*Who would have thought it strange that all of us would change*, Madness sing on the title-track of their new album, a record which while transporting the erstwhile Nutty Boys as far from their animated cartoon ska-pop beginnings as they have ever been, still sees the band playing to their single greatest strength - a winning way with a tune.

The opening song 'I'll Compete' which kicks off in a blaze of percussion and synths rings the stylistic changes loud and clear, but here and elsewhere - as Madness are variously aided and abetted by strings, horns and male and female backing vocals - the group's new brand of sophistication is never allowed to obscure their fundamental allegiance to a particularly English pop sensibility. Thus tracks as different in their arrangements as 'Uncle Sam', 'White Heat' and 'Burning The Boats' still fit perfectly into the Madness canon by virtue of their irresistible choruses - hooks that are immediate and contagious, they begin to seem like old friends after just one listen.

'Sweetest Girl', we all, of course know and love from before and while Madness' version remains almost too faithful to the Scritti Politti original, it still works, because, well, only someone completely bereft of talent and good taste could possibly mar the appeal of Green's finest moment. Nonetheless it must here take a back seat to Madness' own creations which with maybe just one exception - the melodically unimaginative 'Coklest Day' - are of a consistently high standard and make this the first Madness album to really rival their greatest hits compilation as a definitive document of the band.

Aside from those tracks already mentioned, this listener's current personal favourite is 'Tears You Can't Hide', a seductive ballad in the lovers' rock style that even Mr. Gregory Issacs would tip his hat to.

'Dance With The Mad man', it says here, and that's an order you'll enjoy carrying out.