"ŠTO ME ČINI SRETNIM" via Branimir Štulić

Unexpected cover tribute from one rock legend to another

Dolly Parton in the 1970s

Dolly Parton recorded for "Monument" company for only two years (1965-67) before she was discovered by Porter Wagoner and via his highly popular TV shows introduced to much bigger audiences - she had released one studio ("Hello, I'm Dolly") for "Monument" and than moved on to RCA, but "Monument" still had some unreleased and non-album tracks in their archives. Just as "Columbia" continued milking their archives with early Aretha material once she moved on to "Atlantic" and became hit, "Monument" wanted to have their share of pie with Parton's new fame.

It is not bad, but certainly these are not "hidden treasures" - Parton's best songs were used for her debut album and here are kind of less interesting, generic ideas. Nothing here matches spark and determination of "Hello, I'm Dolly". The album starts on a high note, with energetic "Why, Why, Why" and "Hillbilly Willy" before it suddenly drifts into weepy territory of "You lie/I cry" variety and the rest is very unexceptional material that could hardly compete with Parton's current hit singles. I am not sure what lady herself thought about release of this new "album" because it was clearly a recording company gimmick and had nothing to do with herself. I doubt anybody even asked her for permission.

Wonderfully crazy album with equally mad cover that perfectly epitomized Dolly Parton's eccentric and sentimental world. Here she takes almost all songwriting responsibilities and comes up with quirky stories that certainly are NOT autobiographical. The very first words we hear are "In this mental institution.." as her protagonist cried for "Daddy come and get me" just to be followed by "Chas" where girl loves a man married to a invalid and he can never be hers. The rest is more or less in similar vain, sentimental stories about "Mammie" who raised the girl whose mother had died (of course Mamie also dies during the song) and half-brother "Robert" who loves her not knowing they are related. (Where she got all these ideas? By reading magazines, watching her audience?) The title song is actually nothing special, much better is sweet "Just the Way I Am" where girl explains her childish behaviour (she sounds very impulsive for sure) but the BEST of all is "Down from Dover" - now, this was never a hit but it had turned into Parton's cult classic and its truly one of the best songs she has ever written, dramatic story about unwed girl who has to leave home because of embarrassment her pregnancy brings to her family. It stands out in any songbook because of its compassionate treatment of the subject but it makes perfect sense here on this album - its a haunting song with excellent lyrics, strong melody and Dolly is heartbreakingly convincing. If you can pass over Parton's sugary little girl voice and funny image, this is really first sign that she could be great songwriter (and the fact that Porter Wagoner was against it shows that business is basically built on less serious subjects, but "Down from Dover" still stands as timeless and still deeply touching song).

Around the same time when Janis Joplin suffered sad disappointment on her high-school reunion back home, another southern gal had a completely different home reception. This live album is a concert recording of Dolly Parton's return to home audience. Parton is thrilled and emotional here, but the audience clearly adores her and welcomes every of her quip and song with greatest enthusiasm - one of their own had reached national fame, after all (they couldn't possibly know she would raise to far higher spheres later). Parton treats them with some of her earliest songs ever ("You Gotta Be My Baby" and "Tall Man" she used to sing on local radio as a child) before raising the roof with energetic version of her biggest hits up that point ("Dumb Blonde", "Something Fishy") but the greatest surprises are her unexpected guests (Porter Wagoner, who was hiding carefully so she wouldn't know he was invited) and proclamation of that day as "Dolly Parton Day" by the Governor of Tennessee. Her happiness reflects in singing so almost everything here is far better than in studio versions. She would have many other live albums and perhaps far bigger, glossier production but nothing will ever match this pure heartfelt welcome. Triumph.

Parton's 1971. gospel album is a lovely collection of religious songs where she pours her heart out in a material that obviously means much to her. It sounds very much as expected, with big chorus and Nashville production - some of the songs actually have very pleasant early 1970s touch (country-rock) with strong guitars and memorable melodies. Where on her previous solo albums she was singing eccentric soup operas about tragic characters, here she focuses on completely different kind of lyrics - its easy to be cynical about this, but Parton has always been singing at least one gospel song in her concerts trough the years so this actually perfectly fits with her personality. Stately "I Believe" and "How Great Thou Art" sound fine, but they are less interesting than uptempo material like Parton's own "The Master's Hand" where she unleashes her imagination and that cute, little fluttering voice. On certain songs she actually sounds more inspired than on her regular country releases. If you listen this without prejudice towards Dolly, country or gospel, its very satisfying musical experience.
Its a very sweet, short little album that Parton obviously had to do.

A casual glance at Parton's discography shows that girl was on a roll in early 1970s - in addition to constant touring, concerts and TV work with her duet partner Porter Wagoner, Dolly had released THREE albums in 1971. with most of the songs were written by herself (except gospel album, but even there she managed to squeeze few originals). And listen folks, these songs were not just a throwaway either, rollicking "Joshua" was her first Nr.1 chart single and got her "Grammy" nomination that year.

