The Young Rascals were essentially a singles band. The first album of theirs that I owned was a greatest hits called Timepeace (1968) - not a dud track on it. The Groovin lp however does have some filler. In fact I would rate five of these eleven tracks as such. But the other half dozen songs still make this a mighty listen. They were great pop songwriters and great artists clamoured to record their songs. Dusty Springfield did a great version of How Can I Be Sure & Aretha almost owned Groovin in the end. I think The Young Rascals were the first white boys to be signed by Atlantic & this album must have made Ertegun & Co. very happy indeed. The song Groovin became an immediate classic - from the instrumental opening you are immediately lazin on a Sunday afternoon. The flute on It’s Love turns what could have been an ordinary rocker into something much better. But they could certainly rock - A Girl Like You & You Better Run are up there with their best recordings. The only cover version on the album is their take on A Place In The Sun which, while interesting, pales next to the version Stevie Wonder had recorded the year before. Anyway, I always wait to hear the concertina in How Can I Be Sure & it always knocks me out. So, despite the filler, there’s enough greatness on this album to give it 4 stars.
I like Matt Johnson’s politics - it’s partly what makes Heartland the highlight of this album for me. Sweet Bird Of Truth is less interesting musically but the lyrics are cut from the same cloth. Problem for me is that The The sound like so many other English bands of the 80’s. I kept thinking : he sounds like Lloyd Cole. But then I discover that Lloyd had been influenced by the first The The album, Soul Mining. So, I’ll never play this album again. I can hear the merit in it, but it’s not my taste.
I’ve always loved Ms.Jackson. It’s the only track on this disc that I was familiar with. Happy to say I loved the rest of it. Outkast have a lot to say. They can be funny (Gangsta Shit). They can be political (B.O.B.). But it’s mainly the sounds I enjoyed. The musical soundscape is so interesting. And subsequently the album is rarely boring. Highlights for me are I’ll Call Before I Come, Bombs Over Baghdad (loved the guitar solo), Xplosion & Gangsta Shit.
Foolishly, I’ve avoided this band because of their name. Recently a friend sent me a bunch of their video clips, which i discovered are well worth a look. Having finally listened, I find that I’ve fallen in love with this album. There are so many highlights. Juxtaposed With U sounds like a great Burt Bacharach composition. I love No Sympathy. The instrumentation & harmonies in it remind me of Crosby, Stills & Nash. In fact, the harmonies are generally wonderful and they combine with the full-on psychedelic approach of the band to create a great sound. There’s something schizophrenic about Sidewalk Surfer Girl. It wants to be soft & sweet and loud & noisy at the same time. Beachboys go metal. And a big mention to Run! Christian! Run! and my favourite lyric - on the midnight train to Jordan. This album was recorded at the legendary Rockfield Studios. I can recommend a doco doing the rounds about that Great Welsh institution. So glad I’ve discoveed this album.
Once again the only track on this LP I was familiar with was the hit single - Cult of Personality. Although I do own the 7 inch single of the Clash cover, Should I Stay Or Should I Go, which appears on the CD reissue, and which I’m quite fond of. Anyway, I really enjoyed the album. At the time it was released it was pretty unusual to find a guitar-based rock band membered by a bunch of black guys. But I have to say that these guys do the memory of Jimi Hendrix proud. Side 2 is terrific. It begins with Funny Vibe, a great track with a false ending featuring the dudes from Public Enemy, and an excellent cover of the Talking Heads’ Memories Can’t Wait. Mick Jagger’s harmonica opens and closes the album’s only ballad, the beautiful Broken Hearts. I love What’s Your Favourite Colour? and cannot understand why it was edited to less than 2 minutes on the vinyl. The side ends with Which Way To America?- which opens like an INXS song but then goes guitar-crazy. Loved it. Realy enjoyable.
