Dalida in the 1950s

The echo of Dalida's french and international fame must have reached my childhood (specially trough TV appearances) but I was only vaguely aware of her until my first visit to France. Which actually happened BEFORE I started to sail, I was there as a tourist in Nice and heard this beautiful, sensuous voice somewhere on the radio that immediately appealed to me. "Who is this?" I asked struck with a lightning. "Oh" my french friends replied nonchalantly "that's Dalida" like its something clearly understandable. Well, I loved the voice so much without even knowing what this person look like - you can imagine my surprise when I discovered this was a stunning beauty behind the voice, in fact one of the biggest pop music stars of France ever. I have collected her music ever since.

In a nutshell, Dalida was daughter of italian violinist in Cairo's opera house - she was Yolanda Christina Gigliotti back than and Miss Egypt in 1954. Beautiful, beautiful woman she was immediately spotted by french movie directors and moved to Paris to pursue career as actress. From artistic "Dalila" it somehow became "Dalida" and instead acting she started singing, her earliest success connected to newly opened "Olympia" concert hall (famous Bruno Coquatrix was standing behind her as manager) and with professional guidance she blossomed into huge music star.

Dalida's first hit single was cover of Neapolitan song "Guaglione" that became re-titled "Bambino" in french version. It was huge success in 1956. and remains one of the biggest-selling singles in French history. It also pointed at her future success where she would often cover international hits for french market - "Eh ben" was Rosemary Clooney's gentle "Hey there" and the rest of the now historic 4-song EP recording was cute, chirpy 1950s material that obviously appealed to radio listeners who bought it in tons.Her voice was instantly recognizable even back than and had not changed much trough decades.

"La Violetera" was of course huge hit from a spanish movie with Sara Montiel and perfectly suited for exotic image of young Dalida. At this time she was dark haired and promoted as gypsy/spanish/egyptian femme fatale. Her deep, sensual voice was excellent and in my opinion she sings this much better than original spanish version. The rest of the songs were eventually collected on her first album.

Compilation of previously successful singles, "Son Nom Est Dalida" was Dalida's 1956. album that played on her image - songs were vaguely exotic, from spanish, italian and even portuguese background ("Madona" was cover of Amália Rodrigues hit) and here she was singing about Fado, Gypsies and Flamenco It is a very romantic & pleasant european "schlager" music, with young singer sounding already mature and self-assured. It is worlds away from her later 1960s, 1970s and 1980s music and therefore I find it far more interesting.

"Miguel" and "La plus belle du monde" was another successful EP recording (1957) that showed Dalida enthusiastically handling everything from chirpy 1950s ditties to romantic ballads - she was apparently capable of singing absolutely everything that producers would put in front of her. These early recordings were later overshadowed by her future work, but it is a very beautiful 1950s pop music and I marvel at its sophistication.

"Gondolier" (1957) was album overflowing with hits (Petula Clark covered title song as "With all my heart" for UK market or was it the other way around?) - Dalida's magical recordings of "Histoire d'un amour", "Buenas noches mi amor", "Le jour où la pluie viendra" are here, along with happy, chirpy "J' écoute chanter la brise" and "Lazzarelle" (again italian original). Yes,its old-fashioned now but cute reminder what 1950s pop music once was.

"Les gitans" played on Dalida's deep voice and exotic looks for all it was worth. First there was a glamourous album cover with very photogenic star and music was accordingly quasi-spanish, gypsy and whatnot. She covers "Volare" and "Alone" (Petula Clark big 1957.hit), the rest is usual romantic stuff ("Timide sérénade" just one of the many highlights and big hit back than). All of Dalida's 1950s recordings are some of her best work - although it seems she covered a lot of other people's material.

"La Chanson D'Orphée" was another movie theme and one of the best songs on album that brought "Love in Portofino", "Luna Caprese" and "Marina". Again combination of melancholic ballads and upbeat ditties ("Adonis"). "J'Ai Rêvé" was her french cover of "Dream lover" that sounds incredibly cute. Strange to think she was in her mid 20-ies and already huge celebrity, in fact one of the biggest music stars back than.

Petula Clark had a huge hit with "Watch Your Heart" so naturally Dalida covered it for french market as "Guitare Et Tambourin" on the same EP recordings where we can find her "Hava Naguila", "Des Millions De Larmes" and annoying "Amstramgram" where she is backed with something that sounds like kindergarten. Perhaps it was cute back than, but I find children's involvement usually unbearable in any shape or form, no matter who has little children singing behind him.

Only five years earlier Dalida came to Paris as wannabe actress but ended up 1950s as one of the biggest top sellers in music business. Her cover of "Ciao Ciao Bambino" was of course italian original, "Tout L'Amour" was "Passion Flower" and the rest similar covers - "La Fille Aux Pieds Nus" looking as far as Greece for inspiration.
In general I find Dalida's 1950s her prettiest and most romantic period. In the next decade she would jump on too many wagons and occasionally select questionable material but in 1950s she was still excellent.

Nada Knežević Biografija 3 CD Box

Long overdue 3 CD box retrospective of celebrated Serbian Jazz singer who was neglected for decades.

Nada Knežević belongs to post WW2 generation of singers influenced with Jazz - her earliest recordings are period pieces, firmly stuck in late 1950s/early 1960s sound of sentimental ballads but eventually later she started to sound more confident and even commanding. Gifted with strong alto voice, Knežević obviously worshipped Ella Fitzgerald and modeled herself on her idol - older generation of Serbians still swear on Knežević but I hear note-by-note Fitzgerald ("Smooth Sailing") so I am not completely convinced. Yes, she could scat obviously and at times even sounded like potential gospel singer, though point has to be made that covering american singers note-by-note doesn't mean one is particularly original. Her discography was unfortunately very spotty and occasional commercial compromise spoils the picture, its hard to take her seriously when she sings "Davy Crocket" or "Lara's theme".

Knežević's career unfortunately dwindled sometime in 1970s when interested in Jazz music waned - with exception of guest appearances, she was all but invisible from than on. Which is pity because she actually got better with time as her live performances witness (compiled here) - Knežević did usual "american songbook" repertoire but truly shines on explosive version of Chick Corea's "Spain" and it makes me wonder what could she offer had she had a chance to record at all. The good thing is that this compilation lovingly offers tribute to her art while she's still around to appreciate it.

