Janis Joplin early blues recordings 1963-65

Listening again - after many years - Janis Joplin's earliest recording, her blues work made long before she metamorphosed into rock queen of Woodstock.

Going back to the time when I first heard Joplin (my tender, easy impressionable teenage years) I remember buying into the whole "early death" story and naturally loving the whole idea of  small town "perpetual victim" who made it big in the world but burned out lonely and unloved. It was easy to admire the music, but big part of it all was her life story that was so appealing to a spotty teenager who could 100% feel their imagined similarities in life, except that of course I was nowhere close to either premature death of worldwide fame. But if you asked me back than, I guess I was ready to burn fast and die young, oh irony.

Trough the years I had changed my mind about it all and about Joplin to be honest - with my own life experiences, I came to see life somewhat differently and more precious than to simply throw it all away in self destruction. Luckily for me, I didn't succumb to alcohol and drugs - my escape from life were books and music - and I had discarded the whole idea of belonging to any "cool" group if that was the price I had to pay. Or I simply matured enough to value my own perspective better than what anybody else thinks. So I remembered Joplin as a boozer who died, while I grew up into a overweight, middle aged man who is slightly embarrassed with the memory of it all.

When I heard her early blues performances initially, I must have been confused because it had nothing to do with her later rock music or Big Brother & The Holding Company - but I do remember that I found it very appealing even back than and here is where the first, initial roots of my love for early 1920s blues were sown, even if I was not aware of it than. Decades later when I finally discovered and heard world of Bessie Smith and her court ladies, I embraced it immediately and passionately without realising that it was Joplin who first pointed me there, I understand it now. So I listened this music now, this morning and my heart sings along with her - I do enjoy this music very much, its raw, passionate, pulsating and absolutely real even though Joplin at that time must have seen completely strange to audiences used to British Invasion, Beatles and Motown popular back than - she was doing Bessie Smith and singing "Black Mountain Blues", now that was an original! Her voice even back than was completely unorthodox, pure lonesome wail, not feminine or pretty in any conventional manner of girl singers, even so early in the game she absolutely refused to play the cutesy game and was her own self, uncompromising and idealistic. Thinking about it now from this perspective, I understand that she was a true original and no wonder she later found her true success in rock psychedelia, although I am absolutely 100% sure her heart lied in classic 1920s blues and had she lived on, she would probably return to this music sooner or later. She would probably love what Maria Muldaur did recently with her blues albums trilogy and probably would have even appear as a special guest on them.

"Virgin spring" by Ingmar Bergman (1960)

Last night I have actually switched on TV (careful not to watch the news!) to see Ingmar Bergman's "Virgin spring" (1960) and enjoyed it very much.

When I was growing up, I always heard his name mentioned in the contest of something too complicated and arty, so it took some time before I finally got around to discover his work and loved it immediately, in fact wondered how is it possible that anybody dislike him - everything I have seen from Bergman was so consciously sophisticated that I watch it it like hypnotised.

I guess to many viewers today, Bergman can be difficult to approach as he lived in his own world and did not follow any accepted cliché - the budget is fairly limited, there's nothing flashy or bombastic, not even a background music, the focus is entirely on story, actors and their faces. Myself, I watch all of this with amazement and thrill, but to my greatest sorrow and disappointment, this enthusiasm is not shared amongst my friends who have accepted movies as entertainment. I still remember the first time that I encountered "The Seventh Seal" and what a mind-boggling experience that was, I wanted to stop VHS tape and write down the phrases coming from the movie. "Virgin spring" mesmerised me at first because of its scenography - medieval Sweden, simple farm with lord and his wife, house help and world where old pagan religion has still not completely replaced with Christianity. Than there is a story itself - faith, guilt, sin, crime, punishment - full of close-ups of people's faces, terrors and fears. Lots of time we don't need any dialogue, everything is clearly shown on the faces. Come to think of it, it does feel like a silent movie occasionally, which in my eyes is even bigger achievement, like theatre director working on a silent movie actually. Unforgettable.

Again, seeing something so truly original, powerful and artistic but apparently my enthusiasm is not shared amongst the people around me.
I love my friends dearly, but something I do feel like alien, to realise our ways of thinking differs so much. It is very interesting - I was born and raised here, so what on earth made my perspective so different? I guess life experiences, travels (real and imaginative) did made some differences after all. Perhaps I just continued to grow in my own, particular direction, just like they did.

Arsen Dedić discography continued

"Moje Popevke" (1986)
Arsen Dedić always claimed self-mockingly that he is just a craftsman and if so, he is craftsman of the first order - throw him anything, from songwriting hits for other artists, to soundtracks and theatre work, he comes up with true gems. Take this collection - it is a compilation of music he composed for "Krapina festival", which is a fairly obscure little local music festival that valiantly works on keeping a tradition of northern countryside dialect alive. Judging from his Mediterranean roots, Dedić don't belong here - after all, he was born right in the middle of Adriatic coast - but in fact, he had spend almost all his adult life in the north and understands the tradition, sounds and perspective of locals very well.

"Krapina festival" is, I must admit, quite a Don Quixote business as it does not have huge mainstream appeal - the local dialect makes it mildly interesting only to people who live there, you would never hear any big hits and best-selling records on national radio here. It also means that far from commercial pressure, there is a freedom of translating chanson into local dialect and some very pretty melodies indeed. Any of those festivals (be it Split, Slavonija, MIK or Krapina) sometimes comes dangerously close to certain overused clichés and before you know it, you have avalanche of drinking songs, seems that just geography is different. Dedić however, is too clever for falling into such traps and when he "went Krapina" the detail of selecting just right lyrics (mostly excellent Drago Britvić) and matching it with melancholy music is his usual graceful and sophisticated style. I dare to say he was perhaps too good for this company.

The complete A side of vinyl was given to songs performed by artist's wife Gabi Novak and her soothing, calm and melancholic voice is a wonder - we often take her for granted, because she's been around for so long, but she is a true original whose sound is almost healing. Side B brings other performers like Zvonko Špišić, Hrvoje Hegedušić and talented Tanja Mršić, along with several Dedić-Novak duets that truly spark with humor and love. CD edition has even more bonus tracks, its just a magic compilation.

On the personal note - this is certainly not a music for a young, trendy kids who can't see further than foreign pop charts. But as a person grows, matures and accepts the beauty of his own culture and traditions, its beautiful. I am not a specially nostalgic person, but there was a evening when I found myself so far in the world that this music - heartfelt, melancholic and in my own dialect - made me weep.

"Kino Sloboda" (1987)
Even more self-consciously arty, sophisticated and intelligent than preceding album (if that's possible) here is where Arsen Dedić looks back at his youth trough metaphors of old movies that he watched long ago. Musing about Rita Hayworth and Marlene Dietrich, he describes old loves, what it meant to him and how much he would love to experience that passion again, even willingly allowing himself Emil Jannings treatment. Not everything is about cinema - "Tko stoji iza mene" (Who stands behind me?) philosophically ponders the question of tribe mentality and a realization that only shadow stands behind protagonist. "Automati" is ironic look at phone messages that replaced friendships, "Otkako te ne volim" (Since I don't love you anymore) clear-eyed look at freedom and "Napudraj nos" (Powder your nose) mocking conversation between husband and wife after angry argument, where tired Dedić apologizes to his wife and tells her to get herself together or else they will welcome the dawn in this situation.

