"Rasputin" by Edvard Radzinsky

My interest in anything Romanov occasionally borders with obsession so if there is a book about this subject,you can bet I will read it.

Found this one in local bookshop and of course had to buy it although at this point I am very familiar with the story,but here we have fresh files (unearthed from somewhere and sold on Sotheby's auction,presented as a gift to author),photos and less known characters.

It is a huge,occasionally very exhausting story that covers not only royal family and their inner circle but literally cast of thousands who one way or the other influenced the story,for example we have police file on everybody who has ever visited Rasputin's house,his visits to prostitutes,names of priests he clashed with,politicians who used him (and were used) and so on. Towards the end I must admit I started losing the count who is who and perhaps the book would have benefited from some serious editing but never mind,obviously the author was delighted with access to newly discovered files and I understand the pleasure of dealing with facts instead of second-guessing what actually happened. Hm,we are still talking about the "facts" but must admit these are documents that survived communism so who knows how distilled these "facts" actually are.

At the very first,I thought this might be (finally) a fresh look at character with incredibly bad reputation and something inside still tells me there is a possibility Rasputin's reputation was destroyed by his enemies. But soon it became clear this was not author's intention - Radzinsky is not interested in explanations of how and why,he is focused on messages,letters and interviews (in itself perhaps illusionary as we don't know for sure whom were they sent and what was the story behind it - letters signed with "Darling" could but don't have been sent by Empress,for example). Another thing is,Radzinsky is very one-sided: if he decides against certain character,he will write about him/her with disgust and clearly visible contempt (see Ana Vyrubova) no matter what documents say. Communists have released Vyrubova from prison because they simply couldn't find anything against her but Radzinsky still believes she was evil incarnated and never mind the documents. The fact that woman escaped certain death almost annoys him and reader can feel his irritation with the fact that she wasn't killed in some basement.

Lots of interesting pictures and research is well done,still the writing style could have been better (or should we say,more neutral) but apparently this is a subject where everybody gets one-sided and is difficult to stay calm. I am still waiting for realistic version of Rasputin and someone who will explain his behavior from different perspective,not only as a charlatan,mad monk and hypnotist. I refuse to believe he was evil and even the stories abut his drunken escapades and orgies don't make him less human (on contrary),in fact there was a certain childish innocence abut him specially when (for example) he would rush to visit friends who prepared beatings (or something similar nasty) for him,not even suspecting people hate him. I say,read between the lines. History is written by winners and you can bet media can turn any of us into mad monks,charlatans and whatnot if they lack understanding of what actually happened.

Civilization (Kenneth Clark)

Verbatim of classic TV series where Kenneth Clark discussed civilization of Western Europe from collapse of Roman Europe to recent times.

I am not familiar with original TV program so for me this was the first introduction with Clark and I loved it,his way with words is very classy and he surely and swiftly moves from one subject to another,in fact there were so many interesting side-stories that I started to note everything down for future research,absolutely loved his style and often would re-read certain pages because this was educational and stylish at the same time. Sure,we can read between the lines and understand these opinions come from elderly gentleman of certain background (for example,women are not mentioned at all) but once this was understood,reader have lot to enjoy in here.

Every chapter covers some important innovation,be it in architecture,music,art or simply in change of thinking - Clark mentions Dante,Holbein,Mozart and Voltaire illustrating his stories with funny little anecdotes (H.G.Wells wouldn't dare to drive a car in France,because the temptation to run over a priest would be too strong for him) and there are literary thousands of informations that reader can treasure and savour later.

Some are dead-set against edition without illustrations,well I happened to buy the only available here and it was paperback with not a single illustration and wouldn't you know,it did not made any difference (except that is probably lighter to carry around on my travels than hardback,illustrated version) for me as I love READING,not just looking at pictures. I can read about any subject and find the illustration myself if I want to,we have internet now so everything is available. It reminds me of Alice's question of what's the point of book without pictures,well I am life-long passionate reader and for me the language and the style of the writer is more important than pictures.