"Porin" and Dražen Vrdoljak

This year will be 20 years of Croatian music award "Porin".
The idea was excellent one - something like Croatian version of "Grammy", where individuals, groups, ensembles and projects would be celebrated by their peers and recognized for the work in past year. There is also a "Lifetime Achievement" award, the best new artists and many other categories - media is usually more focused on pop music but classical, jazz and traditional music is also celebrated. One of the people who suggested this now traditional award was late rock journalist Dražen Vrdoljak who with his articles, books (he wrote and translated books about music) and album liner notes opened eyes and ears to many future listeners - during 1970s and 1980s when I was growing up, Vrdoljak was an ubiquitous presence everywhere I looked and often I would listen his radio program where he would discuss and review newest releases. For kids growing up in socialist country, without easy access to foreign albums, Vrdoljak was like a lighthouse and no wonder we respected his knowledge. He knew not only rock but successfully covered Jazz and Blues and whenever international music stars would visit our little corner of the world, you bet Vrdoljak was there to interview him (or her) speaking english fluently and knowledgeably about everything. Today we have internet so its easy for kids to get the latest news, but in "my time" we had to depend on our local record companies and their choices (for example, "Cheap Thrills" by Big Brother & The Holding Company was eventually released after 18 years digestion period). When I suggest that Vrdoljak's work meant a lot to us, I am not exaggerating - he was our own pioneer of popular music literature, he loved music passionately and knew about everything. Sadly, I had never met him but I grew up reading his translations of "Rock" and "Jazz" encyclopedias and I still remember my excitement while learning about all this musicians I never knew before. Rest in peace,wherever you are Dražen Vrdoljak.

Over the years "Porin" celebration travelled around the country, got its usual share of scandals, controversies and criticism - Croatia is small country so naturally our music scene is tiny and sometimes it seems like same artists are awarded regularly. This kind of award would perhaps meant more if we had bigger competition, I still remember what it meant when Ex Yugoslavia had far bigger territory and to be a star of national level back than meant that one had to be successful not only on local radio stations (like today) but had to face enormously stronger (and therefore healthier) competition. Now we have faster ways to radio charts and TV, but most of these "hits of the year" sound very formulaic and instant to my ears - I am not sure what "Porin" actually means to people, it seems public is only slightly curious about supposed glamour and media focuses on wrong points, but to musicians this is probably a matter of prestige. I still lived in Croatia when first "Porin" was awarded in 1994. and watched the exciting all-stars concert on TV. I specially love when elderly artists are recognized for their "lifetime work" and this year it would be Stjepan Jimmy Stanić who is 82 now and still lucid, funny and witty as always. When Arsen Dedić was awarded, there was a great concert tribute to him and I listen that one with affection, I LOVE his songs. The very first female artist who won "Porin" was neglected Radojka Šverko (who couldn't hide her bitterness towards recording companies), "Porin" celebrated return of elderly Gabi Novak who suddenly came back after almost two decades of silence and finally recognized veteran Zdenka Kovačiček who must have been happy and proud for this award. My beloved Josipa Lisac swept "Porin" four times for her solo work (duets, collaborations, tribute albums not counting) and I'm always happy for her but of course she was a big star even back in Ex Yu days so this Croatian music scene is probably laughable to her, she was recognized as one of the best voices in far bigger competition. I wouldn't be surprised if she gets her sculpture or street one day. Her name is already in school books.

How Graham Hancock freaked me out

They say we chose our idols when we are very young.
Who didn't have this wonderful childhood fascination with famous sportsmen, actors, astronauts or singers - we collected pictures cut out from the magazines and had our little shrines shared with other kids. In teenage years our interests might have expanded as we discovered tragic writers or people who died young (how romantic and attractive to adolescent, spotty, budding little ourselves) but as we reach certain "grown up" age, we leave this fascinations behind and more or less focus on life around us. The old idols are always kept affectionately in our hearts, thought new ones are somehow hard to find.  If you ask me whom I found fascinating today, I would have to think hard because I have no idols right now - film critic Roger Ebert or Jazz music writers (Will Friedwald, Garry Giddins) are my favourite and I follow their work. And than there is British writer/journalist Graham Hancock whom today (as grown up) I look at with starry eyes.

I read his book "Fingerprints of the Gods: The Evidence of Earth's Lost Civilization" a decade ago, when it blew my mind. It actually disturbed me. Everything I loved about books on the same subject by Erich von Däniken, Hancock improved on and actually wrote so passionately and convincingly that I forgot about Däniken. Later I had good luck to get my hands on two more books by Hancock ("The Sign and the Seal: The Quest for the Lost Ark of the Covenant" and "Supernatural: Meeting with the Ancient Teachers of Mankind") and they were equally excellent, in fact I think that "Supernatural" is probably the best of the bunch - his imagination, explanations and ideas are truly mind-boggling. Just thinking about "Supernatural" makes me re-read it again. On the other hand, I didn't care much for his fiction - he uses basically same ideas but it didn't move me as much. Hancock is like modern day, real Indiana Jones who travels the world in search of ancient mysteries and poke his nose under old stones, temples and places we would all go if we have chance.

He actually goes so far that for the last ten years he visits some obscure place in Peru and drinks hallucinogenic drink (made by local shaman) that brings him in contact with beings from different spiritual spheres. I know, this sounds totally weird but if you read his books it makes perfect sense and he is very convincing about it. This drink is called "Ayahuasca" and God knows how locals had discovered it because there are more than 150,000 different plants found in the Amazon jungle - to prepare it, you need to know exactly which one to mix in a right amount (locals claim the secret was told to them by ancient Gods). He is not the only one - usually there is a whole group of people in a search for truth and adventurous enough to risk such inner journeys. The drink itself has a terrible taste and effect lasts around an hour - to find out about this experiences, its better to read Hancock's book "Supernatural" where he explains it properly, but in a nutshell it brings him in contact with our makers and the secret of "Gods" is not outside somewhere in the Universe but hidden in our blood and DNK. (This is very simplified version) Of course "Ayahuasca" is illegal but if you search for meaning, you go to Peru. Not everybody enjoys it - some people cry, others are vomiting, Hancock explains it all. He also explains that these "other" spiritual entities are usually good natured and in his opinion the spirit of "Mother Earth" is protective but there are other, dark and negative forces also around and they can be scary, apparently they feed on our fear and negative energy.