Music and interpretation is excellent, however I slightly dislike than-modern production (Mato Došen) that surrounds everything with icy-cold synthesizers , but they were all the rage back than and must admit that this sound makes results little dated and places them squarely in 1980s. I have very strong aversion to synthesizers. The little boy on album cover is artist's son Matija Dedić who will grow to became magnificent jazz pianist and even compete for "Porin" music award with his own mother in the same category. (Gabi Novak also has a lovely cameo on the album)

"Tihi obrt" (1993)
A wartime album.
If you wonder, dear reader, who cares for music and entertainment in such serious times, let me enlighten you, since I was there - people do care. Sure, the tone of music changes slightly with time and initial heroic, sturdy battle calls get somehow replaced with prayers for piece after a while, but music (along with other things, like reading your favorite newspaper with a morning coffee) reminds listeners on different world we are all used to. As we went with our usual business, expecting air raid any moment while we visit post office, shops and banks, as we hid in basements and finally got to know all those neighbors, as we run foolishly upstairs for some more cigarettes and covered windows with blankets so lights won't be visible in the night, radio played on. Only our own, morale-raising, home-grown artists for sure, as blood cells were counted and checked carefully  (I worked as radio DJ and found it very difficult to suddenly limit myself on handful of locals, alarmed phone calls always made sure of it) and whoever had a bad luck to be a child of mixed parentage was suspicious, even Arsen Dedić was not immune to such attacks.

It was a surprise when our radio archive got something - anything - new from home-grown repertoire so yes I welcomed and carefully listened this album. Very autumnal, grey and melancholic, as expected. Dedić is far too intelligent to wave the banners, he actually mentions war only occasionally, noting friendships suddenly blocked by war and the frivolity of celebrating year of Mozart when fire rages so close to Vienna. "Mother courage" is about his own elderly mother who stubbornly stayed and lived right in the middle of it all. The rest is his usual, gentle ironic look back at different times and younger years, how the smell of cheap food reminds him of youth that looks so magical now, how the music of old favorite artists sounds comforting now and there is even a bluesy number where protagonist likens himself to Howard Hughes. The best of all is a duet with his wife Gabi Novak about TV remote control - simple metaphor about escapism that don't work when we have to face the life around us. This was the song I played the most on the radio.

Production is for once, very good - Stipica Kalogjera and Nikica Kalogjera painted it all in autumnal colors, artist's son Matija Dedić plays piano and old friends Hrvoje Hegedušić and Ksenija Erker are on backing vocals. Whoever plays tenor saxophone did a excellent job. In the time of total darkness and madness, here was someone with dignity - even if as the mocking title of the album points, artist himself didn't believe this can make any difference.

"Ministarstvo straha" (1997)
Named after film by Fritz Lang "Ministry of fear", this was artists response on post-war mentality that swept the country, its profiters and victims.
While he grimly recites his lyrics, Arsen Dedić searches for comfort in love, the only warmth left to people lost in the fog and these surreal times. Several of the lyrics came from other sources - Zvonimir Golob and Antun Šoljan - but majority is completely self-written and as usual he is poetic, touching and insightful. There are allusions to Fellini, death, war criminals and people who change the cloak as it suits them - the best of all is "Čistim svoj život" (I'm cleaning my life) where protagonist realizes it's time for spring cleaning of all the people who don't deserve his friendship. "Where in the world did I collect them?" he wonders while concluding that silence is better than these parasites. He is joined by Gabi Novak and Drago Mlinarec in refrain. It is all arranged by singer himself and Stipica Kalogjera, usual old pals play and sing behind him, son Matija Dedić on piano and Ksenija Erker arranged backing choir.

"Kinoteka" (2002)
It seems that of all arrangers, Arsen Dedić is best served with Stipica Kalogjera who has just the right cinematic touch to his music. Silvije Glojnarić conducts the orchestra and its just fine, no more icy cold synthesizers that bothered me back in the 1980s. It is usual Dedić album, just what we expect from him - intelligent lyrics, musings about love and life - with two stand out tracks that show that veteran artist still has some surprises up his sleeve. Moroccan-sounding "Le Meteque" is actually Greek origin, Georges Moustaki number while instrumental "Pont Neuf" is just heart-breaking melody and such a surreal, pretty thing that listener can't get it out of the head - for me this is truly the highlight of the album. There is also a cover of Jacques Prevert, some interesting duetting with new rock talents and for finale, slowed down, new recording of old song "Sve te vodilo k meni" (Evertyhing lead you to me) this time sung with more tenderness than ever before.

"Na zlu putu" (2009)
After serious health scare, Arsen Dedić returns with a new studio album, mostly written as he faced his own mortality in Padova's hospital - this sudden outburst of inspiration was not so much sign of vitality as fight for life and what songwriting means to him. In the days of vinyl this would be double LP album, on CD we have 19 new songs welcomed with huge praise and relief that now elderly artist is still here with us. As expected, its typical Arsen Dedić, autumnal album, poetic lyrics, witticism and irony abound, modern (but not bombastic) production, bard recites and muses about his own life, loves and friends. There is a lovely song tribute to his wife Gabi Novak, usual songs about midnight walk trough the rainy streets and many gentle ballads of which one was soon covered by Kemal Monteno ("Vratit će se").

In all honesty, it is not spectacularly exciting collection - at this point Dedić has already four decades of recording behind him so there are lots of other, more quintessential songs but we all sighed with a relief that he is still with us. Listen carefully and you will hear Elisabeth Schwarzkopf hidden somewhere in here.

"Rebus" (2008)
There is a whole lifetime between young, skinny Arsen Dedić who arrived on study in Zagreb with an old suitcase tied up with a string and this 70 years old man who survived fashion trends, highs and lows, media adorations and criticisms, political turmoils, wars and serious health problems. As a singer, he had in during 1960s when women loved his hungry frame and wanted to nurture him, everything that came afterwards was work, work, work and more work - theatre, soundtracks, pop hits for others, anything that provided for his family and kept him dignified in a business that bows to Mammon, but reluctantly accepts true originals. When I think of Croatian pop music - and beyond the borders - it is Dedić who first come to my mind as one of its cornerstones, one true survivor amongst now handful of still active artists who took this profession seriously as a choice of life. Where are all the others comrades-in-arms? Retired, fell aside, owners of pizzeria's and bars, withering away out of the spotlight, occasional embarrassments of TV shows where cruel camera gleefully enlarges their features but nobody except Dedić, his wife and few others still bother to do something new.