This is beautiful,little book that covers centuries of innovations and I absolutely love it.

Birth of the Nation (1915)

Re-visited old movie from my collection,famous (or should I better describe it as notorious) "Birth of The Nation" by D.W.Griffith recently and enjoyed it very much for what it is,in fact noticed many things I haven not seen the first time around.

Compared to other movies made around the same time,this one comes as spectacular extravaganza - where others used static camera and few actors,here we have thousands of extras,battlefields, smokes,Atlanta burning,wars,dances,historical costumes and whatnot - some scenes are even presented as "historical facsimile" where newspapers (or photo) illustrations are re-acted close to originals. Imagine "Gone with the Wind" filmed in 1915. and you get idea,it is very much vision of someone with grandiose dreams and passion,no doubt very talented film-maker.

So far,so good - the first part of the movie is about two families (North and South) and the ways civil war interrupted their lives. In fact,story was so good that I did not even paid attention to racism (though it is the very first scene of the movie,stating "The bringing of the African to America planted the first seed of disunion") but second part of the movie,well something went VERY wrong here because black slaves suddenly became baddies and white people were presented as honorable,brave and heroic for wearing white sheets and protecting their womenfolk from predators who have nothing else to do but harass ladies. Its all topsy-turvy and I chuckled a few times watching this nonsense - it is a very long movie but moves along fast without boring parts thanks to non-stop action and somebody is always running,dancing,fighting and killing someone,so finale where group of whites is surrounded with bad black soldiers is actually gripping.Than brave Xu Xlux Klan comes along and saves everybody - I laughed out loud here,sorry Mr.Griffith.

I laugh,but even now,almost a century after this movie is made,there is a heated and passionate discussion about worth of this early film masterpiece and is it really masterpiece or something embarrassing that should be better be erased and forgotten. Many hate it. Others point at the time when it was made. Lillian Gish herself stated it wasn't meant to be racist or anything,her words echoing Griffith's patronizing views or perhaps general views of her generation. I say,people get a grip - this was made in 1915 and you simply can't judge it from today's point of view. Like it or not,at the beginning of last century people had different views and that was reality of the times - you can criticize all you want but it can't be erased and there is no point in pretending it never happened (specially when it comes to one of all-time greatest movie hits of its time). Yes,some criticize Gershwin's "Porgy and Bess" for showing blacks living in slums ,Agatha Christie's "Ten little indians" was originally titled "Ten little niggers" (as in nursery rhyme) and list could go on forever.

"Birth of the Nation" was a huge,mega successful hit in it's time and obviously influenced many future film-makers . I say,watch it as a charming silent movie with lot of actors and mass scenes,enjoy it as visual document from the very dawn of the film but ignore "historical facsimiles" and obvious,ham-fisted racism. Myself,I was absolutely fascinated with Griffith's vision and the way everything preceded "Gone with the Wind" some 20+ years. I mean,we are talking about silent movie where thousands or actors are re-acting battlefields and burning of Atlanta,surely it is exciting. It does make me wonder what kind of movie it could have been have Griffith been on blacks side and showed whites as baddies? Probably would have been boycotted and sank without a trace. I think it's a masterpiece.

"Portent" by James Herbert

I discovered James Herbert completely by accident,in ship's library - his "Nobody true" was actually genuinely interesting,original and enjoyable thriller told from a point of view of murder victim who is watching everything from above,unable to actually react or help anybody. Than I did some research and found that Herbert is actually very famous in UK and sort of local Stephen King,I read several of other novels by him but nothing left deep impression on me like the very first one.

Now again - Deja vu - ship's library and James Herbert,perhaps he is perfect vacation read,who knows.

This time around I gulped his book but it was more in frustration than in real excitement as I waited the whole time for something exciting and in the meantime read weather reports from around the world - Herbert enjoys his little side-stories about this indian dying in earthquake,that chinese dying in tsunami,that australian dying in whatever natural catastrophe - when you look closely,it's all bombastic and real story not so interesting,actually it is a very thin,cartoonish plot focused on mysterious children and people who are protecting them from some evil fat woman. But it drags forever (because we need to go through earthquakes,floods and tsunamis) and at the end of course it's all one big explosion and evil destroyed not unlike some big budget movie hit with special effects bursting from the screen.