Recently something truly terrifying happened. One guy died from "Ayahuasca" experiment and shaman hid his body somewhere, it was discovered by police and newspapers wrote about it (in their usual, sensationalistic way). When he found out about it, Hancock remembered his last visit to Peru and started to think what actually happened there - looking back, he understands now that negative forces are getting strong and perhaps they can break into our dimension. Again, he was not the only one - the rest of people in his group experienced the same fear. During his "Ayahuasca"  session, Hancock again met tender and caring "Mother Earth" spirit but there was another, truly scary spirit in a human form (looking like somebody from the group!) who was dancing and at the same time creating something disturbingly negative and powerful, like his hands were weaving magic that somehow interfered with our "real" world. This dancing spirit (Hancock calls him "The Magician") was very powerful and his movements were threatening, Hancock tried mentally to protect himself from this negative energy but was powerless and the whole session was very scary for him - and for others in a group who experienced same. Just a few months later this guy from newspapers had died from "Ayahuasca" - I read it one night in the late, after midnight hours and totally freaked out, this was really scary to read. We might think we are protected in our reality but who knows, if "the other side" can somehow break into our dimension this might really change our already fragile existence. I only hope Hancock had enough and won't visit Peru anymore (I know he will).

He writes about it far more eloquently himself here:

http://www.grahamhancock.com/forum/HancockG4-Letters-from-the-Far-Side.php

Ella Fitzgerald : The Beginnings

Ella Fitzgerald's discography is so huge and rich that it deserves careful examination, celebrated in separate chapters.

If the details of her early years, childhood poverty and abuse are kept hidden (Ella was famously shy,private person and once said "It doesn't matter where you came from, its where you go that counts") we have her earliest recordings made in 1930s as a starting point where we can hear what kind of person she was back than. Between 1935 and 1955 she was signed for "Decca Records" and at first she was vocalist for Chick Webb Orchestra - at first Webb (hunchback drummer) couldn't care less for young,big-boned and poorly dressed girl who was not his idea of Big Band singer, in fact he already hired somebody else for upcoming concerts but once he heard Fitzgerald singing, he changed his time and  she was welcome in a band. Webb's wife apparently helped with dresses and appearance, but early pictures still show young Fitzgerald looking like some sweet, overgrown child.

Lots of those early recordings have band swinging hard and than Fitzgerald would have short solo spot, chirping sweetly in a voice that was cute but not specially memorable. She projected joy, sunny innocence and happiness. The very first single was "I'll Chase The Blues Away" and I have it on UK compilation that I bought many years ago in London - most of her old "Decca" stuff were single recordings compiled trough the years - here she sounds like Fitzgerald munchkin, with a fat little voice and adoring childish personality totally unlike some other "femme fatale" singers of the time. Chick Webb kept her singing these swinging little novelties for a long time - he had somebody else singing ballads and Fitzgerald was his "swing" singer although it sounds strange when today we hear titles like "Coochi-Coochi-Coo", "Big Boy Blue" and such - its almost as he decidedly kept 22 year old girl firmly stuck in disguise of little kid.

If Chick Webb controlled Fitzgerald in every professional and personal way, she seems to have accepted it - he took good care of her and was her surrogate father, after all -  in fact, Fitzgerald seems to actually have liked those early novelty songs and herself proposed swinging version of old kiddie song "A-Tisket-A-Tasket" that turned into one of the biggest hits of 1938 - it propelled her into huge superstar and from than on her fame was cemented. Even today it is a sunny little swing number that any kid could sing - Ella herself was singing it in a 1942. comedy "Ride 'Em Cowboy", there is a bus scene where Ella dressed like little girl playfully pouts and (somehow incredibly) poses as a little girl singing. She was 25 years old when movie was made and already quite a big girl.

"Undecided" was another big hit from around the same time - to my ears actually even more endearing than "A-Tisket-A-Tasket" because it swings much harder. It was Fitzgerald's last success with Chick Webb who would died that same year. Just like almost anything she had recorded back than, it has Fitzgerald singing in a little girl voice but music is very happy, Big Band behind her is snappy and I can easily understand why it was such big radio hit. The song itself survived in many different versions and I had just discovered wonderful 1951. recording by The Ames Brothers who actually had a Top 10 hit with it.

After Chick Webb had died, Ella continued doing what she knew best - "Sing Song Swing" is a perfect example of nonsense little ditties everybody expected from her and at the time it seemed that she would forever be stuck with novelty repertoire. Besides being devastated with Webb's death and exhausted with role of leading the band herself (something completely unnatural to a person who was everything but forceful) Fitzgerald must have been frustrated with the fact that other girl singers got serious material while she was singing "ding dong din" and "chappetty chap chap" songs. It would take some time before "Decca" would finally relent and allow her to record something more substantial.

Farewell, Big Joan

I just found out that mother of Joan Baez (famous "Big Joan") passed away days after her 100th birthday.
The birthday was celebrated in style, with hundred of brightly colored balloons and people singing to her so the grand old lady must have been happy.

Joan Bridge Baez was born in Scotland but it was in California where she eventually got married, lived new life and had three daughters of whom two would became successful singers.
Married to a physicist who worked for UNESCO (he famously refused lucrative offers to work on atomic bomb), "Big Joan" had moved her little family often because of the work - they lived not only in U.S. but also abroad, in France, Switzerland,Italy and the Middle East. Daughter Joan eventually became one of the biggest music stars of 1960s and beyond, while younger Mimi also followed her steps. Influence of pacifistic parents on girl's lives cannot be underestimated - whatever feelings and involvements they had about politics later in life, it all came from early education and home examples. Big Joan watched from the backstage as young Joan successfully performed, marched, protested and passionately believed in her life purpose. Often it worked against commercial success (more in puritanical America than the rest of the world) but its a dignified, purposeful life that puts many other celebrities to shame.

Farewell, Big Joan, rest in peace.

For the end, this is what she wrote before her death and it nicely shows what kind of person Big Joan was:

WHEN I JOIN THE HEAVENLY BAND

Friends who want to celebrate my new adventure, please gather round. Don't grieve, for it's only a worn out body that's leaving and the memory of any sad times goes with it. The good memories are in my spirit and my spirit is with you today. I'm in your midst, for there's nothing more valuable to me than to be with you, my beloved family and my gracious friends.