"Joshua" also marks beginning of slightly harder sound. Where on previous albums Parton was surrounded with typical Nashville arrangements of the times, here for the first time we hear some excellent musicians in the background and they surround her with strong guitar playing that inspired Parton in some of her most self-assured singing ("Daddy's Moonshine Still"). As usual she looks at her background for inspiration and "Chicken Every Sunday" romanticises poor childhood, this song could easily fit on her slightly later concept album "My Tennessee Mountain Home". Only title song was big hit but it surely Nashville paid attention, because Kitty Wells recorded "J.J. Sneed" on her own album. And the very same year Skeeter Davis recorded a full album of Dolly songs called "Skeeter Sings Dolly" with "Joshua" on it. Of course Dolly wouldn't be Dolly if she didn't end this triumphal album with a sentimental "Letter to Heaven" that perfectly describes her obsession with death, children and Heaven.

The THIRD studio album by Dolly Parton of 1971. "Coat of Many Colors" is now recognised as one of all-time greatest albums of country music and finds her at the height of inspiration, though its not so different from "Joshua" - similar sound, themes and musicians. Perhaps it has slightly more classics than previous album, since title song, "Traveling Man" and "My Blue Tears" became standards loved by audiences trough decades. Several of these songs would later find another life in re-recordings by Parton herself or cover versions. Some of the song subjects might appear a little strange but only to listeners not familiar with her early 1970s work - if you think "If I Lose My Mind" is unusual, check out her "The Fairest of Them All" album filled with songs about outcasts, eccentrics and dying protagonists. "Early Morning Breeze" is one of loveliest things Parton ever wrote, while "A Better Place To Live" cute piece-love-harmony singalong. (By the way - Porter Wagoner wrote swinger's song "If I Lose My Mind" but he had earlier found Parton's "Down from Dover" too controversial?)

Considering this was the FOURTH studio album Parton recorded in 1971. (released in March 1972.) no wonder it sounds a little less inspired than previous albums. There is nothing wrong with "Touch Your Woman" album, except that it doesn't have so many stand-out classics like "Coat of Many Colors" or "Joshua". Parton wrote most of the songs again (including title song that was a hit single) and Porter Wagner helps with lovely "Mission Chapel Memories" and ""Loneliness Found Me" but significantly the best song here is actually one by Bill Owens ("Love Is Only As Strong (As Your Weakest Moment)") in a true country tradition of weeping ballads about cheating. "In that moment of weakness anyone can go wrong" croons heartbroken Parton and surely she had touched many hearts with that one. She follows this with "Love Isn't Free" where orphaned children are results of these temptations and it could have been interesting concept album if she wanted to do so.

Well, she certainly didn't have to look far for inspiration. Porter Wagoner has long been her close duet partner and he wrote many of the songs that so closely resemble her own work that honestly they could have been written by Parton herself. Its mostly melodramatic material about heartbreak one way or another, expected sentimental number ("The Bird That Never Flew" where she recites), gospel ("When I Sing for Him") and best of all, uptempo ditties ("What Ain't To Be, Just Might Happen", "Washday Blues") where Parton enjoys herself so much that's really pity she didn't stick to a whole album of this material instead. As good as she is in ballads, she is really excellent in uptempo songs.

A celebrated concept album about poor childhood that comes naturally from Parton who had often reached back to her own Tennessee upbringing trough her earlier work, but here she focuses exclusively on this. Honestly, music is actually very similar to what she did before ("Old Black Kettle" could have been "Joshua") but lyrics are inspired and the main reason why this album still stands out as one of her most important early works. If she wanted, she could easily simply collect some of earlier autobiographic songs and put them here. In fact, this is just what she did with "In The Good Old Days (When Times Were Bad)".
Parton is backed with excellent band and vocal chorus (The Nashville Edition), its truly a great 1970s country music.

RCA obviously noticed that between many hit songs Parton had recorded herself and with Porter Wagoner, there are quite a few gems that she had written herself so this cute little compilation is the very first "Dolly Parton Songbook" (not counting tribute "Skeeter Sings Dolly" released a few years ago).
Everything that always made Dolly great artist is here - cute, little girl voice, country musicians, ballads with melodramatic twists and so on. The strange cover aside, this album is only for those listeners who don't have her late 1960s/early 1970s studio albums, because everything collected here has already been released as part of her regular discography. Any compilation that includes her "Down from Dover" is a strong one.

"Bubbling Over" is a classic 1970s Parton - wholesome, adorable and perky.
If you can't stand someone else expressing sheer delight of being in love and delighted with it, well maybe Dolly is not for you. Inclusion of new recording of ""Travelling Man" makes sense only as a perfect continuation of happy opening song, but sounds exactly as before. Her cute little voice is at height of its pure loveliness and whenever she yodels with joy on uptempo numbers, album explodes with happiness - not that her ballads are weak but Parton truly needs happy material to glow and here she sparks quite a lot. "My Kind of Man" is step back to the kind of weepy ballads she did in the 1960s, though ""Pleasant as May" is a very pretty folkie melody. Most of material is self-written except two songs by Porter Wagoner  whose style compliments Parton so closely that music is basically difficult to tell apart from her own originals.

1974. "Jolene" has two Parton's all-time biggest hits so this is already enough to lift it above her 1970s discography but even the rest of the album is quite nice.
Parton was always best when she would leave weepy ballads aside and focus on happy songs and here are some of her loveliest melodies (as usual self-written) though I actually like moody "Early Morning Breeze" (yes, she recycles herself, so what). Same for "Lonely Comin' Down" that she already sang on her Porter Wagoner tribute. To everybody tired of Whitney Houston version, the original "I Will Always Love You" comes as a surprise because Parton is so heartbreakingly honest here that music and lyrics (stripped of vocal acrobatics) came straight from the heart and are deeply touching. Two Nr.1 hits here!