Because I read Herbert earlier,I noticed a certain similarities in his work - there is always some kind of disability involved (in this case main character walking with a stick and limping and falling everywhere), there are kids or some other helpless creatures in danger and FAT WOMAN who is usually negative character and described as mythical evil. Just go and check Herbert's other novels, sooner or later it turns the evil comes in disguise of fat woman who is dangerous and needs to be stopped from her evilness.

At this point I have one more Herbert's book lined in front of me and not really looking forward to it - I can imagine cliche after cliche and fat woman wanting to destroy the planet.

Simple things turned into exhausting adventures

When people hear that I work on cruise ships,most of the time reaction is complete ignorance about actual reality of my life. "Oh lucky you,you travel all the time and see all those places" is what they say.
Well,it is true to the point - or should I say,I am on a move all the time,like it or not. I do yearn for simple pleasures of everyday civilian life and now I will describe how something so simple like going out for a coffee can be huge adventure and exhausting business.
Under normal circumstances,one just walks out of the house and decide where to go for a coffee,in my case it is not so simple at all.
As long as I am sailing in Europe,oh it's another story,but right now I am in South Africa and the sailing between cannibal islands so forget about going out there - the only one civilized place around is Durban and to go out in Durban first I need to actually have day off (which happens once a month) since this is our main port and new stock arrives,so we spend a day carrying heavy boxes into elevators and than into our shops or wherever we have space. Most of the time,really,I can only walk out in the front of the ship and have a coffee there,watching new passengers,since city is too far to walk.
But let's say it is a day off - than I need to get a cab (surprisingly big number of local drivers never shower and stink to heavens) and drive to one of local shopping malls since they are clean,air conditioned and relatively safe (downtown is absolutely out of question). As I have to be back on the ship on time,I need to arrange with a driver to pick me up at noon (that gives me exactly 3 hours of freedom) and now this includes my coffee,lunch,shops browsing and quick return where I will already be exhausted but than need to start work.
Last time as I finally reached my sunny corner on the balcony,sighed and looked at my coffee,I said to myself "This is silly,this is just a coffee break and it turned my life into whole nightmare because it's so complicated."
And it's true,at home you just walk anywhere and enjoy a moment,here I need to have proper time to get a cab,drive in town,select the place,check my wrist watch all the time and than drive back in a hurry not to miss the ship,it's a madness. And for what - for a 30 minutes of solitude without people (colleagues) being around me everywhere. This is the only time I can sit down and say,write postcards or diary or just be with myself.
That is why I look forward to finally return to Europe where ports are completely different and it is possible to simply walk from the ship to town. And there I can enjoy my walks and forget about work,job,people or whatever daily routine we have - I simply walk off and daydream until i spot inviting little table calling me and enjoy my coffee anywhere I want.

Vic Damone: That towering feeling (1956)

Recorded during golden age of traditional pop (when rock was still considered a kiddie novelty) this album presents honey voiced Vic Damone singing his heart out to some sophisticated and serious ballads of Cole Porter & friends calibre.

Contrary to what was going on around the same time (and to his hit singles) he is NOT destroyed with syrupy strings and backing vocals,in fact arrangements were kept at the minimum and that simplicity works out perfectly. The beauty of Damone's voice,the dynamics of his singing and the way he gently swings with youthful abandon are first class and if you ask me,this is one of the top vocal albums of all time,far more interesting than overrated and calculated Sinatra.

I dare you to listen seductive opener "You stepped out of a dream" without marveling what Damone does with just a small combo and keeping that voice under control,never going full blast but sounding sincere and intimate.

This is pure class.