Take a moment for silence and wish me well. I'll hear you. Then make
the bottles pop. You know I love champagne almost as much
as I love you!

Big Joan

Happy Birthday Ella Fitzgerald

Yesterday was a birthday of my beloved Ella Fitzgerald.
Had she lived, she would have been 96 now.

This wonderful, wonderful singer was only an orphan who spent her youth shifted between the relatives and "reform" school (read: prison for under age children) and life had no other options for her until one memorable evening she went on a "talent search" night at celebrated "Apollo" theatre in Harlem,New York - just like Louis Armstrong who was a poor kid destined to escape ghetto poverty and reach for the stars, Ella couldn't possibly know how much her life would change. Initially she wanted to dance but seeing other contestants dressed up (and she was a poor kid in her street clothes) she changed her mind in the last moment and decided to sing. Audience that night was loud and merciless towards this big-boned, raggedy dressed girl but once she opened her mouth and start to sing, they all listened - she won the first prize of 25 dollars and a chance to professionally perform for a week. Bandleader Chick Webb noticed her, took care of her, included her in his shows and from than on Fitzgerald was unstoppable.

Fitzgerald was shy, big-boned woman, gifted with one of the most beautiful voices in the world and her sweet disposition made people around her protective and caring. A total opposite to party-loving, hard-living Billie "Lady Day" Holiday, Fitgerald was insecure and always had somebody else taking decisions - from Chick Webb (who wouldn't allow her to sing ballads and used her for happy, swinging, novelty ditties) to musicians, composers and eventually famous record producer and manager Norman Granz (who masterminded her serial of "american songbook" albums that made her international star) there was always somebody else arranging things for her. There were also two failed marriages where men obviously used her - the only time she was eloquent was when she poured her heart in slow, melancholic ballads but was also sensational in hard-swinging numbers where she improvised around the original melody like crazy. Her influence on thousands of singers around the world was HUGE - almost anybody in the 1950s and 1960s wanted to scat and improvise like her - scat singing was possible but nobody could touch her in ballads, the way she caressed words was her own special thing that even Fitzgerald herself could never explain.

As for myself, I worshipped Billie Holiday too long to actually appreciate Fitzgerald - for a long time I suspected her as sentimental and even now I am not completely convinced that   her "american songbook" albums really represent composers ideas (Cole Porter famously said "She got good diction" when they asked him what he thinks of her recording his songs) but give her something happy and snappy and she would shine. It was later in life  (like with so many other artists) that I finally gave her a chance and started truly enjoying her singing. The very first "songbook" I bought was the one with music by Irving Berlin, I still love that one very much. Of course Fitzgerald left a huge discography behind her and we can now enjoy all that recordings made at different points in her life - young, swinging Ella of 1930s and 1940s, mature golden-voiced Ella of 1950s and 1960s or much older and reflective Ella of her 1970s autumn years. There is so much beauty to be enjoyed and loved. Diabetes eventually took her away from us but she would always be remember as one of the music giants of 20th century - today when I see all these kids competing on talent shows and dazzling with choreography, costumes and whatnot I always wonder would anybody give her half a chance, because people like Fitzgerald or Edith Piaf were not blessed with looks, they had a genuine music talent and a good luck to have been loved for that.

"Man of Words, Man of Music"(1969) by David Bowie

Huge step in a different direction for young Bowie - as much as I liked his debut 1967. album, this was something completely unexpected and probably far closer to than-current music scene. Inspired by  Stanley Kubrick's "2001: A Space Odyssey" he composed "Space Oddity" that turned out to be his first truly successful hit single (climbing to UK Top 5) and the whole album was released around this success - it is truly a masterpiece that stands the test of time. Even now, decades later after its initial recording, I get shivers down my spine every time I heard that unforgettable introduction "Ground control to Major Tom" - here again we get Bowie lyricist reaching deep inside and coming up with something original and bizarre. Where on his debut album he described oddball characters who were particularly british, this time he came up with story that appealed to everybody. Everything that he had earlier (strange stories, sound effects) was this time used in a heat of inspiration and worked - "Space Oddity" is one of all-time classics in Rock music history and deservedly so.

The rest of the album is so-so. Maybe it is too much to expect same heights of inspiration for duration of 10 songs collection. Perhaps Bowie wisely decided one unusual song character is enough. So the rest is psychedelic rock with lots of mystical meandering, occasional Dylan-esque rambling ("Unwashed and Somewhat Slightly Dazed") and routine love ballad ("Letter to Hermione") but nobody can convince me that this new "yeah yeah baby yeah" poise speaks anything more eloquently than those charming little portraits from debut album. What is interesting here is that for the first time Bowie works with some really good musicians,like producer Tony Visconti (beginning of fruitful collaboration that lasts to this day) and Rick Wakeman (responsible for sound effects on "Space Oddity") so music reflects this new chapter - rock guitars and all, completely different from his debut two years ago. I don't care much for his supposed masterpiece "Cygnet Committee" (it takes too much effort to understand lyrics) but "Janine" points at his work in future decade and "An Occasional Dream" is a lovely, gentle, acoustic folk ballad sung with tenderness, I actually really like this one. The whole album basically stands on the shoulders of "Space Oddity" and the rest doesn't really live to expectations

David Bowie: early years

David Bowie today is older statesman and veteran of the rock aristocracy - that is why I find his very early recordings (mid to late 1960s) so interesting because they have almost nothing in common with his later work. That is - if you don't consider that he always was a highly gifted chameleon ready to adopt and re-invent himself so actually all these various disguises actually fit perfectly in his profile. What is the most fascinating is the fact that he had this particular, dry voice immediately from the start (you can always clearly recognize it is David Bowie) and took everything very seriously no matter what music he toyed at the moment.

