Album Review: I Count – Margot Bevington

Margot Bevington is a singer-songwriter and school teacher with more than twenty years of classroom experience to date. A passionate advocate for inclusive education, she has used her music to help children  discover their voices through song. An award-winning songwriter and graduate of Oberlin Conservatory of Music, Bevington has crafted a sound that blends the warmth of folk music with the energy of classic rock. Yet her latest album I Count is about far more than music alone or even learning for that matter. After all, what a brilliant title for an album, an empowering sentiment in a world where too many of us feel like we're not enough, it reminds us that yes, we do count. Its message is unmistakable, and she delivers it with considerable conviction.  

According to Bevington, counting songs, which is her particular area of focus on this album, provide 'a lesson in how we each have value, a voice, and differences we can identify and celebrate'. The album bridges the gap between old and new through irresistibly catchy songs that speak to a generation where ideas such as diversity and equity are part of everyday conversation. As she so eloquently puts it, 'counting songs are a child’s first lessons in differentiation and value', and too often traditional nursery rhymes 'aren’t always inclusive or filled with positive messages'. I personally couldn't agree more.

So how does she take on such a Herculean task? By creating ten engaging songs that hit their target with considerable force. Bevington combines pop sensibility with educational expertise in a way that rarely feels instructional. The artist clearly understands that young children learn best when concepts are broken down into manageable pieces, and she approaches that challenge with consummate skill. In this sense the listener learns organically almost unaware that they are counting at all, which is perhaps what lies at the very heart of all inspired composition. Or as the German polymath Gottfried Wihelm von Leibniz famously declared - music is the 'arithmetic exercise of the soul, which doesn't not know that it is counting'.

The album opens with the bouncy and playful 'All Bubbling Babies', where bass, gentle percussion, and nimble piano create a lightness of touch that allows the vocals to really cut through. Exquisite harmonies add further uplift as the lyrics transform counting into something hypnotic and melodic, providing the perfect introduction to both the album’s sound and philosophy. The true strength of the song lies in its simplicity, here less is more, and therefore succeeds in keeping the listener engaged through its hypnotic allure.

'Many Ways to Be' introduces a shuffle beat alongside a solid bassline, with a hypnotic piano once again driving the melody. The song sparkles throughout, its soaring vocals celebrating individuality and learning in equal measure. 'Many Happy Helpers' takes a slightly more forthright approach, featuring instructional lyrics that demonstrates how tasks can be shared and broken down numerically, encouraging children to contribute and participate. The message is simple, many hands make light work. I'm sure all you teachers out there would no doubt agree.

'Three Is a Magic Number' takes a more freeform approach to this classic children's track, allowing the musicianship more room to breathe. Slightly funky in tone, the song highlight the number three, whether through family structures or the ease with which the number multiplies. The dexterity of the musical arrangement here is impressive, pushing the boundaries of what a counting song can sound like. It is then followed by 'Three Big Feelings', which carries a noticeable Americana flavour through its doo-wop harmonies and gentle melody. Conjuring images of fifties nostalgia, and providing an interesting nostalgic accompaniment to the songs lyrical message.

My favourite track on the album is the superb 'That’s How I Can Make Equity'. It is a beautifully crafted song with both a memorable melody and a stirring message. Here, numbers become a way of explaining fairness and equity, in a way that reflects the expectations of contemporary society. Musically, the track has a cool, laid-back vibe that perfectly complements its reflective lyrics. One could almost imagine Joni Mitchell performing such a song with a similar artistic approach. The message is simple but powerful: kindness, sharing, and fairness enrich not only others, but ourselves as well.

'He, She, They' is equally delightful, built around a strong hook and a hypnotic arrangement that effortlessly draws the listener in. What sounds like a xylophone adds extra colour and subtle texture to the melody. It is another ambitious composition, confident without ever feeling forced. 'All the Colours on Our Skin' focuses on diversity, celebrating the many shades that make up humanity while weaving the counting process naturally into the lyrics. The music strives forward with considerable purpose, yet never loses its sense of fun, allowing children to clap and sing along as they learn.

