Both Songs and Rhythms from Near and Far and Counting Games and Rhythms for the Little Ones (Smithsonian/Folkways) contain some spectacular children's recordings. In the sixties Ella Jenkins began pumping out these kids records, and to be honest, even though I own a number of her previous titles, this is the first time I've bothered to give her a listen. Hey, I don't have any children. The musical delights that come out of these albums is remarkable for their breadth of world music roots. What we need to remember is they were released in 1964 & 1965 respectively. This type of musical exploration and recording were virtually unheard of. One other remarkable thing, Ella Jenkins was cross pollinating musical styles as diverse as Greek and Mississippi Delta blues and singing exclusively for children. I wonder how much wider my listening tastes would be if I'd grown up with these rhythmic gems. I was only able to remember a couple of the titles on each release, and when you're talking about twenty six songs that's not a very good average. Do your kids a favor and pick up any Ella Jenkins release, then see how many of the songs you remember. Ella plays ukulele and harmonica as well as providing a sweet, steady voice. She's joined on Songs and Rhythms from Near and Far by the wonderful harmony voices of Shirley Hersh and Ted Johnson, both of whom help out on guitar and banjo.

Rock poetess? Rock priestess? Patti Smith is a goddamn rock goddess. Peace and Noise (Arista), her second album since the death of her husband Fred "Sonic" Smith, isn't weighted down with grief the way 1996's Gone Again was. Patti is in full voice and her songwriting is as sharp as it has ever been. Listening to her heartfelt vocalizing on "Dead City" almost made me cry, (Or maybe it was because she was singing about Detroit, my home town). Forcefully wrapping her voice around the line "This damned city/This dead city/Im-mor-tal city/mo-tor city" is chilling. Even though there are a number of songs about death on Peace and Noise there isn't a somber tone to the album. Stand out tracks include "Waiting Underground," "1959" and "Memento Mori." There's a very good reason why today's crop of female singers look to Patti Smith for inspiration and this album should continue that tradition.

Cool jazz with slick rhythm marks Swingin' Jazz for Hipsters, Vols. 1 & 2 (Concord). It's a who's who of smooth jazz performers: The Charlie Byrd Trio, Mel Tormé & The Marty Paich Dex-Tette, The Jim Hall Quartet, Gerry Mulligan meets Scott Hamilton, The Heath Brothers, and on and on. This may not be the most challenging of jazz, but if smart, clean jazz tunes is your thing then Swingin' Jazz for Hipsters should be your albums of choice. Fabulous arrangements prevail and smart, concise performances dominate. Throw it on the stereo, crack open a bottle of wine and groove into the night.

Mmmm, yeah, mope rock. Ex- of the Throwing Muses, ex- of Belly, Tanya Donelly strikes out on her own and pulls our hearts along. It's not her usual collection of rocking, twisting tunes, Lovesongs for Underdogs (Reprise) is a lot more introspective and quiet. She's still quite a songwriter as she proves with "Breathe Around You," and "Pretty Deep." She also creates moments of hard rocking bliss with "Landspeed Song." Who can deny that her little girl voice and knack for catchy pop melodies doesn't draw us in and delight us too? Lovesongs continues Donelly's growth from band member to band leader to solo artist.

Lastly, I want to chip in with my bullshit opinion about this whole Oasis brouhaha. Who cares if they sound like The Beatles? (Which they really don't on Be Here Now (Epic). I mean because Noel cops a couple lines from Beatle songs? Christ, next these writers will be telling us they sound like Steppenwolf because Noel copped a line from them.) And is it written in stone that an album that won't sell huge numbers in America isn't really that good? Oh please. I think it's just the reverse. It's got to be good if Americans aren't buying it. American rock radio is becoming as bland and as corporate sounding as it did in the '70s. And when this country can't play a song as remarkable as "D'You Know What I Mean," we've got to wonder if we really do have a problem. And any band that can call George Harrison a nipple deserves knighthood.