"I Dig Everything: 1966 Pye Singles" is collection of earliest Bowie work - it is basically young artist trying to find his voice on than-current british music scene and at that time he was r&b/Britbeat singer. He was a angry young man and it shows - its the sound of "swinging London" and in fact no better or worse than hundreds of other young punks around. All the material was written by Bowie himself and there is nothing really exceptional here - love songs sung from perspective of frustrated young man who questions himself and everything around him. It brings to mind the movie "Absolute Beginners" that was actually set in these times, but of course at the time when movie was made Bowie himself was already completely different artist. The only reason why these early recordings survive and often surface on compilations is not because music is particularly interesting or innovative (frankly,it could be anybody from "Kinks" to "Them") but because its curiosity to hear familiar voice in such period piece - from the first to the last minute,listener is aware this must have been in 1960s. Almost like some strange experiment to place current artist in a time machine. The results are still fascinating because young Bowie was completely into it and absolutely in command of his voice. These early singles are actually far closer to hip, mod crowd and what was "in" than his next step.With this I mean that this music could have been played and accepted by listeners who wouldn't really get his first solo album - I can easily see rock purists liking these early singles more than what's around the corner, which many consider embarrassment.

David Bowie's self titled first album is unjustly remembered today as mistake better forgotten - rock critics often dismiss it because it has nothing to do with his later (or previous) work. This is not a "cool" Bowie that would appeal to kids who would like his various images and rock music - rather this is a quirky, sunny collection of peppy songs with a dark undertones and completely weird lyrics about grave diggers, cannibals and child molesters. Many dismiss this album completely as unworthy of rock legend and surely there is some funny things here but personally I find it fascinating - here is a young songwriter trying absolutely everything in order to get noticed, what IS noticeable is that he is literate and full of ideas,no matter how quirky they are. "Theatrical" yes, but everything about David Bowie was always theatrical. I think that what bothers people the most is music background (full of strange,gimmicky sound effects) and grandiose oh-so-british orchestration that often sounds like movie soundtrack - later we got used to his rock experiments and different soundscape so to hear Bowie chirping enthusiastically with this strings,trumpets and Disney-like background makes rock purists squirm in discomfort. How bizarre that most of the listeners don't get that this is basically same artists who would later dress in female clothes and continue doing "weird ideas" under umbrella of commercial success - thin line between acceptance and failure - as others have noted, this album actually explodes with ideas far more than say "Let's dance" album that sold in millions.

I have expanded edition with extra CD that brings even more rarities and goodies from the same era - notorious "The Laughing Gnome" is there, together with lots of previously unreleased recordings, stereo and mono mixes and few gems from BBC radio archives. There are 25 extra tracks on second disc, if you listen carefully he actually sings "...waste of fucking time" on "The Gospel According To Tony Day". I like this early album very much and wonder how would public accept it if he never turned out to be Ziggy Stardust later - I am absolutely sure it would be a cult classic and people would rave about it and discuss it like its something only rare cognoscenti know and appreciate. In a way that is what this album became - only few are aware of it and with an open mind one can enjoy it a LOT.

"Warren Zevon" (1976) by Warren Zevon

Warren Zevon was around a decade or so before he got a chance to record this excellent, self-titled album and even though to many he might be better known as a songwriter who was successfully covered by other singers, to me this is one of the best debut albums I had ever heard.

The music is easy, relaxed West Coast pop/rock and songs are almost without exception true little gems that shows Zevon as first-rate songwriter who can in turns be cynical, romantic, swaggeringly macho, ironic or tender. To many of his contemporaries back than he wasn't much of a singer but to my ears he sounds excellent - I actually love his voice and it somehow suits these little music stories better than other, more commercially successful voices. To me there's nothing wrong with his voice - sure,he wasn't shouter or belter like many others but I don't care for that anyway (vocal showing off is after all still showing off). Randy Newman comes to my mind as an obvious comparison but as much as I like Newman's songs I never got over his basically ugly and unattractive voice. When Zevon roars, laughs or gets sentimental it moves me.

Almost all the songs here are my favorites - "Carmelita" is on the top of the list, beautiful mexican-flavoured ballad that could have easy turn into cheesy corn in somebody's else hands but Zevon brings it to Hevens with his voice and yes, lyrics are unusual story (junkie song,basically) so this grabs the attention. I love this debut album so much that I  dived head on in the rest of Zevon's discography but curiously enough, nothing I heard later matched inspiration and intelligence here.

Gertude "Ma" Rainey

Talking about "beautiful people" here is another of my favorites.
Gertude Rainey was a blues singer from 1920s - black, poor and illiterate she still somehow found her way to the legend as the "Mother of the Blues" and was very much loved and admired by her audience. In a time when black women had only few limited professional options (servants or prostitutes) Rainey led a whole traveling show with dancers, singers and comedians, recorded lots of now classic recordings and was clearly independent woman in her own right. This was also a time when black women were preferred to be light skinned and hair had to be straightened in imitation of their white counterparts. To many of her contemporaries, Rainey was ugly woman - there wasn't much she could do with her stocky figure, face or hair - she simply covered herself in a lots of flashy jewelry, dressed in outrageous costumes and used her big smile as a weapon.

Not much is known about her private life. They say she was illiterate, big hearted and always ready to help people in need. It seems that at certain point she employed young Bessie Smith and had teaching  her about performing - however, Smith was such a original genus in her own right that I doubt she was really copying anybody, she probably got her professional start with Rainey's traveling circus and later even overshadowed (but never forget) the older woman. When today people discover old 1920s blues music, its because of Bessie that they eventually find their way to Gertude "Ma" Rainey who was her direct music ancestor and influence. Listening her music, you can hear (trough cracks of primitive recording techniques of the time) this deep, gruff, earth-shaking moan of the soulful voice that came from somewhere deep inside. If you think Bessie was impressive (and she certainly was) wait until you hear "Ma" Rainey - she sounds like Mother Earth.

There are only three contemporary photos known of her - the one most familiar is her promotional photo that shows Rainey in a full jewelry and big smile shining like a lighthouse on a old black & white picture. Scarf, golden teeth and flashy jewelry, earrings hanging to the ground. I remember seeing that photo long time ago and thinking "My God,who was that woman?" But she had a beautiful big smile and even on the old picture she seemed very likable person. There is picture of her with her band (again used often for album covers) and a very rare one where she poses in a photo studio, with a young man giving her the book (how strange considering she couldn't read and even when she was recording music in the studio, she would draw herself little pictures of what she was singing about on the piece of paper). In the last picture she was dressed as "respectable" woman and again there is this huge, beautiful smile on her lips. To me she is epitome of 1920s blues and I even love her pictures, she seems like a genuinely nice person (golden teeth and all) - another of the people whom I consider beautiful in their own way.

