Brian Vander Ark, lead singer of The Verve Pipe, a band that leapt to acclaim in the 90s with the multi-platinum The Freshman, has always considered himself and The Verve Pipe a family act: “We were never a typical angst-ridden, ‘I hate my dad’ band – we’ve really always been a family band.”
When I asked him during a recent interview “Why a family album?” his response outlined the genesis fairly common among bands newly venturing into the family music scene: “The idea was to do a Verve Pipe album but with silly lyrics. We already had something like four tracks we’d done [for a benefit compilation disc], and we decided to do a whole album. We hadn’t put out a full-length record in something like 11 years. And it just made sense.”
The album that resulted lives up to that ideal: Not only is it Verve Pipe being the Verve Pipe the public already knows (but with silly lyrics and fun hooks), it pushes the bar for family music way up in terms of more nobler goals of enriching and encouraging children to be who they are, to feel loved even though there’s a lot of competition from siblings, to try music just because, to play something other than guitar or drums, and that it’s cool to be funny and silly.
Rock-solid song craft, hooky alliteration, bombastic rockitude, and very high production values make this record an instant classic. The production values that come out of a band that’s been around the block are refreshing additions to family albums by artists of more modest means. Not to take away from those more intimate records by artists whose fame is yet to come, but there’s something to be said when a band can hire a bassoon player, a French horn player, and some killer bluegrass sidemen, instead of relying on synthesizers. As a former studio horn player, I know all too well how that can kill a budget, so I really appreciate it when a live player is used, as well as what that says about exposing kids to something other than synthesized sounds and standard rock instrumentation.
And one of the aims for Vander Ark is just that: exposing kids to a diverse collection of instruments and to encourage kids to take them up. “Be Part of the Band” offers the advice: “pick up any instrument and do the best you can (But don’t get a manager just yet).”
So the album opens in the classic kids way with “Wake Up”, a bouncy, happy, get-outta-bed-and-go-to-school groove, then moves to a bluesy tale of misbehavior with “We Had to Go Home”.
The litany of party pranks is followed by a paean to love and peace being contagious in “Complimentary Love”, which we all need to remember now and then, before we can move on to “Be Part of the Band”.
“When One Became Two” is a snappy little song about a growing family – as you’d explain it to a child – complete with a bubbly character bassoon lick and happy 70s-era flute obbligato. Very “Have a Coke and a Smile” – but in a good way.
The happiness and light is followed by the power chord-heavy ode to “Cereal”, in which the lover of breakfast food becomes crazed and nearly unhinged in his zeal for the stuff. This song is incredibly well produced – all the way down to the spot-on backing vocals. Check out a clip from a recent gig – watch all the way to the end for a twist:
To calm things down a bit, there follows a tune to ease the fears of a first-born when a new brother or sister comes along in “Only One of You”. Produced in an old-time swing with string pads and lush backing vocals, it lulls you into a breezy-easy mood.
Then, for pure fun and silliness it’s “Suppertime” – tightly written lyrically into a bluegrass banter about the foods kids love, but may have lingering questions about.
Vander Ark on working on A Family Album: “The silliness factor was a pleasure for me, coming up with ideas to way overproduce the album in a really fun way.”
“Worrisome One” acknowledges that sometimes there’s fear of the unknown, hopefully nudging the “little man of steel” toward letting go, not sweating the little things, and having some fun.
Finally, a sweet lullaby for the end of the day, “Go to Sleep”, complete with crickets and a rare appearance in popular music by a well-written little lick for that mellowest of instruments, the French horn. <sigh> ‘night…
This album should, and I predict will be a staple in the family music library for many years. Its themes are timeless, its execution is way above the standard, the packaging charming, with original art by the very talented Kate Cosgrove and dangit, it’s just a good record.
I’ll have more to say on the subject of The Verve Pipe’s venture into the family music, and more of my interview with Brian Vander Ark in a later post. Until then, dig on “Be Part of the Band”:
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