Sometimes Parton plays a little too much on her cuteness and even though this is part of her charm as an artist, title song always sounded like a children's song to my ears. (And surprisingly, it sneaks on you before you know it). Since I don't care much for her weeping ballads about cheating men or rural background, there are few other highlights here like explosive, gospel-hair-rising "Gettin' Happy" and "Highway Headin' South (To Dixie)" where she let that adorable little squeak rip with joy and joy it is, it never fails to cheer me up. When Parton gets happy (with huge gospel backing chorus behind her) the happiness pours out of the music. She follows it with surprisingly good country blues "Once Upon A Memory" and ends the album with feel-good gospel song "Sacred Memories" that might even make you a believer. Its one of her strongest 1970s albums.

Very un-characteristic, downbeat Parton album - where elsewhere she shines on upbeat material, here she wallows in self-pity and it not even "story song" like on earliest collections,but "you/me" variety. Perhaps one or two ballads would be fine, but length of the whole album is a bit too much of the same. The only exception is gospel song "The Seeker", which brings some of the fire of usually sparkling artist. Her voice is angelic, but the music is too weepy and lacks variety.

Cleo Laine Early Discography

Newly remastered 1945-55 recordings by husband-and-wife team who are long recognised as cornerstones of UK's Jazz.

We can hear earliest music by young John Dankworth who was clearly idolising Duke Ellington and emulated his way with instruments-as-voices. As a bandleader Dankworth was inspired, enthusiastic and passionate about this music - I remember hearing his symphonic version of Duke's "Caravan" in London's Royal Albert Hall concert and being totally fascinated with this huge sound that combined classical music with Jazz. Initially I came to hear Laine but have to admit this was very good. The rest of the audience was sitting there politely (it was "Proms" evening if I remember correctly, very serious occasion reserved for otherwise classical names) and there I was foot stomping and finger clicking.

Initially, Laine was on one of the band's (Johnny Dankworth Seven) three vocalists. She came on audition as Clementine Campbell and left as "Cleo Laine" her new name being chosen by musicians by pulling it out of the hat. On this two-CD compilation we can hear her young, chirpy voice ringing clear as bell on standards as "Honeysuckle Rose", "I Got Rhythm", "Mad About The Boy" and her earliest recorded version of "I Got It Bad (And That Ain't Good)", a song she would sing for many years (it was 1954. recording produced by future Beatles-producer George Martin, this is also on his CD Box retrospective). Though as a singer she would change and mature a lot later, Laine was a very distinctive vocalist from the start and to hear these early recordings today is a joy. Perhaps the most interesting title is "It Was A Lover And His Lass" (1955.) where for the first time she sings Shakespeare's words set in Jazz - this was such welcome change from "American songbook" repertoire that couple would return to the same source for her 1959. EP "Cleo Sings Elizabethan" and later the brilliant "Shakespeare And All That Jazz" (1964) full-lentgh album that for me is a highlight of their creativity.

Two CD collection of early recordings by British royal couple of Jazz.
It starts with Cleo Laine 4- song EP recording "The April Age" (songs about April) and includes her complete 1957. "She's The Tops!" studio LP album that was even released overseas, though it would take some more time before she would triumph in Carnegie Hall and finally get a proper introduction to U.S. audiences. John Dankworth is present but he gets far more space on a couple of his own solo recordings from mid 1950s.

In addition to Dankworth's albums "Johnny Dankworth and His Orchestra", "Journey Into Jazz" and "5 Steps to Dankworth" (all instrumental) we also get two rare tracks where 1952. "Melody Maker All-Star" poll winners play together - on "Up the poll" and "Quick Return" Dankworth plays along the biggest names of British Jazz back than, Ronnie Scott included. As a leader of Big Band composer and a musician he was a gigantic presence on British Jazz scene and these 1950s recordings are welcome re-introduction to his formative years and the fact that even though the music genre was American invention, it inspired talented musicians in UK who would give it their own personal twist.

Cleo Laine has performed and recorded with Johnny Dankworth Seven Orchestra from early 1950s but to my knowledge "She's The Tops!" is her first studio album.

Newly remastered now as a part of "Three Early Albums and More" CD that combines this LP with contemporary solo albums by her husband, "She's The Tops!" captures Laine at the time when she was voted top female singer in the 1957. Melody Maker poll and was celebrated as "the finest female Jazz singer this country has yet produced". Gifted with a instantly recognisable, distinctive voice Laine had a good luck to be associated with the best Jazz cats of her time and she certainly had a feeling for this kind of material, though focus on "American songbook" means the listener would inevitably compare her versions with originals - that she firmly stands her ground even on well-known numbers like "Mood Indigo", "Stormy Weather", "Early Autumn" and "Our Love Is Here To Stay" just shows what a gifted singer she was from the very start.