I saw Al Green at a free concert in the Sydney Domain in January 2010. After being told the place was full & being turned away, I crawled under a rope partition & ran into the crowd. I was not gonna miss Reverand Al. And he delivered. I reckon the majority of the crowd had been introduced to Al Green by the inclusion of this album’s title track in Tarentino’s Pulp Fiction. In the wake of that I saw him perform the song on Letterman in early 1995. He was outstanding - so relaxed, laid back & in the groove that he & producer Willie Mitchell had created decades earlier. His sound is unique. This album is not full of hit singles but it flows. It immerses the listener. The oddity on the record is his cover of The Bee Gees’ How Can You Mend A Broken Heart (the only time I saw them was not far from the Domain, also outdoors in the old Showground in January 1972). This song had toppedgthe American charts in 1970. What Green does with the track on this album is remarkable. He totally slows it down and he makes it his own. I really liked the original, but Al gives it soul & takes it to a whole new emotional level. My copy of this LP is on Motown, who distributed Hi Records back-catalogue in the 80’s. Hardly surprising. It’s a great listen.
I’d never heard any of the tracks on this album before. I really enjoyed the opening track - it had what sounded like a Cure riff happening in the background and the lyric content was interesting. But, for me it was downhill after that. Except for This Is Yesterday, which slowed the tempo down somewhat, the band were going hell for leather and I got bored. They might be good at what they do. The sounds & samples used were often interesting (hear The Intense Humming Of Evil). But I found the majority of the tracks to be repetitive & very samey. A bit boring, really.
I loved the first two Police albums. But by the time this (their fifth & last) album was released, I’d moved on. Except for the stalker’s theme song (Every Breath etc.) & King Of Pain ( I actually would be more likely to play Weird Al’s piss-take - King Of Suede), I was unfamiliar with the rest of this record. I found the Andy Summers- penned Mother pretty interesting, but the rest was a tad boring. Still, the 2 afore-mentioned singles are strong. Two stars from me.
I was only familiar with the opening track, Time To Pretend. If you were alive in 2008, you could not have escaped it. Extra catchy tune. As for the rest of the album, I liked Weekend Wars & Pieces Of What & the drums in 4th Dimensional Transition, but found the rest of it lacklustre.
I just don’t understand this disc. I find it dead boring. There’s the odd instrumental flourish, but I really can’t stand the lead vocalist’s voice. Can’t really find anything positive to say about it.
I was totally unfamiliar with this album. Ash were obviously a tight outfit. It seemed to be all about the guitars. I really liked I’d Give You Anything - the guitars on this track were outstanding. But I found the rest of it samey & it really didn’t hold my interest.
Here we have around 30 minutes of the wackiest sounds you’re likely to hear. And I find it pretty compelling. I saw these dudes at the Burland Community Hall in Newtown in 1991. I wasn’t sure what to make of their set, but I loved the images being thrown onto the big screen behind the band. It was definitely part of the package. I loved Kuntz, partly because it reminded me of an American baseball card I have for a player by the name of Rusty Kuntz. Only in America. The production is great. Well worth a listen.
Not really my bag. But they do what they do do well. I do like the sound of the bass-playing.
This was The Cars’ debut album, released in June ‘78. The month before, Cheap Trick released their break-out album, Heaven Tonight. I put them on either side of a cassette & for the next 12 months I flogged that tape to death driving around Sydney in my girlfriend Julie’s Holden station-wagon. So I know this album well. And it gives me just as much listening pleasure as it did back then. Side 1 is flawless. And the flipside is almost as good. Ocasek could write a terrific pop song. The Cars were one in a long line of American bands that may never have existed if The Beatles had not taken America by storm. My favourite moment is the Beatles guitar line in My Best Friend’s Girl - total homage to the Fab4. The song even ends with a Yeah Yeah Yeah in the fadeout. I love this record.
For most of my adult life, my reply to the query “What’s your fave Beatles album?” was Revolver. When It was released, I’d just turned 16. The same day it was released, the new Beatles’ single was released - in Australia, the A-side was, unbelievably, Yellow Submarine. The B-side was Eleanor Rigby, one of McCartney’s greatest compositions. None of the Fab4 play on it. George Martin claimed his score for the strings was inspired by Hitchcock’s favourite composer, Bernard Herrman. It’s exceptional. McCartney was also responsible for Got To Get You Into My Life & Good Day Sunshine, both up-tempo belters, and two beautiful ballads, For No One (just Paul & Ringo) and Here, There And Everywhere (with beautiful vocal harmonies which Paul claimed was inspired by Brian Wilson’s God Only Knows). George got 3 songs on the album, more than ever before, including the opening track, Taxman, on which Paul played lead; Love You To, with George on sitar, Anil Bhagwat on tabla & no other Beatle taking part; and I Want To Tell You. Ringo got to sing Yellow Submarine, which was actually a #1 single. And Lennon featured on I’m Only Sleeping; She Said She Said (inspired by an acid experience with Peter Fonda); the wonderfully poppy And Your Bird Can Sing; Dr Robert (re a NY dealer who supplied hallucinogens); and Tomorrow Never Knows, a track which single-handedly changed the course of popular music. We’d never heard anything like it before. But then, we’d never heard anything like The Beatles before. This is a great record.