Luckily for him, Arsen Dedić disposed with any visual traps decades ago - once he got married to Gabi Novak, he became "man in black" and stayed that way. You would not find him jogging, doing plastic surgery or doing anything to sell himself for heart-throb. Instead of posing for posters, he published books of poetry. Recorded albums that sold in small quantities but made devoted fan base swoon again and again. While I listen to this, his 20+ full-length album, I can't help but marvel and celebrate his talent, longevity and intelligence - it sounds timeless as always, it could have been recorded 20 years ago and it is still the same old artists we know and love. His lyrics are recognizable, his style completely his own, that dark bark of a voice still grandfatherly as always. For me, its always Arsen first and everybody who came afterwards is like branches of a strong, old Oak tree.

Arsen Dedić discography

Zapleši Twist (1962)
Is it a bird? Is it a plane? Is it a Superman? No, its 24 years old Arsen Dedić, twisting the night away along with doo-wop vocal chorus and enthusiastic Jazz band from Ljubljana. His public image of a serious artist has changed so much trough decades that nobody - except me and you, dear reader - remembers these early twisting years and Dedić himself did not exactly insist of putting this on any of his compilations. It is not embarrassment since everybody twisted at the time - just check Zvonko Špišić, Stjepan Jimmy Stanić, Gabi Novak or Tereza Kesovija for example, they all have their own cute little recordings - it just sound very odd from today's perspective as we know Dedić from his more serious, poetic work. But once upon a time, long time ago, he was a young, skinny provincial guy who arrived in town with a suitcase tied up with a string, moonlighted as lyrics writer for pop songs under pseudonym and yes, was so eager to have his own recording that he even accepted covering Chubby Checker. Recording has two instrumentals by Ljubljana Jazz Ensemble and two vocal numbers by this young punk, who is just fine - if his own son later had different upbringing and piano lessons in Vienna, Dedić himself had no such luck and had to make his own place in the world. We all have to start somewhere.

"Arsen 2" (1971)
Where his previous, debut album, had several re-recordings of already well-known hits, this time Arsen Dedić came up with completely new set of songs and its as good as its older brother. Now in his early 30-es and with a solid decade of songwriting behind him, he was at the crossroads, leaving hit pop singles behind and creating poetic body of work that will define his future. There is no single misstep here, each song is a little masterpiece, be it a romantic ballad or a gentle, ironic ditty bursting with humor. Most of the songs have classy, big orchestration behind them, though the most effective are piano-and-voice titles where he is backed by Nikica Kalogjera. He also gives place to other lyrics writers, notably poets Zvonimir Golob and Antun Šoljan, not to mention Jacques Brel for finale - not just any ordinary pop album, but a inspired, intelligent collection that stands up with any of artist's best work. Since his songs were always lyrics-driven, this might not have easy appeal to foreigners baffled with huge orchestration but to my ears this is a Scott Walker Croatian brother.
"Ne plači" was also successfully covered by Bisera Veletanlić, who later always claimed this had changed her life completely and started her true career in music.

"Arsen" (1974)
Just like Gabi Novak and Tereza Kesovija who recorded for Belgrade's PGP RTB trough 1960s, Arsen Dedić also had a rich back catalogue with this recording company before moving to Zagreb's "Jugoton" later. When all three of them blossomed into stars of first order and started releasing new, original LP albums, PGP RTB responded with compilations of their older work from previous decade - naturally pointing at the question why they didn't release them at the time when they still had contract with these artists originally. Oh well. It is quite a decent compilation, selected from singers early years when he was still a skinny, young troubadour with lovely voice. For many who are not familiar with this material, its still the best one-stop introduction to Dedić the way he was when he was still pop singer and not Croatian Leonard Cohen. There is nothing embarrassing here, in fact music is solid and mostly melancholic - as opposite to many other singers of his generation, Dedić did not depend on covers but wrote his own material and even when he did cover, he did something as beautiful as Italian Gino Paoli. "Tamara" is a curious collaboration with Karlo Metikoš (ode to a Russian girlfriend) while "Ni ti, ni ja" got a new life on celebrated 2002. "Pjesma je moj život" album by Gabi Novak.

"Otisak Autora" (1976)
Very interesting album where Arsen Dedić sings some of his most famous material composed originally for other people. Trough the years, he had great success as songwriter (in fact, lots of people who complained about his declamatory style, usually loved these same songs sung by other singers) and this recording is a welcome reminder how other people's hits would have sounded if performed by their author. For all the criticism of Dedić as a singer (and he sure always was acquired taste and very peculiar artist) the results are surprisingly nice, since he sounds far more knowing and intimate than most of the singers who recorded this material. Anyone familiar with "Pusti me da spavam" (Gabi Novak), "Proljeće bez tebe" (Ksenija Erker) or "Odaju te oči" (Miki Jevremović) would be surprised with familiar songs done with a twist (Arsenized?) - he can't be further from powerhouse vocalist like Josipa Lisac, still he does her "Život moj" with grace, tenderness and style that is quite endearing. The only misstep is "Ne daj se, Ines" where he can't match dreamy reciting of giant actor Rade Šerbedžija who owns this song. Recorded and released in Ljubljana, the album has excellent production and musicianship of Slovenian talents (Dečo Žgur, Mario Rijavec and backing vocals by Strune) that lifts this far above usual Arsen Dedić discography - it is not so well known, but is one of my favourites.

"Porodično Stablo" (1976)
Now slightly forgotten but well-known among artist's fans, this was probably the most joyful and happiest of all his recordings, courtesy of arranger and producer Kornelije Kovač who always had a good sense to put his singers in the spotlight and just embellish surroundings around them - since Arsen Dedić was always about good, strong lyrics, producer don't interfere to much here but makes sure music is wrapped in modern arrangements and radio friendly. Goodbye big, baroque orchestrations and hello to country guitars ("Vrijeme ironije") that bounces like no other Arsen Dedić song before. Singer himself sound inspired, rejuvenated and at the peak of his powers - it seems like he is actually having fun here. Backing vocals is all-star, though unintentionally all I can hear is Zdenka  Kovačiček. It is perhaps one of my all-time favorite Arsen Dedić albums.

"Dedić / Golob" (1977)
Tailored around lyrics of poet Zvonimir Golob - which is a nice gesture coming from such first-rate songwriter as Arsen Dedić - Radan Bosner arranges and Zlatko Černjul conducts but its not terribly interesting or joyful music. Perhaps I had been spoiled with not-so-distant pop production of Kornelije Kovač, his absence is seriously showing here and no matter how many times I hear this record, I can't remember anything except impression that it was gloomy. "Nedjelja" has already been recorded by Hrvoje Hegedušić - interesting to compare two artists.

"Rimska Ploča" (1979)
Recorded partly in Rome (hence the title) this was arranged by late Krešimir Oblak - nice, talented man who could write some breath-taking, seductive orchestrations but he was no pop mastermind like Kornelije Kovač. Where just three years ago, Kovač gave Arsen Dedić a perfect pop cellophane, Oblak sounds uninspired and too darn tasteful for his own good. It is nice to be respectful and polite towards such genius as this songwriter, but Kovač had spark, glow and was (most important of all) fun, this music with its distant strings and occasional piano is just anonymous. Since it was composed and conducted by singer himself, obviously part of the result lies on him - I just can't help wondering how would all of this sound had Kornelije Kovač been involved. (The answer: check Zdravko Čolić singing "Zagrli me" under this producer.) Sergio Endrigo has a nice cameo in a song by wonderful poet Tin Ujević, which is quite delightful. As always, lyrics are first-rate.