The Pied Pipers with Jo Stafford

1940s Vocal group that harmonized like a dream and had incomparable Jo Stafford as main vocal - she possessed one of the best voices in the business and honestly was in the same league with Ella Fitzgerald. Because Pipers recorded with young Frank Sinatra in his Tommy Dorsey days,he is also represented here ("Dolores").

Twangy country parody "Friendship" precedes Stafford's later recording "Temptation" (Tim-Tayshun) (hilarious) and points that behind that serious voice there was a funny person with a big heart. Besides that one exception,the rest of compilation is full of hard swing and misty ballads - very effective in both,The Pied Pipers were absolutely at the top of their game at this time and recorded legacy they left behind is pure magic. Sure,it's old fashioned now,but it's a beautiful film noir nostalgia.

Suzi Quatro: If you know Suzi (1978)

Cute pop rock although its her attitude,and not her music,that we like today.

Perhaps she wanted to be all gritty and gutsy but ends up sounding like your moody younger sister - not really a rebel,just a bit edgy this morning.

"Tired of waiting" was actually a cover of an old 1960s single and what stands out the most is sweet,radio-friendly "Stumblin' in" (duet with Chris Norman) that shows her biggest appeal lies outside of imagined rock rebel cloud.

To put is simply,Quatro was not rebellious and dangerous at all,but surely looked cute while trying to look the part.

P.S.

Am I the only one who thought it was Suzi Quatro and not Patty Smith on "Because of the night"? OK,I was a kid back than but honestly I still think their voices sounds very similar on that recording.

Sonny & Cher LP debut (1965)

Sonny Bono picked up every trick from Phil Spector book and surrounded himself (and his young girlfriend) with tinkling bells,echoing drums and so on,re-creating that famous "Wall of Sound". It was a huge hit and made stars of them,thought if you ask me,it does sound a bit gimmicky. Both voices are incredibly ugly - just listen to that painful wail on "It's gonna rain" - sounds like two Sonny Bono's together,young Cher shows occasional promise ('500 Miles") when given space but most of the time it's simply case of too much Sonny.

Music is cute folk-pop with lots of covers as was the style of the time.

I understand the appeal they had for the kids at the time and fans of 1960s pop love this,but I prefer later Sonny & Cher when they polished rough edges and became TV entertainers, contrary to rock history and all the critics,I think they sounded better once they learned how to hide weak spots and push her voice in the front.

Trivia: "You really got a hold on me" was a duet here,re-recorded in the next decade with next husband. She actually made Duane Allman sounding like Sonny Bono.

Andre Prévin: A touch of elegance (1960)

Duke Ellington songbook is and always was inspiration to countless artists around the world,it truly is magnificent art that defies description.

Andre Prévin is elegant and polished pianist who has right feeling for this kind of music (in dinner parlor sort of way,he is more european aristocrat than Harlem stride pianist) unfortunately this recording is saddled with easy-listening Mantovani strings all over the place,so Prévin rarely get solo spot - he can be hard here and there,before strings overwhelm him and swallow him like a wave of dripping,gooey glue,turning the whole album into elevator music.

At the time of this recording Ellington was still alive and well,so I wonder what he thought of this tribute where "Perdido" has waltzy violins - hey,they might have called it "Ellington in Schnietzeland"!

Willie Nelson & Wynton Marsalis: Two Men with The Blues

Live recording with two star musicians performing in front of enthusiastic audience.

Guys are in top form and it must have been exciting evening,but I can't shake the feeling that we are hearing note-perfect exercise in music genre - "here,this is what blues sounds like" - I am aware that this is not New Orleans of 1920s anymore but this is music that was played for fun and dancing,not in front of seated audience with long solo instrumentals. This brings up the whole question of live recordings - exciting as they might be to audience,it is very hard to share that particular magic with listeners who were not there - some records work,some don't.

Uptempo numbers like Louis Jordan's "Caldonia" are welcome change from flat-out monotony of blues,unfortunately there are also never-ending instrumental solos that prevent me from listening this album again. Two guys showing off.

The Stone Poneys: Evergreen Vol.2 (1967)

Mournful and somewhat too serious pop folk of 1960s - hard not to think of Peter,Paul and Mary who at least offered some sparks and humor in their music.