This album was released in October 1977. The title track was impossible to dislike and has over time become one of Bowie’s most popular songs. It’s one of 4 tracks on the album co-written with Eno & features Fripp on guitar. Six tracks feature vocals and four (most of Side 2) are instrumentals. For me, “Heroes”, Beauty And The Beast and Blackout are the standouts. These 3 & Sense of Doubt are the 4 tracks from this album included on the live double album Stage, which was released in September 1978 to coincide with Bowie’s 9 month world tour. I saw his first Sydney concert at the old Showground in November. He was in great voice. It was the music event of the year & felt a bit like the gathering of the tribes. This isn’t an album I’ve ever played a lot and having given it several spins in the last few days, I don’t know why. The production (Bowie & Visconti) is terrific. And it ‘s never boring - even the 4 consecutive instrumentals are full of surprises. I loved it.
I’m afraid their aim was off. Played it once. Life’s too short. Not at all interesting to me. Enjoyed hearing the famous backbeat from David Essex’s 1973 hit, Rock On, on Some Kind of Kink. And Karime Kendra’s voice on The Rough And The Quick was effective. Other than that, I found it difficult to stay awake. Not one for me.
I saw Wu Tang Clan at the Enmore Theatre in August 2011. I was really there to see the support act, Daily Meds. The audience was so excited. It was a great night. This album was 15 years old at the time but 3 of the tracks were featured that night - Liquid Swords, Duel Of The Iron Mic & 4th Chamber. Two of them feature the hypnotic hammond organ sample from Willie Mitchell’s version of The Rascals’ Groovin. And the other uses the repetitive piano piece from a David Porter(as in Isaac Hayes/David Porter) track. I’d never heard this album before. I spent a lot of time listening to the many tracks sampled here & marvelling at how the samples were used. I enjoyed the film dialogue used. The album has an edge-of the-seat atmosphere that is maintained throughout. It sounds great. Shadowboxin, with the Ann Peebles sample was a standout for me. At times it was just a bit too repetitive. And in a post-ISIS world, I doubt if you’d open your album with a track in which a kid talks about his dad being a decapitator.
I guess it’s an age thing. In the 1970’s I lived in a lot of share-households. I saw & heard a lot of record collections. This wasn’t in any of them. My brother, 8 years younger than me, was the first person I knew with a Sabbath lp, but that was their 2nd album, the one with Paranoid on it. It’s the only track of theirs I could name in a line-up and I’ve always liked it. This album is totally new to me & I don’t feel like I’ve missed anything in the intervening half-century. Derivative & boring.
I’ve owned & loved the single Tennessee/People Everyday for years. When I owned a jukebox, it was often on it. But I’d never heard the rest of this album before. It’s such a great listen. There’s a positivity about it that is missing from a lot of hip-hop released in the 30 years since this came out. There’s not a dud track on it. And so much of it is made to dance to - Mama’s Always On Stage, Give A Man A Fish, Mr Wendal. And the flow of the tracks is terrific. I loved it.
I only own 2 Jimmy Smith albums & this is one of them. Recorded in 1960 for Blue Note, it really swings and is very much an ensemble album. The great guitarist Kenny Burrell features on half the 4 tracks. But I reckon it’s as much Stanley Turrentine’s album. His tenor playing embellishes the whole record. By contrast, the other album I have is a 1967 album he did for Verve, titled Respect, and the difference in Smith’s approach is marked. It’s very funky. Four of the five tracks are covers of soul/funk standards of the day, and it’s very much a Jimmy Smith album. And there are no horns. It’s all about the organ. This reflects the development of his taste through the 60’s. But it doesn’t detract from the greatness of Back At The Chicken Shack - a wonderful listen.