"Pjevam pjesnike" (1980)
"Pjevam pjesnike" (translated as "Singing the Poets" or "The Poets Songbook") looks very much like something Arsen Dedić and his good pal Hrvoje Hegedušić cooked simultaneously - both recorded albums under the same title, Arsen's LP cover is black while Hrvoje has white. Only three years ago, Dedić had the whole album tribute to poet Zvonimir Golob (not my favorite album, must admit) and here he decides to go the whole log and compose music for poetry that spoke to him, this time from various poets. A curious decision, since singer is a very talented and accomplished songwriter himself - where Golob album was one-dimensional, this time nature of selection means Dedić let his imagination fly and music is far more varied - from the very first introduction of dreamy "Odlazak" (Tin Ujević) to final, renaissance-like "Moljenje oproštaja" (Francois Villon) album is a marvel of dreamy poetry set in music, a true masterpiece with probably zero commercial appeal and a timeless quality for handful of followers. The lyrics are so good and involving that the biggest surprise comes towards the end - in company of names such as literary giants Jure Kaštelan, Miroslav Krleža or Gustav Krklec, there is a song titled "Svete krave" (The holy cows) and author is no one else but singer himself - it fits perfectly with the rest of selected poetry here, the lyrics are stunning and it might be one of the best songs here. Music was completely composed and arranged by Dedić, backing musicians his usual team of friends and collaborators, Hegedušić amongst them. Excellent album.

"Arsenal" (1981)
Two decades after his initial twisting steps in recording studio, Arsen Dedić finds himself as 40+ years old veteran in a business where teenagers are buying records by pretty new boys and girls on the block. Luckily for him, he had left youthful image and romantic ballads behind and built himself quite a nice profile of serious artist with a very respectable body of work behind him. Like with so many other middle-aged artists, he had also faced criticism for growing old, metamorphosing into adult person and losing interest in hit singles. In fact, not only Dedić left pop festivals completely, but he focused his energy on albums, turned his attention on composing (theatre, soundtracks, other people) and decidedly replaced his youthful croon with sing-talk not unlike Leonard Cohen. If the mainstream eventually found new songwriting darlings (like young  Đorđe Balašević) the loyal fan base continued to follow Arsen Dedić trough thick and thin, as they grew old together. This compilation serves to remind the audience on his gems from the past decade - since all the titles were previously released on either albums or singles, it looks like it should be introduction to new listeners. Only one song is re-recorded again and its a new version of his 1964. hit "Okus soli" (Gino Paoli cover) - like the album cover, it shows that 1960s skinny kid had changed long ago.

"Arsen pjeva djeci" (1982)
Since Arsen Dedić wrote one of all-time most beloved children's songs back in 1960s ("Kad bi svi ljudi na svijetu" - cover of "Skip to my Lou") it came as no surprise that he would eventually decide to compose the whole album of children's songs. Majority of these are written by singer himself but he adds lyrics by some of his friends like Zvonimir Balog and few others. Understanding that his voice might be too droll for kids, he also invites children's choir "Girice"and they sound delighted and enthusiastic as only children can be. Special guest (but not really surprising) is singer's wife Gabi Novak who is gentle like a warm milk and fairy godmother of sorts here. This album naturally might not appeal to pop music lovers but fans who grew up with his music probably came to parenthood themselves and were grateful for this collection. Curious, sweet but not banal lyrics, tender music for kids that even might make them think (what is the purpose of parents?) or simply to laugh together. It is quite accomplishment to create something so lovable and seemingly simple, without being saccharine or cutesy - even more to remain unscarred and than return to chanson field with respect unblemished. Album was recorded in Ljubljana, Slovenia with local musicians who provided sunny  country feel to music. Cover art is adorable.

"Provincija" (1984)
It makes me want to scream out of frustration when people complain that Arsen Dedić recite more than sing his songs - yes, he had changed with time as we all do and he is not, can't and won't be same skinny kid he was back in 1960s. Neither he even tries. As for long-gone croon, get an old record if you want that sound. In my opinion, Dedić only got better with time as this 1984. album nicely shows. It is a great, adult music for adult listeners (perhaps unusual accident in a pop field) with some pretty brilliant lyrics on it, where singer muses about girls from his hometown (arriving in town after sleepless nights in a second class train), old loves (now aged and unrecognizable) and as finale there is a memorable conversation with a bar waiter, where protagonist admits his loneliness. Material here is so darn good that I think it must be one of Dedić's strongest albums ever - synthesizers aside, this was 1984. after all - it is also a clear sign of things to come, of all the autumnal work from now on. If younger Dedić occasionally whistled and laughed, here he is elderly gentleman looking back at his life with tenderness but clarity.

"La Vecchia" (Old Woman) (c. 1508) by Giorgone

I don't often write about paintings here, which is strange because I actually love art and often find my way around world's museums and galleries whenever I can - made it a tradition that as a part of my sight-seeing I always check what's around, be it Netherlands, UK, Italy, Hungary or Germany (I was not lucky with Barcelona because museums are always closed on Mondays, when I was there). There is a place in Venice called "Accademia" that I have visited countless times, its full of ancient, mostly religious paintings but one stands out because it is not religious but allegorical - "La Vecchia" (Old Woman) shows unnamed elderly woman looking knowingly at us, almost cursing us with her eyes and she holds a piece of paper on which is written "col tempo" (with time) pointing at the truth that old age happens to everyone. It is fascinating painting and a strangely effective idea, but it stands out even more when viewed amongst countless happy saints and cherubs.

Venice's own Giorgio Barbarelli da Castelfranco is shadowy figure and not much is known about his life, except that he perfected so called "sfumato" (the interplay between colours and shadows) that probably impressed young Leonardo da Vinci. He surely knew Tizian and few more famous artists of his time, but only six of his paintings survived to our age. He also seems to have been interested in creating paintings that were neither portraits or religious, but told some allegorical story, like this one. I loved "Old Woman" from the very first moment and often visited her when I had time in Venice - naturally, I couldn't talk to her because of other visitors, but I winked to her. We don't know anything about artist, even less about his subjects so it is very possible that old woman was not really a person but perhaps his idea or at least impression of unnamed woman. Once I brought a friend with me (one of those occasions when I was still enthusiast enough to share my pleasure in museums with other people, I slowly stopped that habit) to show him this painting, but she was absent. I asked the reception guy where is the old woman - "Sheee is in Ameeerica" was the answer, and I was amused that old woman had seen far more of the world than her true human counterpoint ever imagined its possible.