'The Baby Not a Baby' introduces a traditional country influence through its rootsy arrangement and catchy singalong chorus. As the child in the song grows older, birthdays are celebrated, numbers exponentially increase, and counting becomes part of the storytelling itself. It is a clever idea that blends melody, humour, and education seamlessly. Finally, 'One Me' closes the album with sweeping emotion and an anthemic quality that truly hits the mark. Here, children are encouraged to sing along as the melody rises and the arrangement gently builds toward a moving finale. It is a fitting conclusion to an album that is both ambitious, and refreshingly original.

Margot Bevington is clearly an artist who cares deeply about both music and education. She has identified a gap within children’s music and responded with compassion, and creativity. Highlighting how many traditional nursery rhymes feel outdated, she sets out here to redress the balance with educational songs that reflect the modern world. Traditional nursery rhymes are replaced here by thoughtful songs that encourage empathy, inclusion, and curiosity. Through her expertise in writing songs about rhythm and numbers, Bevington demonstrates how music can help children understand fairness, solve problems, and celebrate individuality. Teachers, parents, and educators alike would do well to pay attention. This is music with a message, a message that encourages children to learn, respect one another, and enjoy the process along the way. 

Margot Bevington – 1,2,3 eyes on me.

Album Review: The Lost Junkyard Gator Parade – Phredd

Welcome to the theatre of the absurd. I’m referring, of course, to the artist known simply as Phredd and, in particular, his latest album, The Lost Junkyard Gator Parade. Phredd takes no prisoners here, delivering music that makes even the avant-garde sound commercial. Musical mayhem is the order of the day, punctuated by moments of surprising beauty and dizzying imagination.

Essentially a one-man band, Phredd combines ukulele, harmonica, drums, bass, and eccentric vocals into a wildly entertaining experience aimed at children and families. This marks his fourteenth release, and across the last twenty-five years he has mastered the art of crafting chaotic, joy-filled music that refuses to obey convention. Imagine Raffi colliding with the cast of The Jungle Book at an experimental jazz festival and you begin to understand the strange magic at work here.

The opening track, 'Kazoo Overture', sounds like a long-lost outtake from The Beatles (The White Album) – think 'Wild Honey Pie' pushed even further into absurdity. The kazoo takes centre stage during this gleeful momentary lapse of reason, offering a perfect introduction to the madness that follows. 'Nipper Lost His Flipper' continues in a similarly bizarre vein, driven by a loose shuffle beat and improvised vocals that resemble a jazz ensemble jamming together during a particularly unruly Saturday afternoon session. Somehow, the bass manages to hold the song together while the vocals wander gleefully off the rails, resulting in one of the strangest tracks you are ever likely to hear.  

'Junkyard Town' embraces the spirit of a sea shanty, propelled by a pounding bass drum and cheerful ukulele accompaniment. It is both utterly unique and irresistibly fun, sounding as though Phredd had a rollicking good time recording it. The singalong chorus, complete with invitations to 'laugh at my recycle jokes', adds to the charm, while the backing vocals and playful instrumentation perfectly complement the track’s eccentric personality.

'Later Gator' introduces a clearer, more melodic vocal performance, sparring effortlessly with bass, drums, and ukulele. The lyrics take an amusing turn as Phredd announces 'it’s time to go' despite this being only the fourth track on the album. However, with Phredd, by now we should have all realised unpredictability is part of the appeal. In many ways, this feels like the children’s song Raffi never got around to writing: jaunty, heartfelt, and genuinely uplifting.

'Saint Patrick’s Cookie Parade' is whimsical and warm, driven by lively horn arrangements and buoyant vocals that perfectly suit lyrics celebrating togetherness and joy. There is a genuine affection here for Irish culture and communal celebration. In stark contrast, 'I Am a Robot' marches along with mechanical precision, blending descriptive verses with delightfully encouraging lyrics reminding listeners to be thankful they are 'not a robot'. The harmonica work is especially impressive, adding texture and personality to a track that would likely become an instant favourite in any music classroom.

