A stunning instrumental from the Dutch duo Arling & Cameron, whose tunes are often more jaunty and upbeat than this one, which is a more moody, atmospheric number. Using similar synth sounds to some of Massive Attack's best work, live strings, a wordless female vocal and a nicely picked acoustic guitar sound, they weave together an intoxicatingly brilliant blanket of sound.

This one of the most insanely catchy and infectious tracks I've heard in a long time. Opens with a sparse bongo beat, accompanied by 'mouth percussion'. A German voice sounding slightly like aging British radio DJ Tommy Vance starts talking ('Der man, das Zigarillo'), before a catchy piano riff and jaunty easy listening chorus come in. A fun track - nice that compilations like 'pop shopping 2' come out and save things like this from total obscurity.

Just one of many gems on the wonderful "Simplesmente" LP. A fairly stripped-down arrangement and recording, but which still allows for the song's bright verse and chorus melodies to shine forth. The track is built from acoustic guitar, bass, drums and a hint of (what else?) percussion, which pulse gently along on the verses in a rhythm that reminds me of dancehall reggae somehow, while still being obviously a branch of the bossa nova tree. Fernanda's sweet croon and instinctive sense of swing navigate this terrain effortlessly. Who is Fernanda? Where has she gone? On the strength of this LP, she definitely had quite a bit to offer. But it was tough, back then, being Elis Regina's competition.......

Two and a half minutes of infectious, sunny folk-rock with extra added jazziness in the changes. The FAB were a Lovin' Spoonful spinoff of sorts, produced and overseen by the troika of Jerry Yester, Zal Yanovsky (RIP) and Eric Jacobsen. Bassist Kenny Altman, who wrote this gem, later wrote "Feelin' Blue" which was memorably recorded by Earth, Wind & Fire and today apparently is in the restaurant business. Too bad he's not still cooking up delicious tunes like these!

It seems unlikely to be able to pick one song from the threepenny opera that stands out above the rest since the thing in itself is so honed to perfection (and never moreso than in the very early recordings). But as a microcosm of the whole this track (track 8) encapsulates perfectly the balance between the borrowed idiom of the popular musical style and the squalor of the lyrics. there is a jaunty middle section in which Mac recalls how he would slip out of bed to let one of the whore Jenny's clients in, mix them a drink and treat them well. Then comes a duet and they sing together of how they long to return to that whorehouse and to those happy times. At the end the music lingers with added, disconnected percussive sounds, in which time the ambivilance and ironies all resonate, creating a moment of perfection for the work as a whole, where all meaning vanishes and mere rhythm persuades.

When I first started actively listening to Mancini, I guess it was in '94 or '95, I was put off by his work from the late '60s/early '70s. I guess my impression was that he wrote these brilliant pop scores until the mid-'60s and then just starting doing mediocre orchestral Beatles medleys and stuff like that. Well, lately I've been realizing how misinformed my first impression was. In fact, it seems i've been enjoying Mancini's work from this era even more than much of his older stuff. "Giovanna" is a great, jaunty little instrumental from Vittorio De Sica's 1970 film "Sunflower." The very Italian-sounding arrangement is carried by the organ and accordion. I think the "Sunflower" soundtrack is too often compared to Morricone. While I can maybe hear the influence, the sound is distinctly Mancini. Another good track from the album is "Love In The Sand" which features, uh, some very nice harpsichord work.

Kenny Rogers provides quite the haunting lead vocal on this track. The jaunty drums and choir vocals only enhance the creepiness.

�Maxwell�s Silver Hammer� is my least favourite Beatles� song, and my nomination for Paul McCartney�s worst, most annoying composition ever (it�s a jaunty number about a homicidal maniac with a hammer in case you�re suffering from post-trauma memory loss since you last heard it). But anyway, that�s a debate that could just run and run (I�ll leave it to the BBC to compile the public�s top 100). Here�s not the place. But, BUT, this is musicaltaste.com, and there is one moment of utter sublimity, in that misery of a song, a moment of incredible transcendent beauty. That very last chord. The final chord is indescribable wonder (it�s a D I think). Every time I hear that I just feel like the dark clouds of evil have lifted, the ring has been destroyed, and everything is gonna be alright for me and the hobbits. I remember having a really vicious fight with my first wife and �Maxwell�s Silver Hammer� came on the radio and when we heard that final chord we just stopped, looked at one another and we both knew that from then on everything would be alright forever.