Very young Ronstadt is front and centre,thought her voice is pretty,she sounds as she just returned from a funeral,so it's all a bit pretentious (chamber orchestra,harpsichord,string and all) and only "Different drum" lives up things a bit.

Occasional nice harmonies but we heard it all before with "Peter,Paul and Mary" and "Mamas and Papas" so not very original.

Margo Guryan: Take a picture (1968)

Irresistible slice of sunny 1960s pop with memorable melodies,simple lyrics and atmosphere of hazy summer mornings - in fact,opener "Sunday morning" must be one of the prettiest morning-songs ever (right up there with Lou Reed's "Perfect day"). It is something of a cult album,with fans all over the world - once you are pulled into Guryan's magic world,chances are you will fall in love with this music. There are some special effects, circus noise and echoes sprinkled all over the place but music is so gentle,soothing and quirky that it sticks in listener's head long afterwards - no wonder this album is still around some 40+ years later.

Guryan could sing (check "What can I give you") but decidedly whispers in Claudine Longet-tone and it creates special magic. Interestingly enough,she wasn't some producer's puppet but actually songwriter herself ,so this information makes album even more special. Cass Elliot covered one of these songs for her album and clearly wanted to achieve similar atmosphere but fell flat on her face. Margo Guryan was only one and unique.

Vicki Sue Robinson : Never Gonna Let You Go (1976)

Highly enjoyable classic disco album by likable latin-american singer who sound absolutely unrestrained, crazy and passionate.

The way she whoops with pleasure and even scatts,reminds of early Bette Midler,but she goes even further and even tops Midler with her own madcap energy. "Turn the beat around" was (deservedly) huge hit,but there are few similar,strong disco numbers ("Common thief") and everything simply explodes with joy. Robinson is less effective on ballads that sounds like a filler and turn her into just another radio singer - her strongest point were happy,upbeat numbers with enough space for improvisation.

Gospel: The Bells are tolling by Fairfield Four (1962)

Fire and brimstone gospel from impressive vocal group with dynamic sound that encompasses everything - I can hear blues,spirituals,even doo wop in here - guys are simply spectacular (check out those long notes in "Don't let nobody turn you around") and if there is a fair amount of showmanship here,listener just have to accept it,because after all,it is music genre based on stratospheric voices.

If you listen carefully,you can hear almost every great black performer somewhere in there.

Phil Spector Tribute: Wall of Soundalikes

Terrific and exciting compilation of music inspired by mad genius Phil Spector ,famous for creating legendary "Wall of Sound".

Everything is here - from big hits,curiosities and one-offs to pure copies of Spector's work,ist of performers reads like "Who's who" of 1960s pop - Beach boys,Supremes,Jackie DeShannon,Walker brothers,Sonny & Cher... all of them recorded singles tat echoed Spector's megalomaniac vision,that particular brand of symphonic pop,grandeur that bursted out of transistor speakers.

As expected,it is not hits but lesser known gems that shines best - "On the spanish side" by The Corsairs,"It breaks my heart" by Ray Raymonds and "My baby looks but he don't touch" by Carol Conners - and almost any of these glorious oddities that sounds as good as big hits (if not even better). There is even a single "Please Phil Spector" that humorously shows how everybody expected Spector to have Mida's touch.

Personally, I worship Spector's 1960s work and always get totally swept away with his music .

Because his discography is after all,limited, compilations like this are welcome for Spector hungry fans and if they release one each year I would be the first one to buy them.

Little Richard: Southern child (1972)

Mildly interesting early 1970s album with Little Richard going country rock.

He still comes over like a Hurricane but it's far from manic frenzy of his classic early work,in fact he actually sounds much more interesting when he tones down ("If you pick her to hard") and transforms that famous scream into gentle purr.

"Ain't no tellin'","Southern child" and "In the name" are pure,unashamed,flat-footed & twangy country (apparently autographical) with lots of "lawd oh lawd" and "honey" - it;'s almost surreal to hear rock legend like Richard in such different surroundings but he pulls it off with passion and humor.