Simone Signoret

This is Simone Signoret in a movie "Madame Rosa" made from a book " The Life Before Us" (in Croatia published as "Momo,zašto plačeš?") by Émile Ajar.
The movie won "Oscar" in 1977. as the best foreign movie that year and Signoret herself was awarded with César Award for Best Actress as well. I vaguely remember the novel which was about elderly retired jewish prostitute who takes care of other prostitutes children, hunted with memories of WW2 and Auschwitz,her savings, money and health long gone - at the end its only herself and little muslim boy Momo taking care of each other. It was heartbreaking, touching story about social outsiders who are surviving helped by other outsiders (prostitutes, transvestites, criminals and immigrants) and I should re-read it again.

I had selected this photo to discuss "ageism" or in other words criticism against people who chose to age gracefully. It seems that particularly in a movie/music industry this is a big problem because public opinion prefers plastic surgery, constant addiction to facial creams, masks and treatments that would somehow desperately keep the illusion of youth as long as its possible (and even longer,when it turns into completely false and tragicomical effect). Diets, gym, anything that would show outside how well we look. Like most of the people, Signoret was beautiful woman in her youth and than later was criticized for "letting herself go" and for getting older. In her autobiography Signoret mentions how often she would hear people telling her openly about it and how disappointed they were that movie illusion did not survive forever.On the other hand, she herself lived interesting, full life with constant traveling, work in theatre and movies so as for herself she never seemed concerned with such trivial preoccupations - she simply accepted it. At the time of "Madame Rosa" she was 56 years old and definitely reached the point when one doesn't care for opinion of others.

To me, she looks beautiful. Yes, she is much older here than in her 1950s movies but so what. People age and its a natural fact. Some look better when they are older, some when younger, some never do. Signoret was intelligent woman and this spirit shines trough her eyes, no matter what chapter of her life you look at. This beauty has nothing to do with proportions or how good one looks in a swimming suit, This is a certain magnetism clearly visible and probably hard to explain to the ones who can't see further than a surface. When we are young and completely unaware of the fact that youth gives us this beautiful glow, we are too concerned with what others tell us. Later we get confidence but naturally this slim look of freshness is gone, replaced with experience, compassion and maturity. There is no point to compete with new fresh spring flowers when we had already turned into something else - I truly believe that we are all beautiful in different ways and maturity, even old age has its own beauty. This is something I would not think when in my teenage years but the realization came with age. Yes, its good to take care of one's appearance in order to stay healthy and flexible - but up to the point. To me personally there are no wrinkles or white hair that could ever hide the intelligence and the spark of the eyes that clearly speaks without words for anybody who can see it. I truly believe that eyes are "the windows of the soul" and Simone Signoret was very spiritual and soulful person, maybe even more as she got older. Just look at this picture.

"Nostalgia isn't what it used to be" by Simone Signoret (1976)

As life-long book lover,I don't have books in only one place.
There are books I have left like some old skin behind me in Amsterdam and London. Than there is a book collection in Croatia, which I always cherish once I return from my sailings. Once somebody on a ship asked me "but... why don't you just throw them away once you read them?" (this was a lady who was buying her paperback novels at the airports and using them as paper tissue,once used, she would simply throw them away) - I love books too much to simply throw them away & know myself too well, in a future I might read them again from different perspective. Yes,its a pain in the ass to carry all these books in a luggage but I manage. I sweat and swear through airports and promise myself never to buy so many (around 12 is what I can manage to carry in a backpack) but good read is worthwhile and it makes my life richer. Than I bring them back like some squirrel and glow over my collection. Sure there are some duplicates and occasional dud that makes me wonder what was I thinking. Far too many celebrity biographies that I explain with my "journalistic curiosity". And there is sometimes, an old friend that I re-visit and marvel how good it is, I read it now as completely different person.

Completely different from usual movie biographies that mostly serve as narcissistic celebrations of vanity,this one is a memoir of one actual artist who had something interesting to say. The name of Simone Signoret might not be so well known today by kids who are fed on celebrity gossip, but during 1950s and 1960s she was one of the biggest international movie stars and often used her fame to openly confront injustice - in tandem with her husband Yves Montand, Signoret would petition, sign and use her name to protest against than current political regimes (her signature would be next to Simone de Beauvoir, Marguerite Duras, Jean-Paul Sartre and biggest names of french public life). Never a member of any party (and often criticized for her political involvements) Signoret was always provocative, intelligent and compassionate - and ironic enough to be aware that any time she would visit a prison or join a street protest, some would see it as a photo opportunity. As a first european actress who won "Oscar" she is also surprisingly clear-headed about her professional success and laughs at mistakes.

I had read this book long ago, when I was much younger and my curiosity was mainly focused on what she had to say about her husband affair with Marilyn Monroe - today I am older and far more interested about everything else Signoret had to say. How difficult was to be jewish and deprived of work during WW2. Her early life and how it blossomed and changed once she met Montand who was her life partner in every meaning of the word - she writes far more about him than about herself, clearly she is delighted with his success far more than with her own.
How they both travelled trough Eastern Block and met Khrushchev, Tito, local politicians and her impressions of them - and how it all basically blocked her entry to U.S. where she finally got opportunity to work in Hollywood and international recognition. Endearingly free of typical movie star's anecdotes but full of interesting perceptions about people around her, political opponents, cowards and hypocrites, Signoret lived dignified life and her memoirs are brave, inspiring read.

Memories of WW2:
"The battle for Arnhem was in a full swing. We were sandwiched between Allied and German armies. Than, for two or three days we lived without friends and without enemies - except for one, a poor fifteen or sixteen year old boy who hid in the woods. He got riddled with a shot from local commando; they had gotten together twenty or so guys to shoot him down and drag him into town hall as a trophy. He died in his oversize uniform like a little dog."

"We take no orders or instructions. We move when the heart is stirred."

"Hitchcock" (2012)

Everything that was wrong in Thatcher's movie biography was perfectly done and very entertaining in "Hitchcock".

For the start - the frame of the story was not desperately trying to squeeze legendary director's life in two-hour movie but instead focused on one particular chapter, when Hitchcock was already 60 years old and had to keep up the pace with young and up-coming talents before everybody started to ask about retirement. There is one particular scene where nervous and worried Hitchcock (Anthony Hopkins) reads the newspapers article where new young directors are hailed as "next Hitchcocks" - searching for interesting story he finds gruesome cheap pulp fiction "Psycho" and decide this is going to be his next project - from now on,basically movie focuses on making of "Psycho" and what was going on behind the scenes.

