Some album names are perfectly chosen to reflect the music: AC/DC's Back In Black, R.E.M.'s New Adventures In Hi-Fi, Sir Mix-A-Lot's Mack Daddyactually I can't back that one up.

There is no doubting the inclusion of Little Birdy's second album to this exclusive club. The sound of LA dominates Hollywood to the point that if you weren't aware they were actually from Perth (aka Musical Babylon) you would assume they earned their stripes playing in clubs on the sunset strip.

For longtime fans of the quartet fear not about this new development for Little Birdy are smart enough not to surrender what made them the object of a record label bidding war just a few short years ago. Instead they cunningly fuse their gorgeous pop songs with a slick production without dumbing down their sound. If anything it should open their fan base even further.

Credit of course must be given to producer John King (one half of The Dust Brothers) for ensuring such a task was handled with delicacy. But the marked improvement is the durability of lead singer Katy Steele's vocals. A fair criticism of their debut (2004s BigBigLove) was that her chirpy voice grated at times.

Here though she has come into her own, becoming more powerful as illustrated on the first single 'Come On Come On' and the brilliant piano-led 'Please Don't Lay Me Down'. Also take a listen to how she hits the high notes of 'Don't'. It isn't out of line to suggest she is beginning to evoke the style of Chrissy Amphlett.

More surprises abound. The Disco pulse of 'Music' is a decent shot at the dance floor while the pub-rock blues leanings mixed with the Kylie-esque vocals of 'Set You Alight' show they can shift comfortably between genres with out it sounding forced.

Hollywood is a grab bag for everyone because it will please the fans while gaining new ones as well as evidence of a band developing musically. When all three are possible at the same time then you have something special on offer.