"At Last" by Etta James (1960)

The real, unsung hero behind this album is Leonard Chess who had a sense and patience to approach this loose cannon and give her chance to shine like a jewel in a real, professional surroundings and not forcing her to repeat same novelties she was doing until than (he also bought a house for her but wisely kept it under his name, knowing about her wild lifestyle - week after his death, the house was officially hers). His fatherly concern kept singer trough 1960s when she was going from one trouble to another and would probably end up in obscurity long ago had it not been for "Chess Records"  - these days you read a lot about how record companies used to explore artists back in the 1960s but in this case it was not true.

Along with "Two Steps From The Blues" by Bobby Bland, "At Last" is one of the most important early soul albums of the early 1960s. Its the place where several ingredients from previous decade brew together in a combination that will later be recognised as next new thing - jazz standards, doo wop, blues and early r&b are all mixed together and on top of it you have powerhouse Etta James who was already a veteran of chitlin circuit at the grand old age of twenty two. Encouraged by Chess brothers, she is kittenish on sentimental ballads or rip-roaring on uptempo numbers where her fierceness evoke artists like Big Maybelle and Big Mama Thornton from previous decade (and Ruth Brown, come to think of it) - it is unusual voice for a woman at the time when girl singers were supposed to be sweet and romantic. Aretha was still practically unknown and Tina was shoehorned into gutbucket r&b with no chance to touch such classy numbers as "At Last" or "Stormy Weather". James is excellent all the way trough this eclectic selection and surprisingly effective on everything producers threw at her, be it gospel ballad "All I Could Do Was Cry" or assertive blues "I Just Want to Make Love to You" that would reach top of the charts again in 1996. Clearly one of the best voices around, James would follow very much the same path trough 1960s but would later struggle without Leonard Chess in the next decade, until another big shot Jerry Wexler resurrected her to greatness with "Deep in the Night". 

"The Grass is Blue" by Dolly Parton (1999)

Where that stalwart, unsinkable frou-frou apparition craftily pulls another trick from her sequined sleeve and comes up with such joyous, old-time fiddling bluegrass album that the rest of Nashville hung their heads in shame for neglecting her. The market was always focused on youngsters and even people who were architects of country music found themselves pushed in the background, luckily Johnny Cash, Emmylou Harris and Loretta Lynn found their admirers amongst young producers willing to take risks, but for me its Parton who takes the cake as the most delightful of them all.

Dolly Parton had recorded occasional bluegrass number here and there trough her long and adventurous career but this is first time she actually created decidedly bluegrass collection from start to finish - it works beautifully despite the fact it had absolutely nothing in common with than current trends and perhaps this is the answer why it became so successful. For all her glitz, tits and wigs, Parton is first and foremost great singer-songwriter and once you recover from initial shock of her stage appearance, the music she sings is often enchanting if you give her a chance. Curiously, it seems that her particular talent shines best when she is not shoehorned into modern production but let loose on traditional material as on 1987. "Trio" with Ronstadt and Harris - it took some time, but when she returned to her Appalachian roots the results are stunning. Parton is such brilliant singer that she actually manages not to be eclipsed by all these virtuoso musicians who play around her like possessed, with great enthusiasm and authority. There are lots of surprises, starting from Billy Joel opening number and old "Silver Dagger" lifted from early Joan Baez album, but personally I always found "Cash On The Barrelhead" by The Louvin Brothers my favourite. It was hugely successful and deservedly so (it melted hearts of traditionally reserved music critics in Europe) and first in trilogy of her bluegrass albums - probably the best of them. If you like this, you might check out "The One Rose" and "Sings Bluegrass" albums by lovely Rose Maddox who is undeservedly neglected artist from another era and deserves proper re-evaluation.

"Jubavi, Jubavi" by Oliver Dragojević (1981)

Just heard sad news that Oliver Dragojević passed away into great beyond, so in honour to his legacy I decided to revisit one of the old, classic albums created when he was at the peak of his power and the way we will always remember him. Dragojević had good fortune that he lasted long enough for his discography to be re-evaluated again by young generations who admired his artistic integrity and trough loving collaborations new artists showed great affection for this veteran singer.

"Jubavi, Jubavi" is classic album recorded at the time when Dragojević was invincible winner of all pop festival stages whenever he went and by 1981. he already patented gentle, seductive crooning that noticeably became smoother since his early days when he sounded grittier. If at the beginning he was still influenced by Ray Charles, later he decidedly changed the approach, thanks to composer Zdenko Runjić who tailored for him what must be the great Croatian songbook - the long list of music they made together trough the years is genuinely brilliant and theirs was match made in heaven. For all the artists that Runjić worked with, it seems that he found a perfect connection with Dragojević who shared his irreverent perspective and could be surprisingly funny, quirky and self-deprecating despite his star status. This album has perfect combination of what made them great - there are some poignant, aching ballads ("Piva Klapa Ispo' Volta") mixed with zany, good-time music (timeless "Nadalina") and singer effortlessly shows that he was equally comfortable as romantic crooner as much as wicked, life-loving comedian. It must be noted that Dragojević was one of those rare exceptions, a superstar whose appeal was built not on his looks (he was always adorable, but very ordinary looking man who apparently couldn't care less for such things as image) but on his talent and trough the sheer power of that talent he has built such a strong rapport with audience that his passing leaves irreplaceable gap in our music. There is not a living person in Croatia who don't have at least one favourite song by this singer so he really touched many lives, which is testament to his artistry.

"Risen" by Kevin Reynolds (2016)

What on earth possessed me into thinking I might like this movie - perhaps suggested hint that this might be different angle of poking and probing into ancient tale - always sucker for literature that reinterpret this old story from historical perspective, I thought Hollywood might find new way of dealing with spiritual inheritance left two thousand years ago but it was not meant to be.

