A little more than two years after the release of her debut album, Music Makes Me Happy, family music entertainer Katie Dwyer followed up its release with her sophomore album, Let’s Move Friday. Released through West Side Rose, the 24-song record is a successful new offering from the up-and-coming songwriter/musician. That is due in no small part to the musical content featured throughout the record’s body. This will be discussed shortly. The lyrical themes that accompany the record’s musical content make for their own interest and will be discussed a little later. The sequencing of that collective content brings everything together and completes the album’s presentation. It will also be discussed later. Each item addressed is important in its own way to the whole of the album’s presentation. All things considered they make the record another enjoyable addition to this year’s field of new family music albums.
Let’s Move, the new, sophomore album from Katie Dwyer, is an interesting presentation that the whole family will find appealing. That is due in no small part to its featured collective musical arrangements. The arrangements are diverse from the record’s beginning to its end in their sounds and styles. Right from the record’s outset, audiences get an up-tempo pop rock arrangement akin to something from the 1980s in ‘Dance, Dance, Dance.’ That is evident through the pairing of the keyboard line and the electronically created claps and the steady beat on the hi-hat. That overall instrumentation immediately throws back to the sounds and styles of the age, and thankfully does so without being as overly poppy as so many of the works from that age. ‘Ahoy There, Matey,’ which comes a little later, changes things up with its obvious sea shanty style sound and approach, complete with penny whistle and what sounds like an accordion. On yet another note, a song, such as ‘Big Bear Poe’ gives listeners a little bluesy approach very much in the vein of the timeless song, ‘The Cat Came Back.’ There’s even a little tropical vibe a la Jimmy Buffet in ‘Tooper, The Turtle.’ So again, what audiences get throughout the album in terms of its musical content is plenty of variety and in turn, reason enough to hear the album at least once.
For all that the diverse musical content does to make Let’s Move appealing, it is just part of what makes the album engaging and entertaining. The lyrical themes that accompany the album’s musical arrangements add to that appeal even more. That is because they are just as diverse. The album’s title track, for instance, is a song that promotes healthy, active living. What’s interesting here is that the arrangement that pairs with that theme is a relaxed, reggae-style composition (showing yet again, the diversity in the record’s musical content). Considering that the song’s lyrical theme promotes active, healthy living one might have expected the arrangement to be more energetic, but who knows, with this pairing, maybe Dwyer was working the song as a sort of yoga type work. Regardless, that theme is just one of so many presented throughout the album. ‘Got A New Canoe,’ what with its semi-New Orleans jazz style a la Dr. John (once again, more diversity in the arrangements), is a straightforward song about taking a trip down a river in a canoe. ‘Let’s Rock,’ which comes even later in the record’s 55-minute run time, further shows the diversity in the album’s lyrical themes (and musical content). The song is a simple celebration of music and the joy that it brings. This as Dwyer sings that “it’s good for my soul…come on everybody/Let’s rock.” The happy, celebratory rockabilly approach to the song’s musical arrangement further illustrates that message and does so in such welcome fashion, too. This is just one more example of the diversity in the album’s lyrical themes. When it and the other songs examined here are considered along with the rest of the album’s entries, the diversity in said content becomes all the clearer. In turn, it also makes clearer, the importance of that diversity.
The diversity in the record’s musical and lyrical content is taken fully into account in examining the album’s sequencing, which rounds out the most important of its elements. From beginning to end, the sequencing ensures that the energy in the album’s overall body remains stable even as the styles and sounds change from one song to the next. At the same time, the lyrical themes change up just enough from one song to the next to keep things interesting, too. The result here is that the sequencing ensures the record’s appeal just as much as the album’s content. That is because of the role that it takes in making the overall content present a positive general effect for the record. To that end, the whole of all of this makes Let’s Move a successful new offering from Katie Dwyer and another welcome addition to this year’s field of new family music albums.
Let’s Move, the sophomore album from Katie Dwyer, is a positive new offering from the up-and-coming family music entertainer. That is due in part to its musical arrangements. The arrangements are divers in their sounds and styles and offer reason enough for audiences to hear the record. The lyrical themes that accompany the album’s musical arrangements are just as diverse, covering just as much ground if not more than the musical arrangements. The sequencing of that collective content takes all of the content into account and keeps things interesting for listeners throughout. The result is a positive general effect that puts the finishing touch to the album’s presentation. Each item examined is important in its own way to the whole of the album. All things considered they make Let’s Move a successful new outing for Katie Dwyer.
Let’s Move is available now through West Side Rose. More information on the album is available along with all of Katie Dwyer’s latest music at:
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