Track 1 because it has a long tantalising intro, from which Kevin Ayres's rich deep voice emerges, as if out of the shadows.(Or the wings of the Rainbow theatre, in this case.) A beginning. The Surman because this short piece condenses or seems to crystallise the energy of his playing; after a laid-back track one, we've a dynamic burst of air, literally. Which means we are ready for Smith's poem, its relentless piano moving us on, on, on, and her voice in the air moaning, snarling, leaving us exhilerated, inevitably wanting more. Which is how a good Late Junction selection will always leave me.