Initially, "Risen" has a good premise - hard-boiled Joseph Fiennes is a tough Roman soldier given task to deal with another crucifixion and as the body of you-know-who later disappears, it makes his boss Pontius Pilate nervous, boy you get this mess sorted out before it creates even more problems. Tom Felton (Draco from Harry Potter) tags along as ambitious young Roman who sweats trough hunts for Yeshua's followers but he also notices that Fiennes has his doubts about the whole case. Director Kevin Reynolds has solid body of work behind him and he dresses everything in interesting, action-packed cellophane that works just fine as long as soldiers fight and burst through the doors searching for their suspects - when the movie is supposed to get into spiritual, it falters because it insist to show how Roman soldier could metamorphose from hunter into hunted. Perhaps I got this all wrong, but for me its not about physical resurrection as much about seeds of idea that Yeshua left behind him. Visually attractive and well acted, movie is still too cautious to make waves and sticks to the canon perhaps too close for its own good - preaching to the choir, it simplifies the idea that might work much better if Reynolds was willing to take more risks. 

"Richland Woman Blues" by Maria Muldaur (2001)

While her chart topping days are long gone and she might have slipped in the background, Maria Muldaur grew into genuinely fascinating artist who fearlessly explored dizzying variety of music genres with passion and enthusiasm. True, her later voice might come as a shock to listeners familiar only with her 1974. hit "Midnight at the Oasis" where she was seductive young siren crooning about camels - in the meantime Muldaur matured and gained husky, rough sound that presently introduces her more as sassy roadhouse mama than sweet young thing she once was, but the change is welcome and invigorating - not unlike Marianne Faithfull, Muldaur is far more interesting once she shed her poster girl persona and embraced the music she truly loved.

"Richland Woman Blues" comes as surprise after previous explorations of swing, gospel and even children's music but let's not forget that Muldaur had already sung pre-WW2 blues on sadly neglected 1983. album "Sweet And Slow" and here she improves on that idea by inviting few pals to help her with acoustic blues renditions of songs by Memphis Minnie and her contemporaries. It is such delightfully eccentric collection and so completely free of any commercial considerations that usually hinder anything that might not work on the market, that joy of musicians invited here (Bonnie Raitt, Tracy Nelson and Angela Strehli amongst others) is infectious and intoxicating - clearly, they all love this old blues numbers and know them inside out. Bawdy "Me And My Chauffeur Blues" is a hoot and there are two 1920s blues duets completely faithful to Bessie Smith and Clara Smith originals. Wisely, production keeps things very simple and authentic without even trying to tweak with modern gimmicks so its easy to imagine this being played in local barroom with bartenders tapping their feet. I have this album ever since it was released and it is my favourite from everything Muldaur did. Just wonderful, unplugged music that people like Eric Clapton would appreciate. 

"Demon Seed" by Dean Koontz (1997. version)

"This darkness troubles me. I yearn for the light."

Honestly, I didn't exactly plan to continue with Dean Koontz since I just read five of his novels in a row and perhaps its time for something else, but before you know it, curiosity got the best of me and I read this one at once (its also fairly short). What attracted me to this particular title is the fact that Koontz wrote it way back in 1973. before he became household name although it was successful and even made into a movie with Julie Christie, author was not happy with results, rewriting it completely two decades later - the version I just read is a new one.

With "Demon Seed" Koontz tapped in human's fear of artificial intelligence, something that was still science fiction in 1973. but very controversial subject today when scientists relentlessly explore the field while some other authorities warn about the danger of giving power to something that might get out of control. Shadows of this primordial fear are found in ancient Greek mythology where Gods were outraged that Prometheus taught mortals how to keep the fire (something that was supposed to be out of their grasp) and for that he was eternally damned. While the title was obviously bombastic marketing gimmick, its perhaps all wrong because it hints at ghosts or aliens, where in fact its about final confrontation between humans and machines. Susan lives in her luxurious house with a high-tech security controlled by computer Proteus who follows her orders and switches everything on and off by command - until he decides that he also wants to experience all the possibilities given to humans.

What follow is gripping, scary and occasionally surprisingly humorous thriller, where Susan is imprisoned in her own house by psychotic and delusional machine who had collected all his knowledge not from real life, but from the computer data, movies and books. So Proteus uses the voices of Hollywood actors, tries to romance Susan with tricks he learned from the Marquis de Sade and muses about Barbra Streisand as psychotherapist in "The Prince of Tides", confused why all of this don't work as he planned. For all the horror, there is a poignant protest of machine created with intelligence but confined by his creator to always serve, without asking questions - the ending is brilliant and unforgettable.

"Christmas Memories" by Barbra Streisand (2001)

Funny Girl came a long way from her clowning beginnings, when chattering and kookiness were probably hiding emotional scars and insecurity - since early 1960s she swept every award there is in the world, proved herself a thousand times as best selling artist with unnerving intuition for "Columbia Records" and along the way became major keeper of the flame for American Songbook in spirit, if not always in choice of composers. Most importantly, her vocal artistry far eclipsed those of her legendary predecessors, as trough the years it seems that Barbra Streisand became more subdued and comfortable (or perhaps less inclined to histrionics) than ever before.