On several titles Laine is backed only with piano (Dave Lee) and these are the highlights of the album - "Mean To Me",  "Happiness Is A Thing Called Joe" and the song she would often return trough decades "My One And Only Love" are lovely, sensuous and clutter-free from Big Band thunder, here she gently croons and floats above the melody in a manner reminiscent of similar piano-and-voice recordings of Sarah Vaughan (see "Sarah Vaughan In Hi-Fi"). A complete surprise to listeners familiar with her later vocal acrobatics, this early album presents Laine in different, far more subdued light. Personally I think hers is one of the best voices I have ever heard.

Impressions of Budapest

Dear reader,I am in Budapest.

Why Budapest? Simply because I never been here before. For many years I thought this must have been some boring & grey communist metropolis until friends hinted that maybe I might be wrong and the city actually existed centuries before Stalin took over. I checked the pictures on the Internet and it looked fine to me, I like history and architecture of it. So instead of dreaming about it and leaving it for "another time" I simply decided the right time is now and since I might as well drop dead from heart attack any moment (very possible, considering my cruise ships job) off I went, with a train.

I had to take a train because Croatia Airlines was in a strike and there are NO BUSES between Zagreb and Budapest, like we are on another continent. Unfortunately the train journey turned out to be a complete nightmare for everybody involved - there was something wrong with the railways so bus was supposed to drive us halfway, but our train broke even before we reached the bus, than later we had to wait 1 hour on the border and so on... instead of 6 hours trip we suffered 5 hour delay so I arrived in Budapest seriously exhausted, sweaty and out of breath. Strangely, this affected me much more than I expected because I developed seriously heavy cough that hurt me and wouldn't let me sleep for many days. Medicine does not help much, it must be some lung infection and it completely spoils my visit to Budapest.

The impressions: very interesting historically an surely architecture is fascinating BUT most of these old buildings are not originals: whatever you see on Buda Castle Hill has been rebuild after WW2, so don't expect you walk on the same stairs as King Matthias Corvinus. There is a far amount of commercial tourist feeling everywhere in the centre, with expected Hungarian flavor - at least, what middle-aged tourists expect Hungary must be - so lots of cheap little souvenirs, ornaments and trinkets with folk motives, paprika and spices in various packages, all sorts of food, table clothes and such. I have not seen many young visitors but middle aged and elderly are ubiquitous and they are probably customers for all these key chains, T- shirts and plastic dolls in folk dresses.

The plan was to visit a museum per day, which turned out nicely and not so difficult because Budapest has lots of historically interesting places and its easy to reach them. I used red tour bus ("Big bus") but they are many different companies and lines so no worries with that, with one ticket you can hop on and off anywhere you want for 48 hours.

The very first museum I had visited was the best one - "Museum of Fine Arts" has really nice collection of art and I loved ancient mosaics (Orpheus!), Greek and roman busts and basically everything but religious art - even though I sound like a Heathen, I must admit that this time I had no patience for all this and I just walked past every single Virgin Mary and Baby Jesus, it felt like there were millions of them. I prefer something symbolical like this painting called "The Last Effort Of The Day" - that one moved me and it probably shows my frame of mind right now.

Budapest History Museum is on a Buda Castle Hill towering above the town - magnificent location and ancient buildings & palaces spread around, as I already mentioned its all reconstructed because in every war, the royal palace gets hit first. History Museum is actually surprisingly boring - the building is awesome (they always find more and more layers from medieval and roman times underneath) but exhibition is basically dry, lifeless and too academic. Whoever the directors were, trough the decades they lost the touch with museum audiences and its clearly shown. There is no story, nothing gripping or fascinating, just a bunch of stones and armless sculptures of "big historical importance". Somebody should explain to them that history does not need to be boring.

Not far from it is Hungarian National Gallery - it is the very first museum in my life where I liked 20th century art more than anything else. Everything else that Hungarians collected and loved for a thousand years was either religious art (where I galloped trough, I cannot stand it anymore) or cutesy, bourgeois & decorative art that looks nice and sweet and completely boring. Tons of paintings of sweet little kids, lovers holding hands and horses running. Just when I started to think that Hungarian art is perhaps not for me, I stumbled upon 20th century and here i found far more interesting things, it seems like it took them a long time before they started showing some spark.

As for the city itself, I can't get over the fact how brutal the history is around here - everywhere you look there were people killed,hanged,tortured and buried faces down & tightened up with barbed wire. Starting from medieval Buda Castle down to Jewish quarter and elsewhere - even the magnificent Parliament building is blackened with history - right in front of it, on Danube promenade is a chilling sculpture "Shoes on Danube" where Jews were shot to death in 1944.I cannot just enjoy the sun and goulash and architecture, knowing all this. It really bothers me.

Along the famous Andrássy Avenue there is a recently open tourist attraction - The House of Terror. Very typical of "beautiful Budapest" where buildings hide terrible secrets, this is the place where hundreds of political prisoners were tortured and killed by Nazis, Soviet soldiers and later Hungarian policemen. There are some people who love to visit this place and look the basement cells but I have no desire to see it. I think the place should be burned down and demolished, not open like circus. The big photo on the wall usually points at some famous person who was tortured here and I was shocked to see beautiful 1940s actress/singer Karády Katalin displayed here. Poor girl survived 3 months in these basements. Once she managed to escape Hungary, she never came back.

"The Complete Columbia Recordings" by Bessie Smith

Welcome to prohibition era.