"Game of Thrones"

Idling my way trough extended vacation, I found myself browsing trough collection of movies and TV series amassed along the way. Since years of overexposure to crime serials made me somewhat squeamish  and fed up with often used cliché where detective/policeman deals with mutilated female corpse from the very first minute (not to mention ever growing dependence on violence, blood and limbs cut up in pieces) I refused to watch those, no matter how successful or celebrated they might have been (see "Breaking bad" - here was nothing entertaining about it and I refused to watch it, after torturing myself with four episodes), I turned my attention to something I knew only vaguely.

From the very first, opening scene I watched "Game Of Thrones" with curiosity, quickly realising this HBO saga matches my beloved "Rome" inch by inch with spectacular production, fantastic costumes, great acting and breath-taking scenery. The main difference is naturally, the story itself - where "Rome" dealt with real, historical characters like Julius Caesar, Marc Anthony, Brutus and Cleopatra, this time around we are sucked in a completely fictional, quasi-medieval world with its own geography, seas, kingdoms and borders. Slightly reminiscent of "Lord Of The Rings" but without without magic (at least so far), this story has completely human characters competing for power amongst themselves in a world divided by classes very much like ancient Byzantine empire - we meet eunuch, intriguers, treacherous queens, poison-pouring servants, knight tournaments, loyal servants battling epic battles, exiled royalty, spectacular locations crowded with all sorts of people, in fact there are so many characters that I was occasionally lost in comprehending who is who and how are they connected. Perhaps the most fascinating of all is the confidence of script writers, as the story unfolds relatively slowly until at certain point the watching becomes truly compulsive and somewhere along the line I started thinking each episode was better than previous one - the fact that story usually jumps from one part of the kingdom to another made me dizzy occasionally (from the main king's capitol to the North and than across the sea just to jump back to protective walls separating the empire from still unexplained danger behind it) but it all connected somehow and each character has a logical place in all of this, so it is not something to watch with one eye, it really demands the whole attention.

Last night I had finished with a complete season one - it was so good that I actually wanted to re-watch it all over again. Everything finally came in a place and to my biggest surprise it feels like story had actually started just now, like everything that happened before was just a introduction to a real deal. There are countless interesting characters but above them all my favourite is Tyrion Lannister (real-life dwarf Peter Dinklage, who is the only actor from serial to actually win "Emmy" for his role) who is so cunning, intelligent and masterly manipulative that I truly love him and if anything happened to him I would be very unhappy. I actually have to control myself from reading Internet descriptions of future episodes - starting to watch second season right now immediately. Its one of the best TV serials I have watched so far.

The Genius of Drago Mlinarec

"A Ti se ne daj" (1971)
The startlingly moody face on the cover in fact belongs to completely harmless and sweet man who is very much beloved on Croatian music scene - important as a stepping stone in architecture of our own rock music, remembered as one of its pioneers and amongst the first original authors (as opposed to countless cover artists) Drago Mlinarec is also a somewhat of mystery, since he consciously pursued his own muse and defiantly refused to play the money game. After the first, phenomenal success of his sunny pop days with Grupa 220, Mlinarec recorded only sporadically and it seems that his albums never caught the mainstream attention again, though they absolutely deserve re-discovery and when listened again can even surprise listener with his committed vision and depth.

Take "A Ti se ne daj" from 1971. that was his first solo album, recorded with guys assembled in aftermath of break up of original Grupa 220 - Husein Hasanefendić, Ivan Piko Stančić, Nenad Zubak and Brane Živković - it is a poetic, inspired rock album (one of the very first in Croatia) that would make anybody really proud. From the musicianship to the lyrics, it is a stunningly interesting album that actually sound better with each listening, unfortunately seems that lack of hit singles firmly locked Mlinarec into ghetto of an "artist" and I doubt that wide audience cared much (or that it bothered him, to be honest). Its an open question how would his career progress had he optioned to recycle sunny 1960s sound forever and he must have been aware of this, but judging from his choices Mlinarec was too much of a original and idealist to ever consider selling out. Good for him and good for us who are re-discovering his music that sounds brilliant decades after its original release.

 "Pjesme s planine" (1972)
"Pjesme s planine" (Songs From The Mountain) is result of Drago Mlinarec's self-imposed soul searching in countryside - under all those rock guitars and prog rock sidesteps, in its heart it is a gentle acoustic folk album with some masterful musicianship involved (courtesy of Srećko Zubak and Jadranko Budić, new guys in the team) and even extended solo passages here don't sound like just pure young punks show off, but are actually fascinating and yes, uncompromising. Sure, the sound of Hammond organ places it all squarely into its time but the music is timeless and singers enthusiasm truly intoxicating. Mlinarec might not have been the most virtuosic of singers and his vocal range is fairly limited, though it makes no difference here - it makes his songs instantly recognisable and guys behind him are excellent. The 11 minute finale "Dijete zvijezda" (which is mostly instrumental) is so mind-boggling that I feel equally excited and embarrassed that it took me so long to actually look this masterpiece up. This guy was such a visionary that he deserve a monument.

"Rođenje" (1975)
As introductory thunderstorm smoothly sails into 13 minute "Beautiful Helen And Me Out In The Rain", "Rođenje" unfolds upon amazed listener with dizzying palette of colours - courtesy of some jazz cats involved this time (Neven Frangeš on piano) Drago Mlinarec goes off like a kite even higher, following his muse and taking us along with him. The sound is only slightly changed this time around, with less rock guitars and more accent on jazz fusion but Mlinarec is too much of softy to completely leave acoustic folk behind, so we are served with some dreamy numbers ("Pjesma o djetinstvu", "Pjesma povratnika") while biggest surprise comes from pen of few centuries old Croatian poet Hanibal Lucić (lovely "Jur nijedna na svit vila" sung in ancient accent), I mean how uncommercial can you get? When you think it can't get any better than this, finale is completely instrumental - either I am drinking too much coffee or this is really amazing. Yes, I often wonder off into schmaltzy schlager-land but I know genius when I hear one. What an artist, what a musician. If I see Drago Mlinarec on the street somewhere I will probably behave like a lunatic now. He just got himself a new fan.

"Vanity Fair" (2004) by Mira Nair

Solid movie adaptation of Thackeray's novel, thought I believe some liberties were taken here because I can't imagine king's entertainment being described as ribald as this one.

Nair does a good job of following melodramatic story about young, pretty and ambitious orphan girl rise in the society. No amount of wealth, however, can sidestep the burning question of restrictions set by proper bloodline, so naturally there are enough complications to fill a long TV saga. My initial amusement was slowly replaced with gnawing feeling that this is another "Gone With The Wind" never ending story, where heroine is not exactly likable and guys are goodies. Reese Witherspoon is just fine, though way too modern for a period piece. Rhys Ifans is Rhett Butler here and since nature of his character is far more understandable (gambler with a golden heart) he gets our attention far better. Jonathan Rhys-Meyers is surprisingly effective as movie's true villain, while Bob Hoskins, Jim Broadbent and Eileen Atkins steal the show in supporting roles. It was very entertaining up to certain point, than slowly started to feel overlong.