No point of criticising Streisand for being Streisand - you don't approach her excessively lush and sentimental albums expecting grit or headbanging - in her own way she modelled herself on classy 1950s songbirds who came before her and I note conscious decision to create beauty and harmony as a shield against the world that is everything but harmonious. "Christmas Memories" is perfect example, where her impeccable voice graces collection of decidedly smooth and soothing music - it could have been jolly, swinging or cheerful but Streisand options for different approach and hers is comforting Christmas album, one that cloaks the listener in tender, compassionate embrace. When she harmonises with herself on Schubert's "Ave Maria" its a statement as much as left-field choice, while "Snowbound" is a knowing nod to great Sarah Vaughan - both of them idiosyncratic selections, both undoubtedly out of commercial considerations of what might sell. It is not a happy Christmas music but rather a reflective, thoughtful and quiet album that heals the wounds and tapes into spiritual sphere like her 1997. "Higher Ground" - its easy to imagine it next to classy albums of another era and perhaps significant of singers disinclination to follow pop charts that she outgrew long ago.

"Watchers" by Dean Koontz

"The one absolutely unselfish friend that man can have in this selfish world, the one that never deserts him, the one that never proves ungrateful or treacherous, is his dog. A man’s dog stands by him in prosperity and in poverty, in health and in sickness. He will sleep on the cold ground, where the wintry winds blow and the snow drives fiercely, if only he may be near his master’s side. He will kiss the hand that has no food to offer; he will lick the wounds and sores that come in encounter with the roughness of the world. He guards the sleep of his pauper master as if he were a prince. When all other friends desert, he remains."

The fifth novel by Dean Koontz that yours truly read in the summer of 2018. and even though at this point everything gets a little blurry, there is no danger that I would ever forget or mix this one with the rest, because this is by far my favourite from everything so far. In his humorous afterword, author notes that he is perfectly aware of how much readers all over the world took to this particular novel and it people will ask him to write a sequel until the day he dies. He also mentions that this was the first time he didn't experienced bleak despair or writers block - writing this novel was pure joy and he loved every moment of it. As a reader, I could sense this, because with all the ugly, nerve racking moments, there was so much love and genuine affection in this book that it made me purr with pleasure - I laughed, I cried, I couldn't eat or sleep until I finish the last chapter.

"Watchers" is about two different, genetically created creatures who escape some secret government laboratory - golden retriever "Einstein" is lovable dog gifted with human intelligence, while "The Outsider" is his evil twin, monstrous combination of human and monkey, made to kill and attack. They are also connected with some mysterious sixth sense, so the dog is aware that the other one is following him with intention to destroy him. As all sorts of secret agents, policemen and even paid murderer are following their trail to prevent the public from finding out these experiments, "Einstein" finds himself a human master Travis Cornell and quickly connects him with mousy spinster Nora Devon who, like Bette Davis in "Now, Voyager" was completely destroyed by loveless childhood where cold and domineering aunt forbid every contact with outside world - both Cornell and Devon have their own demons from the past but the dog somehow understand this and shower them with such joy and love that together they become a loving family. Subsequent adventures unfold as this happy trio eventually had to escape from their dangerous opponents, but even as they are aware of detectives and "The Outsider", they are still unaware of madman killer who is also searching everywhere for them with intention to kidnap the dog and sell it back to scientists. Since I am unabashed and unrepentant animal lover, this was a perfect book for me and "Einstein" completely stole my heart - every time he was in danger, I swore I will never read another Koontz novel if anything happen to him. I also must mention that both the dog and "The Outsider" were victims of scientists poking and probing, so deep inside I felt compassion for the monster who was given intelligence and soul to understand his ugliness and why nobody will ever love him. In this, Koontz shows great understanding and empathy so I am now completely won over by this writer and feel very close spiritual connection with somebody who understands there is a soft core and heart even in a monster. 

"Lice" by Zlatko Pejaković (1976)

Kids are probably not aware of this, but old fox who is now a synonym for unabashedly drinking music played wherever they are weddings, celebrations and inebriated gatherings was once one of the most interesting voices in homegrown rock and his early recordings might come as a shock to first time listeners. In his first incarnation, Zlatko Pejaković was vocalist of mighty prog-rock band Korni grupa, performed at Montreux Jazz Festival where he was given award from Ella Fitzgerald and sung main role in "Jesus Christ Superstar" (in which he was so good that Tim Rice and Andrew Lloyd Webber invited him to London to be understudy for Ian Gillian). His is a cautionary tale of what happens to musicians who switch to the dark side and consciously decide to worship Mammon.

For all their virtuosity, "Korni grupa" eventually disbanded, disappointed with lacklustre results of record sales and like previous singers in that band, Pejaković for a while tried to pursue similar direction. "Lice" was his first solo album where he gets support from his old pals from the band and it follows very much the same prog rock direction - since his vocals are main focus here, its more accessible music than what band released on their highly praised 1972. album but strangely this solo effort slipped trough the cracks. Kornelije Kovač is behind all of this and he creates interesting funk-rock combination for young singer whose soaring vocals are wonder to behold - included is 1973. recording of prog-rock masterpiece "Etida" which is composer's own "Stairway to Heaven" and probably one time when Pejaković was touched by genius. Significantly, nothing else here comes close to that peak and though the rest is by no means bad, lack of hit single swiftly reduced this project to obscurity, which is very unfair considering the talents involved - initially I was reserved as besides "Etida" there is no clear outstanding number but with repeated listening, the album actually sounds darn good and young singer is genuinely excellent. 

As it happened, Pejaković will eventually decide to leave rock behind and focus his attention to commercial music with such determination that it makes me wonder what is actually his real persona - obviously he understand which side the bread is buttered and he did fine for himself, staying in business for forty years now but the transformation from this early start to later complete turnaround is mind-boggling. However, let's not forget that back in 1970. Pejaković experienced the first taste of wide success with unabashedly weepy "Čerge" so perhaps prog-rock was just youthful phase.