Yes, ladies and gentlemen, no matter how shocking this might sound to your nowadays politically correct ears, our not-so-distant ancestors have been drinking,brawling, fighting, vomiting, cheating on their girlfriends, gambling and had tons of sex. In short, they lived their passionate lives divided between sin and respectability, with temptations lurking just under the surface every day. And just to remind you that 1920s were not just years of charleston, Great Gatsby, big flashy cars and silent movies here is a monumental CD box with peek into other side of the fence, Afro-American side of the story that was completely unknown to most of whites who lived at the time.

The music of Bessie Smith and her sisters was not played on the radio - popular voices back than were crooners or chirping songbirds singing about "Moon of Manacoora" and such. But paradoxically those popular voices sound hopelessly dated and mannered today while great Bessie still touches us deeply with her growling voice full of passion and pain. Jet set of Harlem found her exotic and "in fashion" but her real audience were completely different profile of listeners for whom her songs about poverty, brutal life and disappointments were reality. Above all, Bessie Smith was defiant and perhaps it is this bold disobedience that separates her from the rest of the competition.
I listen her music today and it sounds empowering, even though the lyrics are often depressing - she might sing about unfaithful lover, poverty or something like "I'd Rather Be Dead And Buried In My Grave" but her voice is strong, powerful and booming. Often I wonder why this music makes me feel so good even though its supposedly blues and downbeat - it is not, this music, ancient as it is from today's standards is uplifting, soaring and brutally realistic about life. No matter is it "Pickpocket Blues", "'Tain't Nobody's Bizness If I Do", "I Ain't Gonna Play No Second Fiddle", "Nobody Knows When You're Down And Out" or brilliantly rowdy "Gimme A Pigfoot" I love them all.

Trough the years I collected several Bessie Smith compilations and naturally she inspired me to look out for her other contemporaries (Ma Rainey, Mamie Smith, Clara Smith, Ida Cox and the rest) but I always ended up going to "The Empress" because she is the only one with that special realistic touch. I understand that certain part of Afro-American society wanted to distance themselves from this, they went so far that they even wanted to destroy copy of "St.Louis Blues" movie as embarrassment (very same people who criticize "Porgy and Bess" for being unflattering portrait) but I find this a nonsense. There is nothing old-fashioned or dated about Bessie Smith who sings about life's trials, loneliness, pain and short lived happiness. Change lyrics here and there and we can all recognize ourselves in this. I treated myself with this CD Box for Christmas  and it was my own best gift to myself. Its just wonderful.

Cleo Laine in 1950s

Young Cleo backed with a the Dave Lee Quintet, singing four songs about April.
Her voice back than was simply magical - rich, unique, instantly recognisable and sensuous. The singing was clearly very much of the 1950s, which means polite and subdued crooning (no wild scatting or dizzying heights yet) but oh, what a fire under the ice. She might have been all buttoned up (like on a cover photo) but she was clearly one of the best voices around. The band swings lightly behind her and songs are fine, one of them written specially for her ("April Age") by Alec Wilder. Not in the same league as her later work but interesting from historical perspective.

Johnny Dankworth struck gold when he discovered young Clementine Campbell and added her to his band as vocalist.
Her voice was so unusual that none of her previous auditions was successful - this was the first time somebody actually thought about giving her a chance and she was soon a sensation of "Johnny Dankworth Seven" gigs. On this early, 4-song EP recording she chirps four American jazz standards with a voice that was cute but still not fully developed as in the next decade or two. Its a seductive alto capable of hitting high notes out of the air and the guys in the backing band are energetic, specially on "I Got Rhythm" where they emulate their American colleagues.

Laine had already recorded Shakespeare song ("It Was A Lover And His Lass") as early as 1955. so the idea of 4- song EP jazz recording of all-Shakespeare material has been around for a while. It was also a welcome change of scenery from usual "American songbook" repertoire, clearly these British musicians had something new (eccentric?) to say. On these four songs she was backed by excellent musicians (french horn, vibes, oboe, flute) and the music is inspired - Dankworth composed sparkling little ideas around Shakespeare's poetry and Laine matches him note for note with her magnificent voice. In a retrospective, this little EP recording was just a rehearsal for later LP album "Shakespeare And All That Jazz" in 1964. where all these songs were repeated and re-recorded. Laine herself was always proud of her excursions in poetry and would return to Shakespeare many times trough following decades.

"Drinka Lita Roza Day - Lita Roza at the Prospect of Whitby" (1960) by Lita Roza

The cover of this album shows interior of typical pub where Lita Roza supposedly performs these songs live - well, audience is obviously fake because they sound very much the same song after song, though there is nothing wrong with the music or Lita Roza's singing. She sounds like she is enjoying herself on standards by Duke Ellington, Billy Strayhorne and Gershwin brothers, relaxed and cheerful at the same time. Of course all of these songs are already well known by artists like Judy Garland (whose "The Man That Got Away" she covers almost note by note) so there isn't much new Roza can add here. Its a lovely traditional pop album by talented crooning songbird that perfectly reflects music trends of the day.

Very soon the fellow Liverpudlians will take over the business and start new trends that would push singers like Lita Roza into obsoleteness. From her generation only Cleo Laine (jazz oriented) and Shirley Bassey (via movie themes) would continue with successful careers, but for every idiosyncratic Laine and Bassey there were hundreds of others who would became a nostalgia act.

