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.

Book Review: Big – Kim Noller

Kim Noller is an elementary music teacher and relatively new voice in children’s recording, bringing a wealth of musical experience into a fresh creative chapter. After years as a performer and songwriter, she released her first children’s album in 2023, quickly followed by a second in 2024. Her work is grounded in a simple but powerful belief: that music is a universal language capable of lifting spirits and helping young people make sense of the world around them.

At the heart of Noller’s work is a belief in the emotional power of music, and in particular its ability to shift moods and act as something of a lifeline when times are tough. Helping children navigate a complex world through music and literature seems to be her life’s mission, and one she embarks on with considerable energy.

Big is a new children’s book, which was adapted from the single and title track from her 2024 album Big, but more on that shortly. This inspirational picture book immediately establishes its tone through a series of rhyming couplets that speak directly to a child’s inner world. Its optimism is infectious, with lines that suggest we are 'bigger than my body can hold', with hearts that feel 'like they just might explode'.

The poetic imagery is rich and evocative throughout. The protagonist is likened to 'ocean waves crashing on the shore' and 'a beautiful sunrise ready to light the sky'. The accompanying artwork complements this lyrical message perfectly, enhancing both the emotional depth and sense of wonder. As the story unfolds, imagination takes flight, we soar 'like a giant pegasus' and even 'touch the moon' in passing.

Eventually, the narrative gently returns to earth. The child sees their reflection and realises, 'it’s just me'. Yet the message is clear: whatever we see in ourselves, we are always loved, safe, and protected. It’s a reassuring conclusion that grounds the book’s expansive emotional journey.

This is a charming, beautifully illustrated story that explores imagination, self-doubt, fear, and dreams of adventure, all while encouraging positive self-perception. There’s a subtle sense of escapism—almost Joycean in its emotional scope, but also encompassing a strong thread of belonging. It reminds us that while we are free to dream big, we are always loved exactly as we are.

The accompanying music is gentle and reflective, built on sparse piano and strings that add emotional resonance. The vocal delivery carries a hint of Bonnie Tyler, gradually building in intensity as the arrangement unfolds, mirroring the growing imagination of the child. There are even shades of Frozen in its cinematic progression. Translating such lyrical sophistication into music is no easy feat, yet Noller meets the challenge with considerable flair.

Beneath the poetic surface lies a clear and meaningful message. This is, at its core, a story about overwhelm, about learning to manage big feelings and understanding that such emotions are a natural part of being human. Through its resonant words and striking imagery, the book gives children space to explore their emotions and develop healthy ways of coping. Ideally, it leaves them feeling reassured, ready to let go of worry and simply enjoy life.

It’s said that the book was inspired by the experience of living in the shadow of an older sibling, of feeling the need to take up less space. It’s a sentiment many will recognise. Embracing one’s own 'bigness' can take a lifetime, which makes lessons like these all the more valuable when introduced early.

Whether through music or literature, Kim Noller has managed to blend these two distinct art forms into the type of musical storytelling that is both joyful and meaningful. Her work radiates a genuine love of life, combining sound and vision to create art that is engaging, uplifting, and deeply empathetic. Underpinned by a strong child-centred ethos, her work champions kindness, connection and inspiration.

Kim Noller – music, literature and imagination.