The Incredible Shrinking Woman (1981) by Joel Schumacher

Not-so-funny satire of American compulsive consumerism society, based partially on Jack Arnold classic 1957. movie, with several scenes knowingly re-acted completely close to original.

Instead of Grant Williams, here we have Lily Tomlin as everyday housewife slaving for her family and shrinking away, to the delight of media hungry for sensations. Besides being more or less ignored by her family, used that Tomlin simply have to take care of them, she has other serious threats that don't involve cats and spiders but something far more dangerous - humans.
Along with quite inane plot, everything is exaggerated: this is not a kind, loving family but a bunch of spoiled brats throwing tantrums, husband and his colleagues are more concerned with profit, Mexican maid is non stop dancing and even neighbors are more concerned about giving interviews than actually giving Tomlin support. Any normal person would pack her bags long ago and run away, but Tomlin - being good wife and self-sacrificing mother - totters on, even as her steps became smaller and smaller. It sounded as a good idea on the paper but is not really funny, perhaps because main character is simply not likable enough - Tomlin is great comedian when given chance to be wicked but as a perpetually serving housewife she is simply annoying (only once, she appears as rude telephone operator "Ernestine" and that minute lightens up the screen).
Perhaps great fun for teenagers who delight in obvious jokes but not particularly involving as movie experience and sadly, very far from thrill of 1957. original.

Miki Jevremović

"Samson" (1962)

When listening to these early 1960s recordings, one would easily assume that people listened children's songs back than - everything sounded so peppy, happy and cheerful - which is probably the reason why I enjoy digging trough this music archaeology so much, because it reflects certain youthful enthusiasm and spark that was the main motivation behind these recordings, even when results were occasionally clumsy, they had beauty of the first bloom, energy and honesty - this is why I love recordings from 1955-1965 because it seems to me those were golden years of pop music in Ex Yu: those first steps in the recording studios were made not from financial calculation but from true, honest joy of music and the hearts of those young people were full of pride of having accomplished a record that might be played on the radio. The climate slowly changed later and motivation for this business changed as well.

Take young Miki Jevremović who did not take himself seriously as a singer. Yes, he had a pleasant, young voice and was probably a jewel that needed polishing and a guidance, but he was actually a student back than and music was just a hobby - so much, that he wouldn't even take payment for his first gigs because he had his college stipend and it didn't feel right to take money for something so enjoyable as singing. This, his first recording, came as result of Zagreb's recording company "Jugoton" initiative - they had snatched him out of Belgrade's PGP RTB contract (promises that had not materialised up to this point) and gave young singer a chance for a showcase. It was all covers, naturally, as original material was rare and two of the lyrics were written by Jevremović himself. Interesting point here is that on one song lyrics were written by a guy later built in media as his main competitor - in fact, Đorđe Marjanović always was and still is a dear friend.

"San Remo 1964"

The fashion for all things Italian in the early 1960s did not cover just clothes and vespa, but movies and music as well - so much that it was not unusual for local singers to record hits from famous San Remo festivals in cover versions. Here young Miki Jevremović gives his best shot at emoting trough Italian originals performed that year and does decent job with songs by Domenico Modugno, Pino Donaggio and others. These were of course only first steps and searching for a right music identity - like with many other singers of his generation, Jevremović will eventually find his voice once he matured and finds a right support in home-grown songwriters.

"18 Žutih ruža" (1964)

First really big hit for Miki Jevremović - still covers of international hits, as everybody did back than - for Bobby Darin he wrote lyrics himself and it paid off handsomely, with a sales above 200 000 (not bad for a country that officially did not have so many record players!) and established him as a hit signer of the first order. For the most of the songs here, Jevremović was backed by a beat band "Zlatni dečaci" (Golden boys) and on the finale he got himself a nice treat, vocal quartet (Vokalni kvartet Predraga Ivanovića) that fitted him like a glove - this fabulous jazz quartet was often used for pop recordings and perhaps its a pity that they did not steer young singer in swing direction, because at this point he was capable of singing absolutely everything. His early recordings are still fresh and very interesting as they caught him in the first flush of the youthful enthusiasm that was later naturally replaced with different perspective and he metamorphosed into completely different artist.

"Ja želim samo malo mira" (1973)

It is a perhaps little it forgotten now that at the dawn of 1970s Miki Jevremović was amongst the most popular singers in the country - and beyond, as phenomenally successful tours in Soviet Union attested. He sailed trough 1960s with ease, quickly learning to give the audience what they wanted - and they wanted the tears, pathos, sentimental melodramas about divorced parents and motherless children, unrequited loves and all sorts of heartbreak. It is easy to be cynical about this from today's perspective but check almost any singles from that time and you'll find the similar stories, this was played on the radio and tug at people's heartstrings. I honestly don't think Jevremović was calculating or dishonest in all of this - he had a good, strong, heroic tenor voice and burned in his performances with passion that showed that he believed in this material. 

For his first LP album, he got royal treatment from Zagreb's "Jugoton" recording company that provided him with quite impressive team of songwriters: no less than Stjepan Mihaljinec, Zdenko Runjić, Arsen Dedić and Kemal Monteno were invited to provide king of heartbreak with tailored material (Monteno outshines them all, he seems incapable of writing anything less than first-rate) though title song goes to young composer Boris Bizetić who would later write many more hits for Jevremović. There are some good lyrics writers involved as well, perhaps not really necessary since singer could easily write lyric himself ("Neću više da se sećam"). It is surprisingly solid album and when judged with than-current recordings of early 1970s, this was surely one of the strongest mainstream pop releases around.

"Miki" (1974)
In the early 1970s, as local market finally opened to LP format, there was a strong competition between two major recording companies - both Zagreb's "Jugoton" and Belgrade's PGP RTB had a list of exclusive artists, but they also had archive recordings worth re-issuing, so where "Jugoton" published albums with new material, PGP RTB matched them simultaneously with compilation albums of the very same artists. If "Jugoton" now had Arsen Dedić, Gabi Novak and Tereza Kesovija, PGP RTB promptly came out with LP compilations of their earlier singles recorded during previous decade.

Than-current king of heartbreak, Miki Jevremović was very successful at "Jugoton" so it was just a matter of time when PGP RTB will answer with their LP compilation: there is absolutely nothing wrong with this album, except that artist had matured and changed his sound in the meantime. As a fond glance backwards, it works just fine, showing younger, gentler and softer side of Jevremović during 1960s when he was a golden boy of pop and covering foreign hits like "Sealed With A Kiss", "Nature Boy" and "Tell Me What He Said". The music is sweetly nostalgic (even at this point) and young singer in the first bloom of his youth very appealing and versatile. Hodgepodge nature of this compilation unfortunately avoids chronological order of recording- apparently nobody thought about this - otherwise it would be a perfect portrait of Jevremović during 1960s.