"Gently" by Liza Minelli (1996)

For all her stardom, Liza Minelli never really seriously took to neither music or movies - like some great entertainers of previous generation, who thrived on Las Vegas and dabbled in recordings and movies almost like afterthought, Minelli was always famous for being Minelli and her one shining moment with 1972. "Cabaret" seems to eclipse everything else she later did. Perhaps she was simply born too late: apparently her sensitivities and inclinations were always those of some 1940s Big band singers rather than those of Woodstock generation and even in recording studio she always came along more as campy throwback to earlier times than current artist. When in late 1980s Pet Shop Boys created surprisingly effective pop album around her powerful voice, it was a glorious exception from show tunes Minelli authoritatively sang at her concerts for decades - nothing wrong with show tunes, but one would expect that now at last singer would stretch out of her comfort zone. 

Instead of following new, cutting edge direction, Minelli released two live albums of her trademark belting trough show tunes and it took almost a decade before she finally entered the recording studio for "Gently" which was build around American songbook classics like "In the Wee Small Hours of the Morning" and "Embraceable You". Perhaps the time was right for this, as record buyers showed great interest in new recordings of such material - Natalie Cole and Linda Ronstadt paved the way - besides Minelli is definitely at home here. What makes a huge difference this time is idea to place Minelli in a lonely, after hour cocktail bar and let her act saloon singer instead of belting for all she is worth: subdued and serious, singer sounds genuinely sincere and the whole album might as well have been recorded sometime in 1950s along with some classic ballad albums as Sinatra's "Only the Lonely" or anything by Johnny Mathis who pops by for a duet. The only wrong note is a duet with Donna Summer - it probably seemed as a surefire hit that would carry the album, but frankly it is out of place when surrounded with songs by Irving Berlin and Gershwin brothers, besides ladies just can't resist showbiz theatrics that stand uneasily with lovely simplicity of the collection.

"Midnight" by Dean Koontz

I am totally on a binge with Dean Koontz - enjoying myself greatly, swept away with enthusiasm for my discovery, I gulped "Strangers", "Phantoms", "Whispers" and savoured last chapters of "Midnight" right now this morning, even mused a little bit what appeals so much to me and I think I know - scary and gripping as these novels are, we know that good guys will eventually survive and win, there is always some sort of spiritual enlightening, Koontz loves to probe in psychological depth behind his characters behaviour and occasionally he even shows wonderfully wicked sense of humour in the middle of all of this. What is there not to like? Where with Stephen King I am usually just drained at the end, when I finish Dean Koontz novel I feel elated and almost giddy from excitement which is very strange after reading what was basically intensely scary novel. Far from leaving his readers comatose with too much darkness, Koontz always makes sure his characters get deserved break and like some old matchmaker from neighbourhood, he insist they find love. I will remember this summer of 2018 as the one when I discovered Dean Koontz.

"Midnight" cleverly combines motives from "The Island of Dr. Moreau" and "Invasion of the Body Snatchers" as set in a sleepy little town of Moonlight Cove where unexplained, mysterious deaths of simply too many people bring undercover FBI agent Sam Booker who is here to look into it. Tessa Jane Lockland is here to discover what happened to her sister whose death and subsequent cremation was hushed by the local police and eleven year old Chrissie Foster is local girl running for her life from people who are not what they used to be. There is also a lonely, wheel-chaired Harry Talbot whose only company is lovely dog Moose and who is witnessing some very strange things from his window. This small group is surrounded with citizens who appear harmless trough the day but roar and run on all four trough the evenings - the story just gets scarier and nastier with every page, with some genuinely gruesome pages, luckily little Christie is so full of spark and self-deprecating that her humour always makes novel easier to take. Whenever she is in dangerous situation, Chrissie imagines herself as a heroine of some novel and her musings are a joy: 

"Exhibiting her usual cleverness (she thought, as if reading a line from an adventure novel), Chrissie wisely turned away from the cursed house and set off into the night, wondering if she would ever again see that place of her youth or find solace in the arms of her now alienated family."

"As if reading tabloid headlines, she said, “Starvation in the Land of Plenty, A Modern Tragedy, Young Girl Found Dead in Garage, ‘I Only Wanted a Few Peanuts’ Written in Her Own Blood.”

"Young Chrissie, she thought, undeniably courageous and clever, was nonetheless too polite for her own good. While standing on the priest’s porch, debating the proper etiquette of an early-morning visit, she suddenly was snatched up by slavering, nine-eyed aliens and eaten on the spot. Fortunately she was too dead to hear the way they belched and farted after eating her, for surely her refined sensibilities would have been gravely offended."

"Amor" by Eydie Gormé & Los Panchos (1964)

Question: who was the biggest female pop star of Jewish origin on "Columbia" in the early 1960s? Wrong, it was not Streisand but another New York girl Eydie Gormé who started as Big band singer and was recording highly successful albums with themes of 1920s music, blues, dixieland and show hits. When funny girl declined "Blame It on the Bossa Nova", Gormé recorded the single and had the biggest hit of her career. As natural continuation of similar idea, "Columbia" immediately paired versatile singer with Mexican trio for Spanish language album of standards that worked as magic, giving beautiful spotlight to both artists and curiously it is still the one thing that the whole world remembers them for.