Contrary to expectations (and basics of the story) this turns out to be very funny and entertaining movie that cleverly mixes facts and fiction. Facts are that elderly Hitchcock was searching for something that would intrigue and inspire him, that he had faithful and loving wife Alma supporting him trough everything and that he often toyed with his movie characters/actors in his playful, macabre tone (very british, very typical of his background). Fiction is almost everything else in a movie but this does not change our pleasure and inside jokes about film-making.

It is not Anthony Hopkins (almost unrecognizable under heavy make up) but Helen Mirren who holds the whole movie on her shoulders - as movie historians knew all along,she was the driving force behind most of Hitchcock's career and whatever success or failure he had, she was right there, responsible but not recognized for her contribution. The real Alma Hitchcock belonged to different generation that did not need celebrity status and enjoyed simply to work together with her genius husband - in the movie Helen Mirren gets the best lines, she appears far stronger, wittier and capable than her spoiled and somehow perverted husband. It goes so far that movie almost turns into "Alma" instead of "Hitchcock" but its still very entertaining, funny and enjoyable - I laughed out loud several times and had really a good time. It is also a clever movie, full of references to other movies and names from contemporary era that every movie lover like me would cherish - perhaps this little movie is too clever and sophisticated for a large mainstream success specially now where mainstream success means comedies like "Hangover" and here we have "Hitchcock" describing background of cult horror movie. Young kids would first need to understand what "Psycho" is to actually get the point, but that's another story. I know lots of them who wouldn't even watch black-and-white movies, not to mention references to Grace Kelly, censorship or than current political atmosphere.

Interesting photo of young Hitch:

The Faithful Storks

Cutest little story that soon might be well known everywhere around the world.

In a deep countryside of Croatia, there is a lady stork who for some reason can't fly (something wrong with her wings,I believe). Her name is "Malena" ("The Little One") and she is very much loved and cared for by locals. Her boyfriend "Klepetalo" ("The Cackling One") goes with other Storks to Africa every October and for many years he always returns to her every Spring. Every Spring they are overjoyed to be together and every Autumn he lovingly kisses her before he leaves. This Spring it was exceptionally cold and the boyfriend was late. "Malena" was so sad that she refused all the food - immediately all the newspapers were alarmed and everybody for a moment forgot their usual daily preoccupations with politics, it was the news of the day. Luckily for her (and for all of us concerned) the boyfriend came back with the first sunny day and the Stork couple was happy once again, in fact now they already have eggs and they are proudly cackling from the top of the roof where they have their little nest. This bird couple who love each other so clearly and faithfully has caught the attention of all the media not only in Croatia but around the world - some asian journalists have recently visited this little village and made a documentary about them.It is a beautiful story that for a moment had everybody paying attention to a real life instead of usual squabbles.

In Memoriam - The Bookshops I loved

The bookmarks - never have enough of them and to some of them I am actually quite attached.
(Its one of the pleasures of holding the real book in hands instead of simply reading it trough electronic device - subject for another essay?)
Recently one old bookmark felt out of some pages - it instantly reminded me of the bookshop where I got it years ago. Bravely I went on to sail between Texas and Mexico, completely unaware where exactly I am going and what will I find there - honestly, in my mind Texas was all about desert, cactus and cowboys so I did not even know about the sea between Texas and Mexico. I had a hand luggage full of books to read, "just in case" because lots of times during my travels there were no bookshops to be found anywhere. So I found myself in Galveston,Texas that turned out to be cute little holiday spot with reconstructed historical center and some nice little shops, restaurants and museums all in a walking distance on "Strand District" - yes,it was all very commercial but quaint and sweet. Not only that I found the spots to drink coffee and write my diary,but I also browsed trough antique shops, found a privately owned little shops that had goodies from all over the world (even "Domaćica" cookies from my own country!) and to my biggest surprise there were a few bookshops. The nicest one was called "Midsummer Books" and I loved it - it was fairly small, cosy,comfortable and the books selection was very interesting. The guy working in there (the owner?) was always very helpful and friendly, in fact I could order some titles from him and get it next time I sailed in the port. I even asked him can we order some music CDs and he did it for me. At that time I was very interested in pop music of 1960s so for some reason I wanted to get recently released CD box compilation of girl-groups and it came in a ridiculous package (like a hat box!) that I had to carry on my ship embarrassed,it looked like something for Jacquie Kennedy.

Contrary to my expectations, I learned to enjoy Galveston,its charming little corners and of course "my" bookshop. That it why I was horrified to hear about Hurricane Ike that had devastated and completely destroyed the whole area in 2008. I knew that everything was flooded and lots of people had died,but deep in my heart I hoped that by some miracle "Midsummer Books" was saved. Intrigued with my new-found old bookmark friend, I checked it on the internet - unfortunately "Midsummer Books" was one of the Ike's victims and along with all those nice shops and restaurants it got hit with 8 feet of muddy water so everything inside was completely destroyed - books, furniture, computer, everything is gone. The owner Tim Thompson decided to close the door - owning a bookshop is more a labour of love than making big bucks and in situation like this, he did what was best for him. I am truly sad to hear about this.

Another bookshop I loved was in Juneau,Alaska. I remember it because it was called "Rainy Day Books" and I thought it was the cutest name for a bookshop. Century ago it was the town full of gold miners, saloons and prostitutes (in fact, the book I bought there was called "Good time girls" and it was about ladies who came right after gold miners in search of career) . "Rainy Day Books" in on sale now as its owners decided to retire, who knows what will happen to it now. Someone said jokingly how funny it is that today Juneau has three bookshops and not one single whorehouse - well, the times are changing. If I have what I don't have, I could easily imagine buying "Rainy Day Books" and living happily and quietly as a bookshop owner in Alaska.

Leo Martin

There are lots of us,kids who grew up in socialistic society of 1970s Ex Yu with memories of popular culture the way it was back than - according to my blog, these memories had immense effect on my character starting from common places like jokes, meanings of certain phrases, recognition of actors, singers and politicians to memories of things heard/learned in school. The older I get, the more affectionate these memories become - the world moved on, the country as such does not even exist anymore and new generation of kids mostly don't even get what am I saying when paraphrasing something funny from my childhood. But internet searching for cultural roots of my generation became hobby and here am I today, looking back at 1970s of my childhood with curiosity and wonder, sometimes recognizing certain voices from radio days (before the school, cold breakfast and tea, music in the background) - one of those voices is Leo Martin.