I’m a big fan of Polly’s, but I obviously did not give this much of a listen when I bought it. I was taken aback by the high-pitched voice and I think it got filed away pretty quickly. What a big mistake. I now can’t stop playing it. It ticks a lot of boxes - particularly the length of most of the trax - 5 are 3 minutes or under & only 2 only 2 are longer than 4 minutes. Takes me back to the late 70’s. The stories in the songs are heartfelt and the music is as original as you’d expect from her - possibly a bit to do with Mick Harvey’s involvement. Special mention to the native American drums & cavalry charge bugle in The Glorious Land and the nod to Eddie Cochran’s Summertime Blues in The Words That Maketh Murder. I saw her at the Horden earlier this century - so good live. And rarely fails on disc. Loved this.
This sounds great. If anything, the tracks are a bit samey, but there’s no doubt the band know what they’re doing. Not particularly my cup of tea, but definitely a polished effort.
I have never listened to a whole Rufus Wainwright album before, just the odd track. I’ve always liked his voice. But, for me, this is a masterpiece. The range of music on this cd is astounding. As is the quality of his lyrics. As a one-time altar boy myself, I was knocked out by the opening track, Agnus Dei, and every track that followed was a winner. I loved The Art Teacher, which made me recall Meg Christian’s Ode To A Gym Teacher; Gay Messiah, which brought to mind his father’s Talking the New Bob Dylan; and Memphis (not Nashville)Skyline, his heartfelt tribute to Jeff Buckley, is outstanding - Then came hallelujah sounding like Ophelia - referencing a Cohen song they both covered. He surrounded himself with such talent - a lot of family, the great Van Dyke Parks’ string arrangements, Levon Helm drumming on The One You Love. The album is so full of surprises. I loved it.
I liked Rocket. i liked Flawless. Take or leave the rest. She’s a talent, but this stuff does nothing for me.
For me, The Cure were a great singles band, but the only albums of theirs I’ve ever been able to listen to are the hits compilations and a live album I own. I checked the hits cds I own, Standing On A Beach : The Singles & The Cure : Greatest Hits, and nothing from Pornography appears on either. This doesn’t surprise me, because I can’t hear any toe-tappers here. I find it just a little boring, except for The Hanging Garden, which was the only single release off this album.
I always loved the single Crucify, which I found on a terrific 5-track EP that featured covers of Nirvana, Led Zeppelin & the Stones. Pleased to find some other gems on this album, particularly Leather & Me And A Gun. It’s impossible to hear her voice without Kate Bush being brought to mind, but she’s not alone in that regard. She can write a tune, and this disc doesn’t get boring. A good listen.
I had never heard of this band before. And when I started listening to the album, I thought - can I actually put up with this guy’s drone of a voice? Well I could, because he’s such an interesting lyricist. There are so many wonderful lines. From the track Tennessee : writing sad songs and paid by the tear & Punk rock died when the first kid said punk’s not dead. From Horselike Swastikas : … And I wanna be like water if I can cause water doesn't give a damn. Not surprising to learn that David Berman was first & foremost a poet. The music is fine, but it’s Berman’s words which steal the show. It’s been a real discovery for me.
I’m a massive Dan fan. After waiting over 30 years for them to tour Australia, I saw them in Sydney and in Canberra in 2007 and was not disappointed. I love this, their 2nd album. I love the photo of the band in the studio. Becker looking cool with the sunnies, Fagen looking like a rabbit in the headlights, having finally been lumbered with lead vocals on all 8 tracks, and Skunk Baxter with his feet all over the mixing desk, looking like he has no doubts about his own ability on the guitar. The opening two songs on each side of this lp are outstanding. The album’s opener, Bodhisattva, is unique in their catalogue - breakneck rock’n’roll, with Baxter & Denny Dias ripping it up with some dual guitar harmonies. It’s followed by Razor Boy, once described as based on a bruised bossa nova groove, featuring the vibraphone of Victor Feldman & Baxter’s pedal steel. Side two begins with the funky Show Biz Kids, featuring the outstanding slide of Rick Derringer’ and the very soulful My Old School, with 4 saxes & a terrific Baxter guitar solo. There are no dull spots on this album and, as usual, the lyrics are often a mystery, but compelling nonetheless. Not my favourite Steely Dan album but easily 5 stars here.