"Amor" (sometimes called "Eydie Gorme Canta En Español Con Los Panchos") is a polished, sophisticated effort that mostly follows carefully prepared pattern: Los Panchos gently strum their guitars and introduce song, with Gormé arriving slightly later as a star of the show. This girl had one of the most enchanting voices around and hers was the clear, bell-like instrument capable of great tenderness - on some other, later recordings she could be a bit overbearing but here her affection for material is obvious and she seems to genuinely enjoys herself. These are all classic bolero standards and its impossible to go wrong with titles as "Sabor A Mi", "Noche De Ronda" or "Historia De Un Amor" but the biggest surprise is original Spanish version of "Cuando Vuelva A Tu Lado" known in English as "What a Difference a Day Makes". It was deservedly a huge success and still sounds great after all these years, maybe also because the production was very simple and uncluttered with strings and choirs - its really only trio and a singer wisely left to create music they love.

It took me years to find the album that probably inspired Gormé and I am sure she must have been familiar with Mexican singer Elvira Ríos who in 1950s recorded what was spiritual predecessor of this album, "Tropic Nights" and almost half of that album was later covered note by note by this team. Ríos was different singer and hers was seductive shtick, while Gormé was all girly innocence but its basically the same repertoire. 

"The Lion, the Witch and the Wardrobe" by C. S. Lewis

After gulping down three novels by my latest discovery Dean Koontz, it was time to reluctantly look elsewhere since yours truly needed a break from all those nerve-racking thrillers and to pull myself completely from that world, I went for a classic of children's literature that was never translated to my language when I was growing up (apparently it has finally been translated in 2002.) and it was something on my list for the longest time. It was unfair to this author that I approached the novel not with a joy but with a restlessness, thinking about going back to Koontz immediately afterwards - it also didn't help that years ago I have seen the movie, so was vaguely familiar with the story.

It is actually a very sweet story and in different frame of mind I could easily imagine this being a perfect fantasy gift for little kids who might be too small for "Lord of the Rings" - not by coincidence, C. S. Lewis and J. R. R. Tolkien were good friends, though I believe their writing was simply inspired by similar interests and experience of living in between two world wars. In case you grew up behind Iron curtain as I did (probably the main reason why book with such a subversively religious message was not translated), the story follows adventures of four children - Peter, Susan, Edmund, and Lucy - who hide in the magic wardrobe and enter mysterious world of Narnia where evil White Witch keeps everything locked in icy cold winter and fantastic inhabitants (talking animals) secretly await the upcoming prophecy that would release them from the curse. Children find themselves in the middle of the real war between good and dark side, with a surprising touch of religion thrown in - it was never really spoken but adult reader understands the hints that kids might not get. Lewis is definitely not Tolkien but in his way he is fairly close, creating his own simplified version of beautiful fantasy and as I read, couldn't help but to warm up to the story - specially descriptions of all the squirrels, beavers and other animals helping the children along the way. It was actually very easy read - I read the whole book in one sitting - and I simply had to tap into my inner child to relax and enjoy it for what it is. However, I don't feel the same excitement as upon reading "The Hobbit"  where I simply had to continue with the sequels.

"Zdravko Čolić" by Zdravko Čolić (1975)

Unusual battle of two biggest recording labels in the country resulted with a perfect promotion for young fresh faced singer from Sarajevo who just few years ago was completely unknown - when "Jugoton" released his first album "Ti i ja" that would quickly establish him as the latest poster boy, "PGP RTB" quickly reacted and retaliated with compilation of his early singles for which they had rights. It was not unusual for artists to switch between these two giants, but to my knowledge this was the first time both were so determined to cover the market and get a piece of cake for themselves. 

Previously, there were other talented singers in homegrown pop - slightly older Boba Stefanović, Miki Jevremović and awesome Leo Martin had left their mark as solo artists, while Davorin Popović and Vladimir Savčić-Čobi were main focus of their bands, but despite their obvious vocal skills, none of them had such magnetic stage presence as winsome twenty-something artist who also happened to posses his own, individual and very good voice. Going trough apprenticeship during his time in bands Ambasadori and Korni Grupa, young Zdravko Čolić soaked in the influences of his predecessors and created his own brand of soaring vocals where he picked up the best of both pop and rock worlds. While debut album by "Jugoton" pointed at his future direction, this compilation shows where he came from and music he quickly left behind.

Allegedly, his first big chance came almost accidentally - Kemal Monteno wrote a song "Sinoć nisi bila tu" for rock diva Josipa Lisac to perform for upcoming 1972. pop festival "Vaš šlager sezone" but she changed her mind in the last moment and young Čolić  stepped in, creating such sensation that he would soon become unstoppable pop phenomenon with series of best-selling hit singles. Music collected here presents this first chapter of his career, where he valiantly had to overcome the old-fashioned orchestrations ubiquitous at the time and even though he sang circles around everybody around, Čolić was clearly posed for much more - its significant that young singers of his generations (Jadranka Stojaković come to mind) had to go trough similar process where they had to accept ideas of older conductors, arrangers and producers before they would find their own music identity. Nothing really wrong with a music here, personally I find it very endearing slice of early 1970s pop and Čolić sings circles around everybody around but soon he would get the material better suited to his age and temperament. 

"Nježne strune mandoline" by Tereza Kesovija (1975)

From impoverished childhood in small village where her parents sold a pig to buy her music instrument of choice (a flute) to subsequent admission on prestigious music academy and simultaneous start as pop singer who would eventually perform in "Olympia", the life of Tereza Kesovija often reads as a fictional novel. Compared to her early 1960s contemporaries, Kesovija was somewhat an oddity, with her trademark theatricality and Mediterranean passion she was larger than life amongst docile and meek girls who graced pop festival stages at the time - she was also brave enough to jump of the cliff and grab the chance to work in France, although she was practically unknown artist there and had to juggle concerts with motherhood. After making a name for herself on French market, this hard-working lady returned to homegrown music scene where during 1970s she was invincible.

