Hall and Oates' third album, 'War Babies' is one of their best, but amongst H&O fans it's not as highly regarded. It's a Hall & Oates album for those who don't like Hall & Oates. Produced by Todd Rundgren, who was, in the 1970s, an utter workaholic, producing loads of very diverse other artists, as well as making solo albums of his own, and band albums with his Prog outfit, Utopia. He's at the production helm of 'War Babies', and, like many of the albums he produced for others, ends up making it sound like a Todd Rundgren album with guest vocalists. Not in itself a bad thing, really, but 'War Babies' is a real departure from the sound they'd arrived at on 'Abandoned Luncheonette'. At times, it's a very dark, even paranoiaic record, full of edgy rhythms, spooky synth tones and occasionally quasi-psychedelic Bad Trip excursions. 'Beanie G and The Rose Tattoo' has a weird, almost broken clockwork toy rhythm, whilst funky ballads like 'You're Much Too Soon' are almost unbearably pretty. 'I'm Watching You' is arguably one of the first songs about CCTV, and presages The Police's 'Every Breath You Take' by eight years or so, at least (broadly) thematically. Throughout, Hall & Oates harmonise beautifully, and grace this album with some of their best (if least representative) songs, whilst producer Rundgren pulls just about everything from his bag o'tricks to great effect. I love this album, and I like lots of other stuff that Hall & Oates have done, but, at the risk of repeating myself, it's not the most representative albums - buyer beware, if you like.