There are ten songs here. For me, six of them are worth 5-stars, so I rate the album similarly. I love his poetry and there’s plenty to enjoy here. Opening with Bird On The Wire sets a pretty high bar. On the surface, it’s addressed to a lover that he’s not treating well, but it’s so much more than that. As is the other great love song - You Know Who I Am. He loves using the word naked, as he does here and also in the more light-hearted Tonight Will Be Fine. Then there are the songs addressing war and the youth. I assume he wrote a lot of these songs in 1968, when the anti-war movement in the U.S. was at it’s peak. The biblical Story Of Isaac and The Butcher fit in here. The Partisan, which he didn’t write, was an unofficial anthem of the Free French in WW2. I only saw him once, in early 1980, at the Capitol Theatre in Sydney. It was his first tour to Australia. And the only other concert I’ve attended where emotions were so high was the first Brian Wilson concert at the State Theatre early this century. The love for the performer was palpable. I remember that people were constantly screaming requests, and I remember that a lot of them were for Nancy. For me it is one of his greatest compositions. Love this album.
What a great record. From Marr’s aggressive guitar in the opening track, the band never lets up. Morrissey provides some great lyrics (although I can’t get Frankly, Mr Shankly out of my head). And the hits just keep coming. Cemetry Gates has always been a favourite, and from that point in the album, it’s just one great track after another. No filler on this. Can’t believe I don’t listen to The Smiths more often.
Comes from a time in my life when Reg released one memorable album after another, in this case a double album. A superb opening side - the instrumental Funeral For A Friend segues into 3 great tracks, ending with Bennie And The Jets, a hugely successful singles & John’s first song to make the R&B charts in the U.S. There’s some great stuff on Sides 2&3, notably the title track, Jamaica Jerk-Off,Sweet Painted Lady, etc. and he brings it home with Side 4, beginning with 2 absolute belters then easing out with the beautiful Roy Rogers, the country-inspired Social Disease & the mellow Harmony. Still does it for me.
I wasn’t familiar with any of this album. Three or four tracks in I was finding it a little boring, and then was really taken with We Fight We Love, featuring Raphael Saadiq. From that point on, I found it to be most engaging. The 2 standouts for me were Move (featuring a Jackson 5 sample) and Manwomanboogie, featuring Amanda Diva. Great production. Enjoyed it.
I knew nothing about the band or the album. And when listening to the opening track, The Humpty Dance, I wasn’t sure I wanted to hear much more. Then the Hendrix sample on The Way We Swing got me totally interested & I have to say I loved this album. The title track is terrific, as is Rhymin On The Funk, both with Parliament samples, and I was also taken by Underwater Rimes, which felt like a hip-hop version of The B-52’s Rock Lobster. The impersonation of Edward G. Robinson’s gangster persona is a scream. And I loved the final track, Doowutchyalike. It said a lot about the band’s approach to music, as well as life. This is one of the most soulful hip-hop albums I’ve ever heard. A great listen.
Shoegazing? Perfect description. I found the first few tracks dead boring. However when the band got really noisy, particularly on Feed Me With Your Kisses, it took me back to early Jesus & Mary Chain. Sometimes there’s a point to pure noise. These guys were obviously good at it. Will probably never listen to it again.
I was a big fan of their debut album, Psychocandy (1985). I loved their use of feedback. I remember a friend visiting me while I was playing that album on a portable cassette player and advising me “why don’t you tune that radio properly?” For a while they could do no wrong. Darklands was what would have in 1987 been called their very difficult second album. Never easy to follow a classic release. It never thrilled me like Psychocandy did. Not sure how much that had to do with the replacement of their drummer with a drum machine (one of the 80’s notable scourges), but it probably didn’t help. It’s still a good listen. I always liked April Skies.
Five Stars. I hadn’t played it for a while. It still sounds like a million, and that’s probably a lot to do with Alan Parsons’ production. And these days I probably play Syd Barrett’s Floyd recordings and his solo records more than I play seventies’ Floyd. But there’s no denying the greatness of this album. It’s one for the ages. This lunatic is still on the grass.
Not for me. Have never listened to this, or indeed any other Radiohead album, before. I thought Creep was a great song but that’s about where it ends.Not keen on Yorke’s voice. Instrumentation was often interesting but overall I found the songs to be boring. Didn’t mind Go To Sleep, but I almost did.
I was never a fan of New Order. I always found it difficult to get past Bernard Sumner’s weak vocals. His best vocal on this is on Sunrise, where he sounds like he’s channelling Robert Smith. No surprise, therefore, that the track I enjoyed most was the instrumental, Elegia. A lot of British bands either sounded like New Order, or were desperately trying to at the time. But this sound never grabbed me.