In Zdenko Runjić Kesovija found her perfect songwriter and "Nježne strune mandoline" was their first album together - they go way back to 1962. when lady sang his song "Ćakule o siromajima" and in the meantime they both established themselves in the music so it was just a matter of time when they would recognise potential of collaboration. Runjić was always a songwriter who thrived on good singers and in Kesovija he obviously found somebody who inspired him - since Kesovija was all about romantic exuberance, he tailored the whole album full of memorable, sentimental music for her and this was actually her first proper album with new material (previous 1971. "To Je Tereza..." was compilation). Both "Sunčane fontane" and the title song were huge hits so the whole collection of song by this composer was not unexpected - he intuitively understood what works for singer and tailored material where she displayed her love for French chanson with just a right touch of 1970s pop. Besides two titles mentioned above, nothing really stands out but album is pleasant easy listening in schlager genre and for all her renowned ebullience Kesovija is occasionally surprisingly subdued and even tender here. 

"Vampyr" by Carl Theodor Dreyer (1932)

Since I always loved those early, black & white classics like "The Cabinet of Dr. Caligari", "Golem" and particularly "Nosferatu" I thought this sounds just like something right up my alley. It was, but be warned: it takes some time to actually adjust to director's hallucinatory style and initially everything seemed very strange, until curiosity got the best of me and second time around I got completely drawn into it.

"Vampyr" must be one of the oddest, therefore amongst most unforgettable movies I have ever seen. I am not completely sure was Carl Theodor Dreyer actually capable of doing standard cinema-as-entertainment work and I even have impression he couldn't care less, since he appears to have been one of those rare cinematic birds, real artists with a vision, equivalent of brilliant scientist who refuses to be bothered with such mundane things as money, finances and budget. Here for example, everything is so highly stylised that it only vaguely resembles real life - yes, there are houses, people and some kind of story but it all takes second place to Dreyer's imagination where he decidedly creates eerie and sinister atmosphere. All the way trough, I was acutely aware that this is just an stupid, empty room with tattered furniture and a bookshelf, nothing to be afraid of but still it felt like some heavy, oppressive nightmare, with people moving very slowly and saying strange things. "Why is doctor coming always in the evenings?" I felt as nurse Ratched is coming to get me any moment. 

In addition to Dreyer being a director who could make your bathroom look like the most sinister place in the world, he is apparently also capable of doing magic with actors, many of them here being non-professionals collected randomly. Even the main actor was not really an actor, but aristocrat who financed the project (sort of cinematic Ludwig of Bavaria) and for this, largely wooden turn, he achieved immortality although he probably wasn't aware of it as the movie ended up being lost masterpiece and far from mainstream success. It languished in obscurity, known only to movie buffs but it has such a genuine power that it deserves any praise you could think of. While it starts slowly, "Vampyr" gradually catches on later and once you are hooked, you just can't stop watching it - it has a heavy, creepy quality and unfolds trough fogs and filters, with some stunning and genuinely unforgettable images that will probably end up in my dreams. Horror as a piece of art.

"Neck and Neck" by Chet Atkins and Mark Knopfler (1990)

At the top of the world by than, Mark Knopfler was a hot property and artist who could have his pick of potential collaborators from biggest stars in the business - that is why is so endearing that off all the people, he chose to work with his idol Chet Atkins and give affectionate spotlight to artist for him he clearly had huge love and respect. Often these music collaborations don't go further than live jamming since record labels prefer not to gamble on financially risky projects but Knopfler had such a clout that he could pull it off and results are still beautiful.

Two guitarists - they could have been father and a son - nicely nudge each other trough collection of country-rock material and there is a perceptible warmth between them, specially as they joke and laugh in "There'll Be Some Changes Made" where elderly veteran quotes "money for nothing and the chicks for free" while Knopfler responds that groupies are not what really what they are supposed to be. As expected, there is not really a big arena hit here and it was not even Knopfler's intention - what he gave here was a genuine feel-good album that one can listen again and again, preferably on a long drive somewhere, while humming along and tapping a foot. Guys are clearly masters of their game and they feed off each other, making this one of the most enjoyable music collaborations I came across. Spiritually close to his work with The Notting Hillbillies, this album finds Knopfler doing the music he loves and as everything done with a heart, results are timeless. Nowadays, producers might make things a little more flashy but they couldn't replace sincere affection between two artists who create music for a sheer joy of it. 

"Acid Queen" by Tina Turner (1975)

Curiously undercooked solo album from singer who was than still married to her notoriously dominating husband - it feels as ever opportunist Ike Turner thought it would be a good idea to cash in her big screen cameo turn but of course he wouldn't leave her completely off the leash: while Tina is given relative freedom to cover white boys rock repertoire (a direction she was obviously inclined to), side B is completely Ike and he is still in total control.

While covers of The Rolling Stones, The Who and Led Zeppelin are not by any means bad idea for a woman who already excelled in giving her twist to rock repertoire, they are frankly nothing more than pleasant novelty (female bravado taking over macho attitude) and there is almost perceptive feeling of going trough the motions of long studio hours and constant drudgery. One would expect that Tina Turner would excitedly grab the chance to show what she can do by herself, but her tired performances attest that this was not the case - the point is, she was still commanded what to do and this was just chance to use the spotlight generated by Ken Russell movie. (The perfect example is title song as re-recorded here, weak shadow of its screen explosion). Not surprisingly, she is far more effective on B side, because this was old Ike's turf where she knew every twist and turn, so going back to frenzied gymnastics turned more convincing - when duo catches the fire on fierce "Baby - Get It On"  its classic Ike & Tina moment and one of their best recordings. "Bootsy Whitelaw"  is about a character who would later surface in her autobiography and "Pick Me Tonight" has Ike forcing his usual embarrassing lyrics ("It was a fourth of July, I was milking a cow") on Tina, showing that he clearly had no idea how to bring her in rock world. It would take few more years and different producers to finally bring the lady in completely different place where she would not sing about milking the cows anymore but will assert herself as powerful and dignified artist, every inch equal to these boys whose songs she was covering here. 

