sound In Jesus - This first song, accompanied by strings and electric piano, is reminiscent of the old bedtime prayer most Christian kids learned at a young age: “Now I lay me down to sleep, I pray the Lord my soul to keep...” Only in this case it’s the parents doing the talking, telling the child to go to sleep and not to worry because God is taking care of him. Betsy Hernandez, who is a prominent presence throughout the album, takes the first verse, Card the second, and the third they sing together. Know for His sake you’ll be safe for the night. Sleep sound in Jesus. I’ll turn off the light.

He'll Wipe Away Your Tears - Hernandez takes this one by herself with the accompaniment of a piano and later a harp. There seems to be a slight Jewish air about this song, which is based on two verses in Revelation. It’s nice but more minor-toned than most of the tracks, and given its source it carries with it shadows of gearing up for a grim battle. Nonetheless, the focus is on God providing comfort. He’ll wipe away your tears and still your restless sighs, and lovingly He’ll listen till you stop your wordless cries.

Even The Darkness Is Light To Him - Though this song’s lyrics hint at darkness, the melody speaks only of safety in God’s arms. Card takes the helm here, singing almost in a whisper with the electric piano backing. Very soft but upbeat. Even the darkness is light to Him and night is as bright as the day. So you are safe though the light grows dim...

Sweet Sleep Descends - Back to Hernandez and the piano again. This is a song devoid of a chorus, chronicling a mother’s anguish at the difficulty with which her child finally succumbs to sleep. This song feels more heavily produced than it is, though another instrument – a sax? – does take the spotlight atop the piano during a break in the vocals. Throughout the house of faith it’s known the soul finds rest in God alone...

Dreaming Jacob's Dream - Hooray for mandolins! Alluding to my love of folk music, my friend Libbie once teased me that my favorite instrument is the mandolin, and I’ve had a special fondness for it since. Anyway, it makes an appearance here, along with the piano and strings. This song makes reference to the biblical Jacob’s dream in which he wrestled with God, wondering whether the infant being observed is similarly experiencing God first-hand during slumber. Card warmly sings this tune that he dedicated to his own son. You and Jacob aren’t alone; we all need dreams to seek Him.

Song Of Jesus - The guitar is the star in this song, an upbeat ditty helmed by Card that has the feel of an offering by a troubadour. Strings make an appearance now and then, but they’re scarcely needed. This is a short, simple tune that serves as an introduction to Jesus for the youngest of his would-be followers. The note structure, ascending and descending like a flight of stairs, adds to the impression that the song is providing elementary instruction. Let me tell you of a man who was before the world began, who loves you more than anyone can, known by the name of Jesus.

Unseen Warriors - It’s back to Hernandez for this mother’s plea for protection for her baby. It’s a plaintive song backed by electric organ that is basically just a bedtime prayer that has its basis in a verse in Matthew. I presume the warriors in question are angels. Oh, unseen warriors, brothers, friends who for our safety we depend, I ask you now to come defend this precious little baby.

Wordless Ones - The electric piano is the prominent instrument once more, though as with the majority of the songs in which Hernandez takes the lead there is heavier instrumentation, or at least there seems to be. About halfway through Card jumps in to harmonize with Hernandez in this song about parents dedicating their child to God. We offer You this child who’s only ours for just awhile. How could we keep him back from You when You gave Your only child?

He Grants Sleep to the Ones That He Loves - My favorite song on the album. I just really like this one. It’s so tender and even comical at times. Electric piano and understated strings drive the song, while a saxophone makes a couple brief but effective appearances. The vocals are Card’s, conveying the mild frustration and boundless affection of a father putting a child to bed after a very long and trying day. Card turns in another very heartfelt performance, perhaps in part because this song is dedicated to his daughter. For he grants sleep to the ones that he loves, and I live to love you as well. The last words you’ll hear tonight will be ‘I love you,’ for love takes us all of a lifetime to tell.

Jesus Let Us Come to Know You - This song has been featured on several Card albums. The accompanying piano is quite elegant, offsetting the song’s simplicity, its lyrics framed in two-syllable sets ending with a three-syllable set. The harmonica that emerges, taking another verse after Hernandez has finished singing, adds a plaintive tone to the song. There’s something beautifully lonesome about a harmonica, making it a perfect fit for the lyrics which yearn for a connection to the creator. Jesus draw us ever nearer. Hold us in your loving arms. Wrap us in your gentle presence, and when the end comes, bring us home.

All You Are - For whatever reason, guitar and Card seem to go together on this album. This contemplative tune is backed nicely by guitar and bass with strings coming in during the instrumental break. Card’s earnest vocals wrap around lyrics that recall the exquisite Joseph’s Song from The Promise. Though the speaker is discussing an ordinary child an not the song of God here, all children are miracles, especially to the parent holding them in their arms for the first time. For all you are and all you’ll be, for everything you mean to me, though I don’t understand I know you’re from the father’s hand.

Lullaby for the Unborn - A harp accompanies Hernandez for this whispery lullaby sung to a child who has not yet been born. It’s a very short song consisting of only two verses with no repetition. Blessings upon you, my baby unborn, safely inside me asleep and so warm...

Sleepy Eyes - Another song about a child resisting sleep, it’s fairly upbeat and features guitar and bass as well as the occasional mandolin. Card takes the vocals on this song that clocks in at just a minute and a half but still manages to be one of the album’s most endearing. Sleepy eyes, your disguise cannot fool me with its lies. Let the angels come and close your sleepy eyes.

Hold Me Gently - A very pretty little song with lovely legato piano augmented by the saxophone. It’s just Hernandez on this one, and it’s possibly my favorite of her solos, providing a picture of a very intimate relationship with the creator. Live your life within me day by day. So goodnight, my forever friend.

Barocha - The album’s final track is very simple and familiar, a benediction often repeated in church and hung on plaques in hallways. It’s slow, solemn, and all a capella, first one voice, then two, then three, and from what I can tell it’s all Card. The lower register displayed the third time around adds an especially nice dimension. The Lord bless you and keep you, the Lord make His face shine upon you, and give you peace, and give you peace, and give you peace forever.

All in all, it’s a very soothing album, perhaps even more so for those old enough to understand the words. Hernandez’ presence works well as she provides a maternal voice to Card’s paternalism, and she does have a lovely voice. However, my favorite tracks all belong to Card. They have a different feel to them, more straightforward perhaps – a little less sappy and a little more earnest. Besides, I tend not to particularly connect with female vocals, while I love Card’s voice. It’s incredibly warm and gentle and remarkably similar to that of Dan Fogelberg, another musician whose work I admire. Its pure timbre is a joy to listen to, and I’m very glad that the lyrics he’s vocalizing are just as worthwhile.