Single Review: Party at the Pool – Corinda Crew

'Party at the Pool' is the vibrant debut release from Corinda Crew, a collective of students from Corinda State School in Brisbane who have taken part in a hands-on musical workshop, writing and recording their own original material. The track is lifted from their forthcoming album Dynamite Boom, soon to be available on Bandcamp as well as across all major streaming platforms.

This particular song was composed by a group of Year 6 girls who, armed with little more than an iPad, some rough sheets of paper, and a wealth of imagination, managed to bring this track to life, despite the considerable limitations of a DIY recording process in a noisy classroom. That sense of creativity under constraint is part of what gives the single both its vitality and charm.  

Musically, 'Party at the Pool' is an upbeat, feel-good dance track that’s almost impossible to sit still through. Its lyrics capture the simple but universal thrill of a pool party – friends gathering, sun shining, laughter echoing and the joy of living fully in the moment. There’s an infectious sense of fun that runs through every second of the song.

Vocally, the girls sing in unison rather than in layered harmonies, but this only adds to the track’s sense of unity and shared excitement. The result is a powerful collective voice that radiates both anticipation and energy. Combined with its lively rhythms and enthusiastic delivery, the song creates a sound that feels fresh, uplifting and undeniably genuine.

What stands out most is the spirit behind the project. This kind of uninhibited creative exploration deserves recognition and encouragement. The workshop itself is part of a much broader initiative, with students from Years 3 to 6 experimenting with soundscapes in ways that reflect pure curiosity and imagination. 

As a first taste, 'Party at the Pool' offers an exciting glimpse into what this young collective is capable of. It’s a joyful celebration of movement, friendship and fun, delivered with an energy that feels larger than the stage it came from. Both the single and forthcoming album Dynamite Boom come highly recommended for anyone willing to tap into something refreshingly sincere. I've also heard through the grapevine that there's a further album lying in waiting with additional tracks, but we'll leave that story for another day.

All funds raised from this creative enterprise will be donated to the school itself to improve the facilities for the students. So, all you dear readers around the world, you could really help the kids out here by subscribing to their recently created YouTube channel and garner some international attention. I'm sure the kids would be very grateful, and perhaps even organise another pool party to celebrate.

Corinda Crew – pump up the volume.

Single Review: Big Blue Sky – Damo

I'm not overly familiar with this artist, but I have to say, I absolutely love this track. I'm referring to the recent release 'Big Blue Sky' by Australian singer-songwriter Damo. It’s a real retro blast from the past, driven by thundering guitars that wouldn’t sound out of place on a classic Tom Petty record. 

The song wastes no time, bursting out of the gate with a scintillating riff before the vocals arrive and get straight to the point. 'We’re flying away in the sky' Damo confidently declares, and from that moment on, you better fasten your seatbelts because this is one unforgettable ride.

The verse introduces a welcome slice of melody before a descending bass line powers the song back into the chorus. It’s repetition without overkill, delivered through an inspired arrangement. As a result, there’s no need for this track to 'grow' on the listener,  it grabs you on first listen and never lets go.

We’re then treated to a guitar solo that reflects the vocal melody, giving the singer a brief respite while the bass and drums continue to thunder relentlessly underneath. This is where rock and roll collides with inspired melody, as you can feel Damo really getting his teeth into it. Consequently, you can almost picture kids running around with their arms outstretched, having the time of their lives.

There are shades of Springsteen here, perhaps even a touch of The Clash, though with a stronger emphasis on melody. The rhythm section is tight, confident and perfectly supportive of the vocal hook, while the production itself is superb. Every instrument sounds crisp and purposeful, and there’s just enough happening to keep things exciting without ever becoming cluttered. 

Damo is an artist who has delivered a rock and roll anthem in its purest form. A memorable singalong that resonates with considerable impact. So here’s my challenge to you: stream this cool song just once, and see if you can walk away without the melody spinning round your head head. It’s three minutes of scintillating rock and roll for kids, although I suspect plenty of parents will be turning this one up on the car stereo too. Tune in, turn it up, and party on with Damo, and I guarantee you'll feel all the better for it.

Damo – an anthem for the age.

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.