as the English one, and both the original English version and "Somewhere in Paradise" subsequently featured on the duo's first greatest hits compilation, The Hits of Baccara, released under the name Los Éxitos de Baccara in Spain and South America. In 1979, the album Colours and the separately-recorded single "Eins plus eins ist eins", released to mark the United Nations' International Year of the Child and celebrate the 20th anniversary of the UN adoption of the Declaration of the Rights of the Child. Although still successful, sales of these and other releases in 1979 were disappointing. Baccara's fourth and final album in the band's original incarnation was Bad Boys, released in 1981. By this time, the disco sound had been overshadowed by newer music movements such as punk, new wave and synthpop in much of Europe and interest was largely confined to those countries where the duo had an established fan base, notably Germany. The album was not released in the UK or US; they never achieved any recognition in the US despite some of their songs being given significant airplay. One music critic suggested that the Baccara formula lacked artistic depth but had been "mined for all it was worth" over two years until public interest moved on to other things. The same critic also drew attention to an element of "anti-feminist subservience" in the lyrics of some Baccara songs. The New Musical Express commented in May 2002 (page 6): "Think what you like about Baccara, seen today their 1978 Eurovision performance has a certain style while their competition from that event looks dated and amateurish". Split The 1980 single release of "Sleepy-Time-Toy" led to a disagreement within Baccara over the vocal mix used. Mendiola complained that her voice was not given sufficient prominence in the song's arrangement and sued RCA for breach of contract. Mendiola's case was that the song should not have been released as a Baccara recording when it amounted to a Mateos solo. A court hearing in Munich resulted in 250,000 records being recalled from dealers and a revised recording with a new vocal mix being issued in place of the original. A 28-second instrumental bridge was removed from the start of the recording (thereby reducing the play time from 6:12 to 5:44) and the vocals were remixed so as to give Mendiola and Mateos equal prominence. The artwork for the single's cover appears to