'The Eddie Daniels Internet Adventure' returns to pure absurdity, presenting a brief, bizarre interlude that appears to feature a live audience. Clocking in at barely a minute, it serves as a humorous palate cleanser amidst the surrounding chaos. Meanwhile, 'Ziggy the Kind-O-Saur' proves that Phredd can produce more traditional children’s music whenever he chooses. Driven once again by drums, ukulele, and harmonica, the song introduces a dinosaur who is essentially a 'big-hearted troubadour'. The rhythmic phrasing is sharp and inventive, while the trombone solo injects an extra dose of playful humour.

'Chocolate Cake' offers one of the album’s dreamiest moments, balancing laid-back instrumentation with surprisingly expressive vocals. The bass playing is warm and imaginative, anchoring the song while the vocals drift into delightfully experimental territory. At one point, the bridge sounds as though a cat has wandered into the studio to provide backing vocals; an absurd creative choice that somehow works perfectly within the album’s universe.

Finally, 'Later Gator Goodbye' closes the album on an uplifting note, saying farewell in multiple languages before reminding listeners that 'music and love will bring me back to you'. It is a genuinely heartwarming conclusion from an artist whose sincerity shines through even during the album’s strangest moments. Beneath the chaos lies a musician with an instinctive understanding of melody, arrangement, and emotional connection.

The Lost Junkyard Gator Parade is unlike anything I have ever heard. It completely disregards traditional expectations, venturing fearlessly into territory that is simultaneously experimental, cerebral, and deeply entertaining. Across the album, bizarre sound effects, eccentric vocals, and imaginative musicianship combine to create something genuinely unique. If listeners can look beyond the sheer craziness, they will discover an artist unafraid to embrace unpredictability in pursuit of creativity and joy. Ultimately, Phredd has harnessed the sound of the unexpected, and done so with remarkable confidence and skill.

Phredd – the sound of the unexpected.

Album Review: Join the Band – Emily Who

Emily Who is a well-established figure in the world of family music. Not only does she share a stage name with one of my all-time favourite British bands, she is also widely regarded as an internationally acclaimed artist. She writes all her material with long-time collaborators Robin Gist and Peter Bailey, performs live tirelessly, and has amassed a prolific output of songs over the years. 

With five albums to her name, each showcasing her distinctive songwriting voice and warm, versatile vocals, her latest release, Join the Band, is an absolute classic. Spanning seventeen tracks, the album is rich in melody, imagination, and lyrical precision. Its themes range from road safety to interactive sing-alongs and everything in between. I know it sounds like a bit of a cliche these days, but there is genuinely something here for everyone.

The opening track of any album is crucial, it sets the tone and, in an age of shrinking attention spans, must make an immediate impression. Here, 'Any Colour Will Do' rises effortlessly to the challenge. Sprightly and full of life, it invites children to express themselves artistically, with  lyrics that place the emphasis squarely on the listener, encouraging them to be bold, trust their instincts, and remember that 'the colours that you choose are up to you'. It’s a charming antidote to hesitation, buoyed by some stirring banjo and delightful double bass, with flashes of harmonica playfully sparring alongside a Hammond organ.

For preschool teachers in search of engaging classroom material, this album is an absolute treasure trove. 'Shaker Party' bursts with energy, urging everyone to 'come to the shaker party' and keep moving  – left, right, low, high – ensuring every child feels included. 'Fly Like a Butterfly' follows a similar path, encouraging children not just to observe but to participate, flapping their wings and soaring 'through the air up there'. Even road safety gets a joyful spin in 'Crossing the Road', which transforms an everyday lesson into an interactive musical experience. 

There’s no shortage of delightful sing-alongs, either. 'Crescendo the Kookaburra' skips along with infectious charm, painting a vivid picture of the Australian bush, complete with unexpected Americana-tinged backing vocals. 'The Magic of Music' carries a nostalgic, almost 1950s feel – you could easily imagine Judy Garland at the helm. Its arrangement is lush yet effortless, with elegant strings and a chorus that radiates warmth. Then there’s 'The Omelette Song', proof that even the simplest idea can become something magical, with tight percussion and an inventive bassline giving the track a playful edge.