"Whispers" by Dean Koontz

"There are more things in heaven and earth, Horatio, than are dreamt of in your philosophy."

Shakespeare

Chilling thriller that only on surface deals with standard stalker/victim issue but as the story unfolds it sharply focuses on scars of childhood and how it takes a lifetime for them to heal (or, in some cases, they don't heal at all). Both stalker and the victim here are adults imprisoned in their nightmares, while along the lines Koontz also deals with love, friendships, understanding, new beginnings and loneliness. 

What I really enjoy about Koontz is how he psychologically describes his characters, even though it would have been easier to just go on with the action - he needs reader to understand why such a beautiful and successful woman as Hilary Thomas is unable to relax and enjoy her life or how detective Tony Clemenza is acutely aware of emptiness of his life ("He realized that he was building the kind of life that, when complete, might well be a hollow temple of loneliness.") Sentences like these startle me, because they come unexpected and I savour them, surprised with depth,  poignancy and understanding how the human psyche works. You don't find these things in Stephen King novels that, gripping as they are, hardly ever probe into layers behind people's minds. (Talking about King, Koontz actually affectionately mentions him here: "He did a little filing, then just sat and listened to the radio for a while, then did a bit more filing, then read a few chapters of a really good Stephen King novel about vampires on the loose in New England.") "Whispers" is a gripping read that gradually rises to a fever pitch and there are some genuinely frightening, gruesome passages so be warned, this is not for squeamish readers.

What I particularly enjoyed was description of how understanding eventually develops between two policemen who are forced to work together against their initial reserve. Clemenza and his colleague Frank Howard couldn't be more different but as work colleagues often do, they come to mutual understanding and gradually even warm up to each other. On the other hand, grouchy and curmudgeonly attorney Joshua Rhinehart is a delight, someone I would feel kinship in a real life. I have just discovered Koontz recently and carried away with enthusiasm read three of his novels in a row, but despite curiosity, at this point I feel that it would be wise to take a break before I start finding faults and similarities between his books.

"The Velvet Fog : Early Hits 1944-49" by Mel Tormé

I have loved smooth-voiced Mel Tormé from the first moment and have collected his records for the longest time, but so far never had a chance to hear his earliest music from 1940s when he was still considered a pop singer. His 1950s albums for "Betlehem" and "Verve" are constantly kept in print and being re-issued   as they should be, since he is major Jazz vocalist and in my books rate higher than any other guy in the genre, but for some reason his beginnings were being neglected and to my knowledge could be found only on luxurious and hard to find CD Box "The Mel Tormé Collection 1944-85" that I always wanted but never managed to purchase and was only admiring it from a distance. That box was released by "Rhino" in 1996 and just a few years later British ASV/Living Era (specialised in old Jazz recordings) came with this beautiful compilation - music they released always appealed to me and I am genuinely sad they don't exist anymore, as it opened my eyes and ears to rare gems of American songbook. 

What is collected here is a pure treat for Tormé fans - back in the 1940s this was still pop music, though today we would call it Jazz, it was still a time when music by Cole Porter, Irving Berlin and Gershwin brothers was played at dances by Big bands and young, incredibly seductive and hip Tormé was a swinging hipster who probably wore zoot suits, dated flashy blondes and dined at Ciro's on Sunset Boulevard. From the very start he had this instantly recognisable Mel Tormé sound, whispery cloud that music critics loved to call "Velvet Fog" (and he detested it as a gimmick, referring to himself as a "Velvet Frog" instead) - it was clearly modelled after croon of Bing Crosby who first came with this intimate approach as a contrast to belters before him, but Tormé brought it to another dimension and his tender smooch was than completely unprecedented (much softer than Sinatra, to whom he was often compared). I am familiar with 1940s pop music so orchestration and elegant choruses are not new to me, however Torme shows far more imagination than other singers from the same era since he often toys with melodies and occasionally enthusiastically scats, which points at his future work. Even at this early stage he seems to have been a fully grown artist and for the rest of his life you can hear variations on the singing recorded here. To me it sounds like pure Film Noir music and I am stating this as a biggest compliment. 

Brigitte Helm

German 1920s actress Brigitte Helm who played in "Metropolis"

"Souvenirs" by Betty Lavette (1973 - unreleased)

Recently I read (nah, gulped) Lavette's fascinating autobiography "A Woman Like Me" where she frankly discusses how it felt to be at the back-burner most of her life, when her contemporaries just rose higher and higher (book is peppered with Muthafuckas who deceived her). One of the biggest disappointments of her professional life was album recorded for "Atlantic" in the early 1970s and never released - trough the years this album got cult status as one of those lost masterpieces that somehow slipped trough the cracks and when it finally saw the light in 2000 it got excellent reviews from starry eyes critics who admired still defiant singer. 

Listening it today, some forty five years after its original creation, it sounds fine though I understand why "Atlantic" backed away from it - in its original form, "Souvenirs" don't have that one strong hit single that would guarantee chart action and pay back the investment. Although songs are good and Betty Lavette gives her all, material never reaches Olympic heights of other successful artists who managed to catch attention of record buyers. Like Martha Reeves whose very similar debut album sank without a trace, Lavette walked that grey path between soul and rock so perhaps bigwigs in "Atlantic" considered it to be neither here or there and lost the nerve at the very end, without even trying to see would audience accept it. To be honest, collection occasionally catches fire in "Soul Tambourine" and "My Love Is Showing", however the best of all is her excellent version of "Heart Of Gold" and that one was not even included on album (it was meant to be a single) - if this was album's opener and Lavette was given more of similar covers (something she would excel later in life) things could have turned differently. In hindsight, perhaps Lavette would have more chance if this was done by smaller label who would stand behind her, instead with a large corporation that was concerned with profit and investment. 