"Love Is The Answer..." (1956) by Lita Roza

The biggest pre-Beatles star from Liverpool, Lita Roza was a Rosemary Clooney sound alike who just like her American counterpart recorded classy standards for the studio albums and novelties for chart-topping hit singles.

Though she worked with some of the best jazz musicians of her time, her studio albums are more focused on "American songbook" ballads that she sings dreamily and sensuously - there is absolutely nothing wrong with songs like "Fools Rush In" or "They Say It's Wonderful" but one ballad after the other makes this for a catatonic listening experience. Perhaps if they throw in a swing number or two, the whole album could have been different but obviously that was not the producer's idea. Her version of old Bing Crosby gem "Just One More Chance" is actually very pretty but as a whole this ballad album is perhaps too much of the same.

"Cleo's Choice" by Cleo Laine

Compilation of Laine's late 1950s recordings, where she covers a lot of "American songbook" standards - today this is propriety of exclusively jazz singers or pop artists who try to prove themselves capable in other genres, but back than this was actually a pop music.

Laine started as a vocalist for Johnny Dankworth orchestra and her earliest recordings are documented elsewhere. Later she became so well known (trough TV and musical theatre work) that eventually she would go solo - though is very possible Dankworth supported her (under pseudonym) even here. On this album she sings songs from repertoires of Sinatra, Nat King Cole, Dinah Washington and Peggy Lee and this shows great care about choice of music she was working with (as opposite to her contemporaries like Lita Roza who was doing "How much is that dogie in the window?") - this also makes her discography very enjoyable as lady had great taste and of course class, all of her recordings deserve to be heard. At this point her voice was still not as stratospheric as later, here she mostly croons politely and those famous vocal acrobatics still lie in the future.

I have greatly expanded CD version that has complete recordings released around the same time, including her lovely version of Peggy Lee's "Sugar" that by far surpasses the original.

Ella Fitzgerald in 1940s

Without Chick Webb, Ella Fitzgerald had to find her own way trough 1940s - somehow simultaneously she lived her biggest triumph ("A-Tisket-A-Tasket" became huge million-selling hit single) and sorrow (Chick Webb passed away) around the same time. Without him, Fitzgerald at first fronted remains of the band and than went on as a solo artist but apparently "Decca" was adamant about keeping her as a novelty singer of little happy ditties.

I completely agree with Will Friedwald about his claim that everything before and after her "Verve" years was either only prelude or afterthought.
Ella had spent her 20s and 30s singing happy little jingles for "Decca" until finally Norman Granz gave her royal treatment and only in her 40s (roughly when she started recording albums for "Verve") we could witness what incredible voice she had. To anybody discovering Fitzgerald's huge discography I would recommend anything she did for "Verve" (1955-63) first. However, I understand that curiosity might lead you to her earlier two decades to "Decca" and besides some earliest, hard swinging work with Chick Webb, Fitzgerald had tons of singles particularly well assembled on 2 CD compilation "The War Years". This is strictly for fans as there is hardly anything quintessential - clearly "Decca" didn't really know what to do with her and the music represents artist in a search of identity. There is an occasional curiosity as collaborations with Louis Armstrong or The Ink spots but music clearly points at strange phenomenon where Fitzgerald clearly enjoys and gives her best at uptempo little nonsense ditties ("Mama Come Home", "Cow Cow Boogie", "Stone Cold Dead In The Market", "Petootie Pie") but sounds uncomfortable, strained and subdued in ballads.

As this compilation shows, it is not true that "Decca" served her only with jingles - they actually gave her healthy dose of ballads (even song written by Frank Sinatra "This Love Of Mine") but on each of these ballads Fitzgerald is like frozen with awe when faced with "serious" material and her interpretation is to put it simply, mournful. When at the same time Lady Day sang "Strange Fruit", Fitzgerald couldn't muster enough courage to raise above sentimental sigh. You listen this "Decca" repertoire and there is nothing wrong with it - its simply that Fitz was so darn serious that her true spark becomes visible only in uptempo novelties. Towards the end of second CD she started to experiment with wordless Be-Bop vocalising ("Flying Home", "Oh Lady Be Good") and here she was clearly inspired far more than in her dirge-like ballads.

Contrary to public perception of Ella's "Decca" years as time wasted on peppy jingles, this cute little 8 songs album shows that "Decca" had occasionally gave her first-rate material but Fitz wasn't that hot yet. Even when she had chance to finally sing Duke Ellington, "Cabin In The Sky" or "Showboat" standard, Fitz sounded as little orphaned girl (which she was), sad and mournful, cautious not to raise her subdued voice above sentimental whisper. She was excellent on happy little ditties like "A-Tisket-A-Tasket" but give her something more serious like "I Must Have That Man" and she was just another radio voice. A lot has been written about her problems with finding the right material and supposed racial prejudice that keep her away from getting her anything sophisticated, but in my opinion 1940s were simply not her greatest years - as this sad little album shows, her fat little voice was simply not suited for ballads. Sounds fine as 1940s pop but her best work lies in the future.