My personal highlight is 'Hugo and Cuddles and Boo'. It unfolds like a miniature adventure part story, part song, and rich in both curiosity and imagination. There’s a comforting familiarity to the music, as though it’s always existed just out of reach. As the characters journey on their merry way, children are encouraged to mimic the animals they encounter, turning the track into an interactive storytelling experience that’s impossible not to smile at. My only complaint? I wish it were longer, because I wasn’t quite ready for it to end, and I hazard a guess that I'm not the only one.

At its heart, the album is also a celebration of music itself, and in particular the joy of playing an instrument. Whether it’s the whimsical 'The Magic of the Flute' or the affectionate 'Hello Orchestra', which introduces the sounds and personalities of orchestral instruments, Emily Who captures that sense of wonder beautifully. 'Hello Cello', meanwhile, luxuriates in the instrument’s rich, resonant tones. Throughout, the album succeeds in presenting music as a universal language – 'a magical language that everyone can understand' – and, perhaps with a subtle nod to The Who’s classic 'Join Together', invites listeners to do exactly what the title suggests: join in.

For those drawn to gentler moments, the album also offers plenty of tenderness. 'Hello Cello' drifts along on waves of melody, while 'Dolce the Dragon' tells a sweet, engaging story, inviting children to 'slide and glide' along with its graceful tune. The album closes with 'Ballerina Dance', a soft, hypnotic finale where keyboard, strings, and bass support a vocal that glides and soars with quiet confidence.

All in all, Join the Band is a tremendous achievement from an artist who continues to evolve, despite her impressive back catalogue. There’s a kindness and authenticity in her approach that makes learning feel natural and joyful. She communicates the importance of the arts with effortless clarity, inspiring a genuine love of music along the way. The musicianship throughout is exceptional, matched by thoughtful, polished arrangements. An award-winning artist, she has already managed to take her music to the big stage, presenting orchestral children's shows around the country. She has achieved this in collaboration with the Sydney Symphony Orchestra, the Sydney Youth Orchestra, and the Ku-ring-gai Philharmonic Orchestra, which is an impressive feat by any standard.

Emily Who – perfect for preschoolers. 

Single Review: Rainbow Weather – Nicci Rea of Sunshine

Nicci Rea is a French immersion teacher and Kingston-based performer who has drawn on a rich array of musical influences to create a sound that is distinctly her own. Performing as Nicci Rea of Sunshine, she is at her core, a seasoned singer-songwriter, with extensive experience both on stage and in the studio, where she has spent years bringing her stories to life through a deep passion for creative expression. Her bilingual songs blend seamlessly with her background in musical theatre, placing heartfelt storytelling front and centre. A considerable talent, Nicci brings warmth, playfulness, and majestic melodies to children and families around the world. 

I have to say, I absolutely love this single, 'Rainbow Weather'. It’s a mesmerising piece of perfect pop, where melodic intrigue meets captivating vocals. It brought to mind shades of Kate and Anna McGarrigle, for anyone out there who may remember them. The arrangement is beautifully crafted: harpsichord, shimmering harmonies, and what sounds like a mandolin gently serenade the listener over a simple backbeat that allows the melody to truly shine.

Here, imagination runs free. This is pop music with purpose; a song that carries you into a world of colour and wonder. Sprightly and upbeat, it embraces melodic simplicity while delivering a vivid lyrical message. The song paints the colours of the rainbow with warmth and clarity, inviting us to “look up whenever there’s rainbow weather.” Each colour is described with such conviction that you feel part of this magical moment, gently reminding us of life’s simple joys.

All in all, this is a fabulous track from a superb artist who sings in full colour, with a generosity of spirit that is second to none. Sung in both French and English, the music speaks volumes, whether you connect through its lyrical meaning or simply its sense of mystery. It’s a true “brighten your day” song, one that leaves you wanting more, drawn in by its irresistible charm. Clocking in at around four minutes in length the song captivates your attention throughout, and does so with both flair and imagination. As far as I’m aware, this is her only solo release to date, so I look forward with great anticipation to hearing more from this inspirational artist in the future.

Nicci Rea of Sunshine – living colour.