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National Film and Sound Archive
National Film and Sound Archive
National Film and Sound Archive

The Best Ever Bonking Songs

1999

The Best Ever Bonking Songs

1999

  • NFSA ID26HRPSF8
  • TypeMusic and Sound Recordings
  • MediumAudio
  • FormMusic
  • GenresPopular music
  • Year1999

An example of a compilation CD from the late 1990s, this item boasts a particularly steamy concept. The Best Ever Bonking Songs was devoted to sex-themed pop music, including Divinyls' 'I Touch Myself' and Salt ‘N’ Pepa’s ‘Let’s Talk About Sex’. It was followed a year later by Volume 2, which included ‘Pash’ by Kate Ceberano and ‘Pull Up to the Bumper’ by Deni Hines.

Bold eroticism is balanced with a dose of cheeky humour, as seen on the album artwork, which features childish and colourful typography, an innuendo-laden image of two pairs of bare feet in bed, and the tagline '36 orgasmic hits'. The tongue-in-cheek gags are paid off with a clear punchline: track listings across both compilation volumes add up to the number 69.

Fitting in with the knowingly juvenile aesthetic, the CD's hot-pink spine is decorated with doodle-like male and female gender symbols, which also speak to Australia's heteronormative culture of the era.

An example of a compilation CD from the late 1990s, this item boasts a particularly steamy concept. The Best Ever Bonking Songs was devoted to sex-themed pop music, including Divinyls' 'I Touch Myself' and Salt ‘N’ Pepa’s ‘Let’s Talk About Sex’. It was followed a year later by Volume 2, which included ‘Pash’ by Kate Ceberano and ‘Pull Up to the Bumper’ by Deni Hines.

Bold eroticism is balanced with a dose of cheeky humour, as seen on the album artwork, which features childish and colourful typography, an innuendo-laden image of two pairs of bare feet in bed, and the tagline '36 orgasmic hits'. The tongue-in-cheek gags are paid off with a clear punchline: track listings across both compilation volumes add up to the number 69.

Fitting in with the knowingly juvenile aesthetic, the CD's hot-pink spine is decorated with doodle-like male and female gender symbols, which also speak to Australia's heteronormative culture of the era.

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