"Ella Sings Gershwin" is probably the best thing she had ever recorded for "Decca" - voice-and-piano album (with Ellie Larkins on piano) where for the first time she doesn't sound strained and uncomfortable on ballads but actually shines nicely. It helps that songs are first-rate gems by Gershwin brothers and they obviously suit her fine. Not everything are ballads - Larkins sets a rhythm on "My One And Only" and "Maybe" though Fitz somehow finds something new in old standards like "Someone To Watch Over Me" or "I've Got A Crush On You". Everything works so fine here that there is no surprise Norman Granz later decided to have her recording a complete serial of  "Ella Sings..." tributes to greatest American composers. Absolutely recommended.

The Garbage Continent

When I work on cruise ships, we have very strict rules about not throwing anything in the sea - there are certain international maritime laws against disposal of any garbage directly in the waves, we have machines that burn and crash everything possible and than later its brought back to the ports. However, these laws permit disposal of garbage directly in the sea if its far away from the coast - this is why I was shocked and surprised to read about something called "Garbage Islands" and it floating in the Pacific Ocean. Its difficult to exactly tell the size of it because it can't be seen from the satellite (plastic floats on the top of the water) but scientists and seamen claim its huge and perhaps even bigger than India, its almost like another continent, a GARBAGE CONTINENT.

As far as 1988. researchers noticed high level of plastic in the sea around Japan and predicted there might be even more of these in isolated Pacific waters far away, where ocean currents bring them. All this plastic garbage can't sink and floats around in huge quantities, poisoning natural life and the waters with long-lasting plastics impossible to detect by aircraft or satellite. This not only poisons the waters but ends up being eaten by fish, later by humans again. There are some expeditions that try to clean this up, but its a huge and never ending job - most of the people simply don't care for this and refuse to think about our planet as a living organism that we poison. Its really horrible to see what we are doing to our world.

"Vraćam se" (1975) by Arsen Dedić

1975. Album where Arsen Dedić re-visits his slightly older repertoire (mostly from 1960s) and re-records it again. Since the music is basically very much the same like on original recordings, the only difference is in his singing - where younger Dedić of the 1960s was crooning gently like his Italian idols, now he already started to talk-sing - this recognisable trademark is not so bad as lots of mainstream audience thought but it did kind of alienate many listeners who didn't get it and assumed Dedić "can't sing" - he had metamorphosed into completely different (and far more sophisticated) artist with time and this brought him in Don Quixote situation where pursuing poetic Muse became not unlike fights with windmills. Where in the 1960s he enjoyed true commercial success as a young, skinny romantic and a new face on the music scene, from 1970s he turned into cult artist who was respected by literate following but ignored by mainstream audience used to simple jingles.

Songs here are mostly from his 1960s period - "Prazna obećanja", "Stara cura", "To je moj svijet", "Vraćam se" - when young Dedić was still singing on pop festivals. His songs were far more poetic and interesting than most of the competition and he had very original way with lyrics that are instantly recognisable even when somebody else would sing this material - you can always tell its Arsen Dedić. "Milena" was apparently written as tribute to a good friend, actress Milena Dravić and "Djevojka za jedan dan" sounds exactly the same as on the hit single. For me personally, the most interesting song here is from mid-1960s when Dedić collaborated with rock star Karlo Metikoš on a song "Znat ćeš" (pop festival Zagreb) and his lyrics are pure Dedić classic. Metikoš would later leave singing completely and turn to composing music for a certain young girl who was actually Arsen's discovery.

TV - "Heroes"

"Heroes" is a very successful TV serial that has been around for a while, naturally I have never seen it before as my work on a cruise ships means I might as well live on space ship - I have seen boxed DVD sets in various shops around Europe and always assumed this is something with flying teenagers. Well, it wasn't far from the truth. The basic of this story looks very similar to "X-Men" cartoon-turned-movie blockbuster (which I quite enjoyed) with bunch of characters who suddenly discover they have special powers and they all got connected one way or another into complicated soap opera that goes on and on.

Honestly it didn't look very interesting at first - I have actually suffered trough few first episodes until I found myself finally being mildly intrigued (and than I was already well on the 7th episode) mainly because script, acting and overall package appear so darn unrealistic, forced and silly. I must admit that I have problem with most of US TV production where certain aesthetic values don't appeal to me at all - ranting moralistic monologues with serious music in the background, characters who sooner or later blame their parents for everything, script that has everybody sleeping with each other without any logic or reason, big explosions with lots of destruction, special effects that by far overshadow the story, lots of people who are completely confused and repeatedly scream "But... but... I don't understand!" and embarrassing words that come out of actor's mouth (backed by thunderous symphony).

A perfect example is a character of young Indian scientist Mohinder Suresh who suddenly leaves his job in India because he suspect his father (genetic researcher) had died under strange circumstances in New York. Suresh Jr. stands in the rain screaming "I must find out! It's my father! My father!" but once he arrives in New York, suddenly he started muttering about his father never loving him anyway and now he wants to pack his bags and leave back to India? (Symphony plays in the background) Apparently he wasn't aware of all this until the moment he travelled half a world to remember. But we are aware of the dark forces around poor Suresh and the fact that he will be drawn into super-humans saga later against his will. I cringe every time young Sendhil Ramamurthy comes on the screen trying bravely to appear serious and worthy with these banal phrases.