"Gubim Te" (1974)

This was probably singer's most famous long play album with many of his hits re-recorded again and peppered with new, strong songs by young composer Boris Bizetić - as a kid I couldn't care less for Miki Jevremović and his generation (it was a music of my parents) but now from different perspective I can easily hear why he was such a big deal at that time - excellent singer and emotional performer, Jevremović was a true star with a fine voice and his songs (judged in time frame of what was accepted and loved back than) were appealing mix of sentimental pop ballads and professional musicianship. No less than maestro Stjepan Mihaljinec and lyrics writer Drago Britvić were involved here, though greek sound of "Pijem" unwittingly pointed at gimmick that will be repeated in the future. Jevremović had a very strong mainstream appeal and was breaking all the records with his live performances and record sales, contrary to what I thought as a kid this album was very interesting re-discovery now - and to my biggest surprise I remembered most of the words since it  was the only album that my father ever cared to purchase for himself. Not only that songs by Boris Bizetić were good, but the cover of The Righteous Brothers was just fine. Makes one wish Jevremović recorded more of blue-eyed soul instead of Greek melodies that unfortunately audience craved for.

"Idemo dalje srce..." (1975)
Re-visiting and reassessing decades old pop recordings can be surprisingly gratifying experience, providing that listener has some knowledge of than-current atmosphere and circumstances. When scratching under the surface of anything that was trendy, fashionable or "cool", one might stumble upon solid work that had its appeal and followers in spite of not being specially groundbreaking. Take Miki Jevremović who was in his mid-30es at the time of this release and comfortably settled in life of tours, festivals and TV shows. Younger critics with no idea of music scene back than might easily dismiss him for his mainstream success because he was not doing anything weird or progressive, but they would miss the point completely - he was adult signer doing adult pop music for now slightly older audiences and his choice of songwriters and material was darn impeccable.
If anything, it seems that this album was even better than his previous and better care taken in not just assembling right repertoire but presenting his music identity of gentle bohemian perpetually losing the game with love.

This time around, Boris Bizetić is absent but we have Kornelije Kovač, Arsen Dedić, Stjepan Mihaljinec and Kemal Monteno so the music is solid, adult pop with thoughtful lyrics and nice hint of blue-eyed soul (Vojkan Borisavljević, who also did same wonders on albums by Leo Martin). For everyone familiar with singers big hits with Greek sound, this ultra-modern, funky dance beats come as a big surprise and he was clearly overjoyed to sink his teeth in this kind of material - just check "Ti i ja" where Jevremović whoops with pleasure. The highlight, however, must be "Uzmi sva moja sutra" that starts with acoustic guitar and suddenly descents into soul and I am almost 99% sure that "black voice" in the background towards the end of the song belongs to Boba Stefanović. Everybody who thinks that Miki Jevremović today is just another rusty oldie, should hear this album recorded at the time when he was at the peak of his creativity and powers.



Crni kofer i gitara (1977)
Though he often collaborated with famous composers (notably Boris Bizetić, Stjepan Mihaljinec, Arsen Dedić and Kemal Monteno) Jevremović was more than capable of holding his own when it came to songwriting, in fact some of his biggest hits were self-penned as huge sales and festival awards attested. Even as a young debutant on Opatija '62 he already performed his own song and trough 1960s he occasionally wrote either music or lyrics for his singles. Of course, the biggest sensation was his 1967. smash "Pijem" from festival "Pesma leta '67" that not only made singer a true national superstar but raised a huge media excitement about alleged similarity with song by Greek composer Georgios Zambetas (unfortunately for journalists, Zambetas became a good friend and godfather to singer's son).

With so many own, original material under his belt its just wonder that Jevremović waited so long to record a complete self-composed album. When he came around this idea in 1977. majority of songs were already well known, so he just re-recorded them and added five new titles that surprisingly sound equally strong when compared to previous hits: "Premlada si" for example could easily pass as anything tailored by Kemal Monteno, while "Nema te" shows that Jevremović had a complete understanding of what makes a hit. Every single song here is completely written by singer (both lyrics and music) and various arrangers helped (Kornelije Kovač just one of them).

"The Incredible Shrinking Man" by Jack Arnold (1957)

Ah, the innocent Sunday afternoons of my childhood and joys of black & white TV (no remote control back than, one actually had to stand up and push the button to change the channels). I must have been quite young and impressionable since this movie had stayed with me ever since, along with "Tarantula" and "Creature From Black Lagoon" - thrilling without gore, fascinating in a weird way, this is a wet dream for any nine year old.

The story is a classic today - a man accidentally passes trough radio-active cloud (or is it the other way around?) and as a result starts to shrink. At first just discreetly, than becomes newspaper sensation, goes to children's size and continues getting smaller and even smaller. At this point the story goes truly fascinating because he is suddenly in all sorts of danger. If as a kid I was probably gaping watching normally sedate kitten harassing Grant Williams, now as a grown up man I truly squirmed watching his fight with darn spider. Sure, the movie is an old classic and time had long eclipsed those special effects, but this is what it gives this special warmth and charm. One does not approach movie like "The Incredible Shrinking Man" in search for depth or a life philosophy (although there IS quite philosophical finale, which completely went over my head as a kid since I must have been too excited about the cat and spider), this is a pure, good-natured classic entertainment and I guarantee that once the story gets going, any kid would be glued to the screen. And if you still treasure the kid inside, chances are you might enjoy it again.

"Cloud Atlas" by Directed by Lana Wachowski, Andy Wachowski and Tom Tykwer (2012)

Slightly confusing but still enthralling movie that invites second viewing, this long semi-SF saga has feeling of too many chefs cooking one dish.
Its perhaps just a little bit too ambitious for its own sake (three directors, countless movie actors playing various roles in different eras) and a idea of jumping from one chapter into another without really explaining what they have in common might be off-puting for audience used to follow linear story - be warned, there is not much of narrative continuity and one can find himself utterly confused with all these unconnected stories (or find them connected, I did not) however there is a very endearing enthusiasm and energy of everybody involved, which lifts it above criticism. Most of all, the whole fact that directors dared to play with such loose ideas and avoid usual clichés of start-middle-happy end in itself is perhaps commendable. Still, as much as I find myself enjoying it, must admit that TV serial might have been a better idea.

Actors galore - Halle Berry, Jim Sturges and Doona Bae got the best parts.
Now I really need to read the novel.

Zdenka Kovačiček

"Zdenka Kovačićek"(1978)
Zdenka Kovačićek is a Croatian rock veteran with surprisingly slim body of work behind her - seems that lifetime was spend singing backing vocals for everybody else and not much luck as solo artist. First heard in early 1960s amongst than-strong first wave of festival performers (Zagreb '63) Kovačićek pursued international touring and missed the whole rock explosion on local stage, just to return in early 1970s and find herself in high demand as a backing vocalist. Recognized for her strong, powerful and unusual voice, she was sought after in studio work but rarely was this favor returned.