Hadn’t played this for a while, but I was brought up attending the Church of Sinatra on a regular basis, so am totally familiar with the album. Great thing about the opening track is that he not only feels so young but he sounds so young, even though he was 40 when these songs were recorded. He was in great voice. The period he was with Capitol Records produced his best work, as far as I was concerned. And there’s no doubt Nelson Riddle had a lot to do with it. The arrangements are sensational. Most of the 14 tracks rate highly in the so-called great American songbook. Worth it just for I’ve Got You Under My Skin - one of Cole Porter’s finest & one of the great vocals of all time. A classic.
I’ve never seen the movie Shaft, but I do remember watching the Academy Awards the night that Isaac Hayes won 2 Oscars - one for the now legendary theme song & one for the best dramatic score. Hayes was a mainstay of Stax Records during the 60’s - a great musician & composer and he had started a solo career in 1968. Four solo albums preceded Shaft but there’s no doubt that his career peaked with the soundtrack. Hardly surprising. A double album, it is thoroughly engaging, whether you’ve seen the film or not. It is soulful, funky and jazzy. Hayes enlisted the great Stax band The Bar-Kays to provide the instrumentation. I listened to the album from go to whoa & loved it. Here was a man who was only the 3rd Black American to win an Oscar, with a style of music that the Academy had never celebrated before. And 25 years before Salty Balls.
You have to admire someone who would record Margaret On The Guillotine while Thatcher was still the Prime Minister. Problem is, it’s not that memorable a tune when compared to, say, Stand Down Margaret by The Beat (1980). And herein lies the problem for me with Morrissey’s solo output - there’s no Johnny Marr. Morrissey’s words are still interesting but it ain’t The Smiths. Still, Morrissey’s lyrics are worth listening to. And the epic 8-minute Late Night, Maudlin Street stands out for me, although claims that the music is based on the work of Joni Mitchell are totally deluded.
I think I came across Last Nite on a compilation CD that came free with a magazine, and was so taken with it that I got a copy of this album & have always loved it. It still sounds fresh to me. The title track is one of the great openings to any album. I love the way the song opens, and, in fact, so many of these songs have great openings, that inevitably suck you in. No point selecting favourites here, I love them all.
I owned the original vinyl of this back in the day. I was a fan of Emerson’s previous band, The Nice. I was always a sucker for any band that did strange cover versions & they certainly did quite a few - wacky covers of Dylan, Bernstein, Brubeck, Tim Hardin, etc. so when Emerson broke up the band & formed ELP, I went along for the ride. I don’t remember ever hearing the term Prog Rock at the time. I hadn’t heard this for decades. I decide to listen to it on my phone while I went for a walk. As it turned out, The weather was overcast, windy & rainy & this seemed the perfect setting for the frenetic Side One. Side Two’s more straight-forward songs are less compelling, especially where vocals are involved. But, overall, It was an interesting listen.
Another album I bought back in the day (through the Australian Record Club), but have since offloaded. Just played it through and it’s better than I remember, but Robert Plant he ain’t. I think they peaked in the late 80’s.
I think this is the only Elliott Smith cd I don’t have. All the others I’ve picked up in op-shops over the years. Really enjoyed it. Particularly love his guitar playing. Nearly every song has an acoustic guitar intro and none of them are the same. Some of these intros remind me of Beatles songs (I was expecting him to break into Rocky Racoon at one point); the folky intro to the beautiful Angeles brought Paul Simon’s playing to mind; and I was chuffed to read that he used an open tuning for No Name #5, because that’s the intro that immediately made me think of Joni Mitchell, & open-tuning is her middle name. The lyrics are always interesting, and the melodies are never repetitive. And I love the fact that the album’s title comes from the writing of the philosopher Kierkegaard, because that name immediately transports me to the Piranha Brothers sketch by Monty Python - a man they called Kierkegaard, who just sat there biting the heads off whippets . A great listen.
There’s a lot of this I loved - the opening (title) track is great & sets the tone, although I found some of the rest just a bit repetitive. I liked Turn It On & Words & Guitar, but my favourites were the very poppy Little Babies and Dance Song 97, which I thought was outstanding. A good listen.