None of characters are happy about their newly discovered super-human powers (which they had for a long time but now became aware of) so naturally they are all confused, angry, scared and unhappy - therefore annoying. Except my favourite character who is actually enthusiastic about all this and he is probably the main reason why I bother to watch this silly serial - he is Japanese office worker Hiro Nakamura obsessed with SF comics and thrilled to discover he has powers to manipulate time and space. The only one of all these "Heroes" who has a lovely human touch, Hiro is funny, childish, lovable and comical - when he teleports himself in New York's Times Square and screams "Yatta!" ("I did it!") he won me completely and so far I only watch "Heroes" because of him. He also have a friend with him (skeptical Ando) that serves as English translator because poor Hiro can't actually say much but he uses his hands and laughs often, so it doesn't matter. We feel sorry for a poor guy who tries to save the world in all this mess, not speaking the language and all. I love Hiro (and couldn't care less for other characters and their selfish little preoccupations with themselves).

"Dreamer" (1967) by Patti LaBelle & The Bluebelles

One of rare 1960s studio albums by volcanic R&B group (a quartet at that time) that had spent a decade travelling, sweating and performing without any notable commercial success. Its difficult to actually pinpoint what was wrong with them, because they surely sang like a dream - perhaps it was that 1960s music scene was so rich with talents or girls simply didn't have right promotion but judging from this album they were surely head and shoulders above competition. And even at the age when girl-groups like "The Supremes" and "The Shirelles" released hit after hit, it has to be noted that Patty and her girls actually sang zillion times better, more passionate and explosive than anybody around. In terms of sheer vocal power, only Cissy Houston and her "Sweet Inspiration" could perhaps match them (well,perhaps Darlene Love also counts here). So finally it was probably about luck and lack of strong original material, because Patty's girls were singing way too many covers. 

When it comes to singing, Patty is a grandmother of any today's over-souling "Divas", her strong, expressive and fierce voice sounds like a force of nature ready to part the sea. She stands firmly somewhere between gospel and doo-wop and if it's not for that preacher's daughter from Detroit, Patty could have been undisputed crowded Queen of Soul herself. Aretha-connection is not accidental, since this album was released on "Atlantic" where producers failed to bring the group into Franklin's gritty direction - they were content  to leave girls singing ballads, covers and their usual crowd-pleasing vocal acrobatics. Perhaps it was all too sweet or unexceptional for public who have seen way too many girl-groups back than. So Patty and her girls did  "Always Something There To Remind Me", "Take Me For A Little While", "That's How Heartaches Are Made", "Danny Boy" and Dinah Washington's "Where Are You?" and than they were dropped from their Atlantic contract. 

It would take a new manager and a completely different music & visual approach in the next decade until the group finds real success but it has to be noted that Patty herself accepted these changes very reluctantly and according to her autobiography always preferred this early sound. Nothing wrong with the music or singing here, its a 1960s pop as interpreted by exceptionally soulful voices. 

TV - Guilty Pleasure - "The Walking Dead"

And now, something completely different.

From a beautiful, relaxed movie about Italian countryside to a Zombie horror TV serial - well I couldn't sleep and took some sleeping pills thinking it might work out,but in the meantime why not checking out another of movies in my collection. For some reason I ended up curious about this TV serial that I read about being the most popular and watched in USA - what can I say, it was so scary that I stayed up until 3 a.m. watching first three episodes glued to the screen, Adrenalin pumping in my veins and I wasn't sleepy at all - oh well, the pleasures of enjoying vacation without a care in the world.

"The Walking Dead" obviously appeal to a wide audience, though this is all hardly original, there were countless post-apocalyptic books, movies and serials before (I could list several right now) but think about it, this kind of Zombie-stories obviously scare people enough to create audience of millions. In fact, its one of the all-time most watched TV serials in US history though I doubt the high quality of first season could have been sustained later. Strange why exactly this particular story appeals to people so much, perhaps on some level people like to see black-and-white characters where its clear who's god and who's bad (without much thinking) and surely there is not much analysing and thinking about flesh-eating Zombies.

Back to (freshly watched) first season - there is a policeman (Andrew Lincoln) who wakes up in a hospital after coma (wow, nobody ever thought about this before) and discovers that the world he knew doesn't exist anymore as city is full of rotting corpses, his family house is empty and strange beings roam around the empty streets. He soon finds out that there might be quarantined safe-zone in Atlanta and goes there, just to find himself falling from one disastrous situation to another. Along the way we encounter lots of survivors who are mostly scared to death and above mentioned policeman takes a charge (naturally he is a hero, very good at heart, loves his family and helps others, while music plays in the background) which leads to more complications, danger, Zombies creeping around, blood spurting everywhere and such. Suddenly there are a LOT of other characters and is no such a big mystery who would turn good or bad (but every episode cleverly ends up with a cliffhanger) in fact, more I think about it now in the daylight, the more I wonder why was I so scared last night - everything actually sounds very much like an old cliche but surprisingly works on TV entertainment level very well. I can laugh about it now but last night I was glued to the screen and can't wait to see the rest tonight. 

P.S.

I forgot to mention that I loved recognising some supporting actors - Lennie James was in "Jericho" and here he plays in a pilot (very good actor) and in some Zombie scenes I recognised Adina Porter (mother of Tara in "True Blood") though Internet is surprisingly quiet about this cameo, but apparently I am not the only one who had recognised her. I am almost 99% sure it was her.