With his decidedly anti-star image, Leo Martin was ubiquitous TV and radio presence from the childhood of kids growing in 1970s Ex Yu - today he probably wouldn't pass TV talent shows because singers of his generation had no choreography, image advisors and any of the visual gimmicks required nowadays, those singers either knew how to sing or they didn't. Martin was so darn serious and theatrical that even vague memories of his name bring dismissive comments and laughter, ah yes, imagine that funny guy with thick glasses.

Quick visit to his first LP album immediately erases memories of WW2 movies from my head (why do I always connect these movies with him, the guy was not acting in them? Probably because I was watching "Sutjeska" and "Neretva" at the same time Martin ruled radio waves!) and reveals superbly talented baritone who had a penchant for bombastic, pathetic ballads where his mighty voice thundered above huge orchestration. Be it title song ("Odiseja") or cover of "Speak softly love" ("Godfather" theme) or swinging slovenian number ("Prva ljubav" also recorded by Neca Falk) Martin was self-assured and actually really awesome singer - he might sound like a joke today but this is someone who toured with Tom Jones and Dusty Springfield during 1960s and I dare say he roared like Jones and was soulful as hell. Beside now boring and overused title song that unfortunately will forever be associated with his name, album has some surprisingly strong blue-eyed soul moments ("Biću uvek sam") not to mention strong german language number "Sweet Susanna" that as to be heard to believed - the mix of this superb voice singing truly exciting r&b in german is surreal.

"Laku noć draga" (1976) brings this excellent blue eyed singer in schmalz territory - title song is pathetic waltz about loveless marriage (complete with laughably serious female chorus) and now we have gifted singer doing wrong steps, namely milking pathos a little too much for my liking. Yes, there was this booming baritone voice but now proclaiming heartbreak and drama from a soap box - he was not old but lyrics of his songs already approached old age,loneliness and death at girlfriends door. Technically Martin was one of the most gifted male singers around, but this constant seriousness drags album down a lot. Only "Ko je taj čovek" and r&b number "Tražim te" lift atmosphere a bit but too late - if he focused more on r&b (that suited him fine,he could sing soul anytime) album could have been much more than exercise in corny material that framed him in grandfatherly music soap operas. Nothing to be completely ashamed - even with this overtly serious tone,Martin had certain style and was obviously literate, urban guy - its just that between the lines I hear excellent singer playing safe and going mainstream instead following his soul idols.

Senka Veletanlić 1st EP recording (1962)

Very typical early 1960s release for Belgrade-based PGP RTB that often had popular singers recording popular music with light jazz touch. Nothing wrong with that, except that most of singers of that generation sound very much alike - for some reason, personalities were subdued, restrained and controlled - even mighty Nada Knežević tweets like cheerful canary bird on her early recordings from same time.

The backing band is capable but of course, derivative, what else to expect when they play covers of Irving Berlin and such. It must have sounded very modern to our local ears unused to american songbook repertoire, but honestly this was light years away from current pop of 1962. As for the man star, the singer Senka Veletanlić, she had a very nice, smooth and light voice that was actually not bad at all - she was specially effective as a torch singer ("Midnight sun" or Edith Piaf cover) and could easily handle swing ("Only love me") of course these titles were all translated in serbian language. In retrospective, Veletanlić was pop singer who could also sing light swing when inspired. Was this commercially visible or successful is probably another story - to my knowledge (and ears) she sounds too polite and unobtrusive for major success - covers and performances on pop festivals were her destiny.

Mojmir & Majda Sepe

Very cute photo of famous music couple from Slovenia - Mojmir Sepe and Majda Sepe.

In my own Croatia we had some celebrated couples (Arsen Dedić & Gabi Novak, Hrvoje Hegedušić & Ksenija Erker, Karlo Metikoš & Josipa Lisac) where husbands groomed and supported their wives in music careers, but generally speaking most of other marriages have only one partner exposed as a celebrity. To have both husband and wife working in profession where everyday mundane financial problems are overshadowed by creativity and love must be a blessing in a disguise. To a ordinary anonymous people this probably looks like very glamourous life "oh they have it easy, they only sing, open the mouth and collect huge wealth" but as I heard many times in interviews (during my days as journalist) it also means constant touring, nomadic lifestyle and long absence from home and family. Ksenija Erker told me she really suffered knowing her children got first tooth or started to talk & walk without her being present. At the end, Erker and Novak decided to cut public performances and self-knowingly killed career in order to enjoy home life. Lisac decided not to have children at all. Many other celebrities divorced several times, others stayed alone.

Beautiful couple Mojmir and Majda Sepe were slovenian mirror image of Arsen & Gabi - she sang his songs and he supported her every step of the way. The only difference was that in croatian version wife got famous first, here husband was Pygmalion who nurtured young singer from capable into actually excellent. From what I know, there are few other female singers from Slovenia with perhaps more spark (Marjana Deržaj) or bigger voices (Elda Viler, Ditka Haberl, Alenka Pinterič) but no matter how much I love them and I do enjoy their voices, nobody moves me as soulful Majda who was singing straight from the heart and I believe her every word. Her early 1960s work is by far overshadowed by beautiful 1970s recordings where she finally found her voice in "chanson" repertoire, poetic and moving. I have never heard anything banal or superficial from her. As for husband, I know he is celebrated as composer/arranger but I have a little music gem in shape of his early Jazz album from early 1960s where he played mostly covers of Jazz standards - talented and intelligent man. I cant imagine how he felt when she passed away.

P.S.
Once I mentioned the title of Majda's song to my friend who said "Look,I got goosebumps,just when I remember that song".

Jazz photos

Few photos from Jazz history.

"Lady Day" and Ella Fitzgerald together in some restaurant. To my knowledge this is the only picture of two of them together - I wonder what did they talk about?

Lady with her dog. Its almost never mentioned that she was childless and always kept dogs for company. Such a beautiful woman.

Ella Fitzgerald and Marilyn Monroe. Monroe was her biggest fan and often came to listen Fitzgerald when she performed live in clubs.