Most interesting track is old fashioned boogie woogie instrumental "Sneak the Freak" that rocks better than anything.

Not essential work but still interesting curiosity from highly original and eccentric artist who clearly refused following commercial trends.

Bobbie Gentry debut LP (1967)

Album built around brilliant single - "OTBJ" is still one of the most powerful & mysterious songs ever recorded,but the rest of the LP is basically variation on the same sound, repeated until the trick became painfully obvious. "Niky Hoeky" is great fun,but still,we ard it all before.

Gentle,acoustic ballads like "Sunday best" and "I saw an Angel die" hint at different direction in the future and thankfully,Gentry moved on very soon.

Interestingly enough,voice is bit rough around the edges and leaves impression that producers wanted it that way,in the future Gentry would sound softer and more effective - her husky sound did not need any mannerisms to make it sound more interesting.

Off the wall moment: full blown insect paranoia "Bugs" might be symbol for something else but it still baffles me,one way or another.

Blondie: "Autoamerican" (1980)

A classic case of artists moving to a new pastures and audience criticizing them for not staying the same.

Just listen to symphonic opening of "Europe" and you can imagine everybody looking around in surprise,because this wasn't disco pop like "Heart of Glass" or even one of their clever 1960s pastiches - but than,considering their genre hopping,what exactly was "Blondie" sound and can we ever pigeon hole them?

To their defence ,"Blondie" served audience with a two strong hits ("The tide is high" and Rapture") but it became obvious they were losing the steam or simply were not so interested in pursuing pop anymore. Debbie Harry sounds like a dream (as she always has) but overall the album sounds a bit pointless and uninspired. Once they reached the peak of pop charts,everything was downhill from there.

Most interesting: 1920s number "Here's looking at you"

Anna King: Back to Soul (1964)

Early R&B curiosity, 1964 one-off by the singer from James Brown show.

How does it sound? Well,like James Brown with gritty ,soulful and passionate voice that roars against recognizable horn-and-sax driven arrangements. Unfortunately music is quite generic and not very memorable (songs are all bluesy ballads with crescendo finale) so unless you are 1960s R&B fan,you won't find any treasures here.

Etta James and Tina Turner both recorded at the very same time and had much better luck with material,this recording sounds like Brown was simply experimenting to see what else he can do besides singing,composing and leading the band.

Very last song "Baby,baby,baby" (duet with Bobby Byrd) kicks with rhythm and sadly points at missed opportunity - the whole album could have been joyous like this but chance was wasted on agonizing ballads and embarrassing version of "Tennessee Waltz".

Good - but not above average in a decade rich with exceptional talents.

Alison Moyet: "Hoodoo"(1991)

Perhaps the best thing Moyet ever did,this album got somehow ignored by music industry & audience thirsty for simple pop jingles - it is excellent collection of serious pop with strong melancholic undertones and clever lyrics. Be it dramatic ballads or gospel finale,Moyet roars with that amazing,chocolate voice and simply has no competition far and away.

Excellent album.

Sweet Inspirations (1967)

If this isn't the best & strongest girl group of all times,well it's pretty close to the crown.

Cissy Houston and her girls were paying their dues way too long as backing singers for other people,so to hear them on solo album is a joy. And "joy" is a very significant and descriptive word here as these voices erupt in powerful burst of passion. Every note is perfect,every crack in the voice just where it has to be,every single song (be it blues or pop standard) joyous explosion of voices united. With exception of a famous single "Sweet inspiration" songs recorded here are all covers,but hardly by numbers - they turn everything into full-blown gospel,be it soulful take on "Knock on wood",old warhorse "Let it be me" or a song from Aretha Franklin songbook.

Highlight: pure musical abandon on Ike Turner's genuine nonsense masterpiece "I'm blue". This is singing for the pure pleasure of singing. And main vocal is so ragged and rusty that even Ike himself would have approve of it.