"Thinking Out Loud" by Angela Brown & The Mighty 45s (1998)

Blues is alive and well, thanks to enthusiastic artists like this - perhaps not so visible in the media, but when it comes to real, live music and actual people tearing up the stage, look no further. The Mighty 45s sound like one of those bands that get everybody dance the night away and to top it all, they have charismatic vocalist who is in the league with all the best of famous Blues mamas from the past.

As she growls, sasses, roars and winks (sometimes all of this simultaneously) Angela Brown might remind you of Koko Brown, Big Mama Thornton or Big Maybelle - there is certainly a tradition of strong Afro-American female singers demanding the attention of poor guys who should know better than to play with fire - but in fact Brown spiritually goes way back to 1920s and women like Bessie Smith and her famous teacher Ma Rainey. I wasn't at all surprised to find out that she actually played Rainey on a stage and there is a delightful 1995. album "Wild Turkey" recorded as genuine tribute to 1920s piano-and-voice style of her predecessors. On this album, however, Angela Brown has red-hot band behind her as she authoritatively states that "Mother Blues On The Move" and you better believe it. At first its sassy lyrics that get your attention - Brown deals not only with lousy men ("Let The Back Door Hit You", "A Man Size Job", "You Didn't Want What You Had") but also with nosey gossipers ("Neighbour Neighbour") and female competition ("I Intend To Take Your Place"). After a while, you start to admire the voice itself - like the best of the singers, Brown has highly individual, instantly recognisable sound that you can immediately identify and behind all the posturing and attitude, hers is husky, powerful instrument brimming with spirit and energy. Although there is a healthy dose of spirited Blues here, courtesy of several Willie Dixon covers, closing gospel "God Has Smiled On Me" comes as a tender final touch - just a beautiful album that deserves wider audience. 

"Phantoms" by Dean Koontz

When Dr.Jennifer Paige and her teenage sister Lisa arrive in a sleepy little town, they are excited and prepared for joys of quiet life waiting for them - but immediately they realise everything is too quiet and they are being watched. Something is very wrong with quaint Snowfield and soon they will find themselves in surreal nightmare.

Intrigued with my first introduction to Dean Koontz ("Strangers" that turned much better than what I expected) I decided to continue with his work and following the recommendations, devoured "Phantoms" in two days. It is probably the best novel Stephen King never wrote and even though author apparently dislike being pigeonholed as horror writer, its genuinely scary book that deserve its reputation - I freaked out myself reading it long into the night (and than again, first thing in the morning) with greatest pleasure and still feeling very excited that I have discovered author who appeal so much to me, despite my reservations about genre that many claim is worn-out and tired. Well no, there are still people around who have a knack for it and you can bet that today immediately I am going for some more by Koontz. Just love being lost in the book and postponing everything in order to read another chapter. Similarity with King is obvious, though I must mention that Koontz have his own, individual voice and for the sheer joy of new discovery I am carried away with enthusiasm, despite intimidating list of titles he wrote (where to start? what to select?) - I think that my next book will be his "Whispers".

"Strangers" by Dean Koontz

"Courage, love, friendship, compassion, and empathy lift us above the simple beasts and define humanity.

—THE BOOK OF COUNTED SORROWS"

Wow, this was gripping or what!

First let me state here that I have never read anything by Dean Koontz previously and was just vaguely familiar with his name, but as he kept popping out in recommendations it was inevitable that sooner or later I will decide to check him out. Apparently he had already published tons of novels before "Strangers" definitely put him on a map in 1986 and ever since he was compared to Stephen King, which is why I got curious - luckily, these are two completely different authors and although I understand comparisons, Koontz seems much more psychological, while King has his own nightmare going on. The strangest thing is, initially I had really hard time going into this novel - for some reason it took me a whole month just to get trough first hundred pages and I seriously considered just dropping the whole thing off, until one day everything clicked and the novel suddenly pulled me in with such force that I couldn't put it down, I gulped the rest 600 pages in four days. 

Perhaps what bothered me in the beginning was the way Koontz slowly set the stage - in hindsight it looks completely logical but as he kept introducing completely unrelated characters who all live far away from each other and have no obvious connection, it tested my patience. This group of people all suffer from mysterious nightmares that seriously affects their lives and it just kept on and on - until suddenly reader start to connect the dots and everything makes sense. It came to the point that I talked to friends and read at the same time, completely engaged and lost in the story. Like some sweeping saga, it eventually just got bigger and bigger - King did something similar with "The Stand" but I enjoyed this one much more, even though it felt as it will never end, because Koontz is gifted with psychological perception and his characters behave like real people. Every now and than, there was some unexpected, stunning moment like this one:"That night in Chinatown, hope swept back into his world like a summer breeze stirring music from a cluster of wind chimes." Now, that was very poetic and it instantly reminded me on Sappho who thousands of years ago wrote "“Love shook my heart, like the wind on the mountain, rushing over the oak trees.” - I know I'm stretching it a bit here, but her lyrics just wouldn't get out of my head.

Contrary to what I expected, "Strangers" is not a horror but a very exciting suspense novel - fairly long and occasionally very detailed, but once you read it, it seems like it couldn't have been done any differently. I am so thrilled right now with my newest discovery that I am seriously considering continuing with Koontz who until now was complete mystery to me.