This, her first LP album (actually compilation of odds and ends from various recording sessions and collaborations) shows why her career suffered so long - when they needed strong backing vocal, composers knew who to call, but rarely bothered to write a good song for her. One would expect that names like Vlado Delač, Igor Savin, Vanja Lisak and Kornelije Kovač would be guarantee for all-star songbook but it didn't end up this way. Even Goran Bregović came up with only half-baked number that might have been much better had he just given it more time and attention, instead of writing it on paper napkin. On the other hand, Tihomir Pop Asanović is just fine but song suffers from inane lyrics. Usually dependable Ivica Krajač didn't really give his best and the only good song is the one written by Maja Perfiljeva ("Neću da znam") but this is not enough to lift the album above average. Kovačićek deserved a strong guiding hand, producer or manager who would find her a top material, unfortunately seems that she was left on her own and graced other people's albums for too long. Seems like all-star musicians summit of 1970s  but in reality they kept good songs for themselves.

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"Frka" (1982)

Zdenka Kovačiček caught theatre bug early in life and though her music career took her around the world stages, she never truly abandoned theatre - no wonder that hanging around actors, directors and playwrights she got introduced to a tiny book of poetry by Slavica Maras (sister of famous actress Nela Eržišnik) titled "Konstatacije jedne mačke" ("Musings of a foxy lady") with its quirky, witty and occasionally humorous love songs written from a perspective of a urban chick. I had this book long ago and remember being amused with its unusual verses and off-the-wall perspective, not to mention the titles ("I Dreamed That I Was A Tulip", "I Love You Like A Little Horse", etc).

Recorded somewhere between Kovačiček's 1970s prog-rock phase and 1990s jazz standards gigs, this album was built around kooky, unusual poetry and set to music by Kire Mitrev who was a fine composer indeed - he was leader of his own band (Kim band) that pursued pulsating, horn-driven funk and intriguing vocal harmonies. Instantly recognizable Mitrev's music signature was tailored here for Kovačiček's powerful voice, thought recording company sabotaged it with absolutely no advertisements or any support whatsoever - it languished on shelves, too eccentric for mainstream audience and its lyrics perhaps too unusual for people used to standard commercial tearjerkers. Kovačiček herself promoted one of the songs - lovely, funky "The Fuss" - on 1981. Zagreb festival and though the song got some radio play, it was too odd and unusual along other cutesy numbers performed that year. (I remember there was a slight controversy about some lyrics that had to be changed - word "ass" was not allowed imagine that.)

Update 2018:
New pop band Nipplepeople covered "Frka" and it turned into big hit, this time with previously erased word in it. It actually sound quite good but for the life of me I don't understand what ass has to do with anything (what's ass has to do, has to do with it, to paraphrase Tina Turner) - naturally it gave some media attention to original singer who seems genuinely surprised that her previously ignored project now found the new audience. Belatedly, the album has found its way to clubs, several decades after its original release, which must be very gratifying to this often neglected artist who spent the lifetime in the backing vocal chorus.

"Zdenka Kovačićek" (1998)
As opposite to so many other colleagues of her generation who pursued pop festival long after they went out of fashion, Zdenka Kovačićek got herself some strong credibility based on excursions in rock and jazz genre - she could fall easily into trap like almost everybody who performed on Zagreb festival where she debut decades ago, but Kovačićek dived bravely into mid-1970s rock/jazz fusion even when this never paid back commercially. Recognised as outstanding vocalist, she was often heard singing backing vocals to everybody though mainstream audience usually ignored her and just like her male mirror image Dado Topić she became name known only to music connoisseurs, once promising strong voice that never really bursted into front line and had no hits.

After the political turmoil that finally separated Ex Yugoslavia completely and drove neighbours apart, music market in Croatia was (at least initially) suddenly very small and doors were open to some long-forgotten artists. Without attempt to sound cynical here, I must point that Kovačićek was mainly completely ignored for quite some time and occasional Jazz gigs seemed to be her destiny - they also kept her vital and fresh vocally, so when opportunity finally knocked at her door, she was not some rusty has-been but still forceful singer with a recognisable voice, ready to expertly sing circles around any of new kids. The renaissance slowly started in early 1990s when Kovačićek was one of the many performers singing in a concert tribute to Karlo Metikoš - this live album titled "Ritam kiše" was released in 1994. and got an unexpected media attention and "Porin" nomination for singer of the year to surprised Kovačićek (I was on that concert and can recall how thrilling her performance was).

With all the media attention, audience finally seemed to embrace now 50+ singer who accepted collaboration with young composer (than in his early twenties) Marko Tomasović and this resulted in three albums that completely rejuvenated veteran artist and got her played on top charts, invited on TV shows and interviewed in the magazines. This, their first album together was fairly generic and nondescript when compared to what followed, but it must be said that Kovačićek never had melodies or lyrics carefully assembled like here - this was the very first time she got actually good material to sing and one of these titles ("Žena za sva vremena") became her best-known song. Personal favourite is "Želim samo malo biti voljena" with beautiful lyrics - so many times earlier Kovačićek was whizzing trough octaves and here she simply got herself a nice ballad for a change. Having a fresh, young team around her made a huge difference.

The Complete Motown Singles: Volume 1 (1959-1961)

I am child of vinyl era so my concentration usually wonders off if album goes more than 30-45 minutes. When I was growing up, double vinyl LPs were actually more that I wished for, now with CD format it goes on forever and it looks like music is selling by its weight. When it comes to CD boxes, I am usually slightly worried to approach one, because though I can't resist them (and I have several) I know deep inside that this is far more than I actually want to listen.

This introduction to "Complete Motown Singles" with its six CDs is however something I can hardly resist - its not for casual listeners wanting only biggest hits, since it goes deep into vaults and unearths odds & ends, absolutely every single recording this than-young recording company (along with its subsidiaries) had released in its search for a hit, many experiments in various genres (not necessarily what we later learnt to associate with Motown sound), occasional jump onto band waggon, copy of than-current hits and even cannibalism of their own recorded material, answer songs, you name it.

Of course, this was all brainchild of one man - Barry Gordy - just imagine, there would be no Motown, no music, no hits, no soundtrack of several generations, no Temptations and countless others, had it not been for this one man who masterminded it all. As we know, Gordy had a records shop first where he tried to sell Jazz and it didn't work out - from there, he moved into commercial market, listening what is popular and successful on the charts and this first volume of Motown's collected singles gives some idea what the pop music was like back than - at first we got all sorts of music genres, from 1950s style rock, doo wop, surf, gospel and even country and even novelties, but than Smokey Robinson comes along and something magic started to happen. From the very first note of "Bad girl" when that angelic voice soars, Gordy must have said to himself "oh-oh wait a minute", it really started it all.

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Long awaited and welcomed with euphoria, these "complete singles collection" of Motown might surprise casual fans looking for more hidden gems - variety of music styles, experiments and shots in the dark are equally dazzling, staggering and initially confusing for those wanting more of Holland-Dozier-Holland stuff: each CD with roughly 26-27 songs brings only one hit single nested along with lesser tracks by artists who never really made it. What this collection does very effectively is to show what a celebration was when gold was struck - when halfway trough CD1 we finally hear Barrett Strong, its like an earthquake, his "Money (That's What I Want)" thunders like a locomotive and each of now-familiar Motown hits have the same effect when heard in the company of close relatives. Personally I find this collection slightly exhausting but very thrilling and exciting because of its variety.

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