"The Electrifying Aretha Franklin" by Aretha Franklin (1962)

Currently reading "Respect: The Life of Aretha Franklin" by David Ritz who clarifies the circumstances during these infamous early years at "Columbia Records" - far from twisting young girl's arm arm to record all these standards, they simply let her do what she wanted to do - both Aretha Franklin and her husband/manager Ted White counted on eventual crossover into prestigious world of night clubs and casinos where artists like Nancy Wilson established themselves right next to Sinatra and big band entertainers. This was their initial strategy and it took them forever to accept that perhaps this was a wrong approach - "‘She’s a hit maker,’ Ted White would tell me, ‘get her hits.’ ‘Then why are you making her sing standards?’ I asked. ‘She’s singing everything because she can sing everything,’ Ted said. ‘We throw it all against the wall and see what sticks. The more variety, the better."

Today we simply accept that Franklin really started at "Atlantic Records" where understanding producers (namely Jerry Wexler) let her do her own thing, however it must be noted that back than "Columbia Records" was a hugely important institution with impeccable back catalogue of massive sellers, so much that young singer rather signed with them than anybody else, including fledgling "Motown" where most of her friends and neighbours already recorded. From her perspective, Franklin saw herself as black version of famous female artists like Judy Garland and her natural competitiveness resulted in need to leave her stamp on already well-known material (something she would do from time to time trough her subsequent career) - its definitely unfair to blame her recording company for lack of support, since just a few years later on "Soul '69" with Wexler she would do exactly same things with the big band orchestra, but by than world was at her feet. There's absolutely nothing wrong with material on this album, except that it has been done hundreds of times already during previous decades and it disappeared without a trace amongst zillion similar albums where talented artists sung same songs over and over again. Did the world really needed another version of "Ac-cent-tchu-ate The Positive", "You Made Me Love You" or "Rock-A-Bye Your Baby With A Dixie Melody" ? Apparently not - the only really interesting song recorded at the same sessions was "Operation Heartbreak" left as a B side of a single, which gives you some idea why things were not happening. 

"The Game of Thrones" ends - finally

Never thought I would say this, but I'm glad "The Game of Thrones" is over. 

Season after season, it was the best TV show I have ever seen - usually after a while I get bored with soap bubbles, but not this one, it was actually getting better with time. It was also clear where the producers had to continue without original novels that inspired the series, instead of fantastic dialogues and story, script suddenly shifted focus on special effects and big battles but that was also fine because we were all so starry eyed and caught up into it that we actually didn't mind - "Hardhome" and "Battle of the Bastards" were probably amongst the best episodes not just of this series but of all TV moments ever. However, now at the end the expectations were impossibly high and every single person had his own theory how everything will end so it just became too big for its own good. My impression is that David Benioff and D. B. Weiss probably did the best they could, but they never expected this will became a world-wide phenomenon and finally it grew so enormously popular and significant that it was simply impossible to finish it all with results that would make everybody happy. For one thing, the main story itself had way too much side stories that simply had to be left unanswered - the original novels were bursting with zillion sporadic characters and I remember having a hard time reading them and trying to remember who is who - impossible to squeeze it all into a TV show but still, when the last season finally came I had a distinctive feeling there was a serious problem with the pacing: some series had absolutely nothing going on, while the others rushed too fast and audience was not prepared for such quick change in characters behaviour. You can't have a important character being heroic and brave season after season and suddenly turning into a monster without any explanations how and why, etc. And I was deeply disappointed with the way producers just messed up something that for me was of huge importance, namely threat from White Walkers which for me was by far the most dangerous thing looming over the whole Seven Kingdoms - without George R. R. Martin on its helm, the show simply dismissed this danger that has been building season after season (winter is coming!) in one episode which was enormously hyped and than ended up being too dark to see (nobody can convince me it was done intentionally with a good reason, because the battle in the night is confusing and bla bla, it was just bad idea). Suddenly White Walkers were gone just like that and we were left with stupid question of who is going to sit on the Iron throne, which for me was not such a big deal actually - what is the point of the throne if zombies might destroy the whole kingdom? - now the series shifted the direction and I found myself watching it without interest, really. When the last episode finally came, it felt strangely anticlimactic, like its finished just because of the sake of finishing it. It was visually stunning but left too many questions unanswered, I guess I just have to wait for the darn novels and the writer is taking his sweet time to finish them, because he is busy with hundreds of other projects which is maddening because the whole world is waiting for him to just finish what he started.

On a different note, I must proudly note that after 6 months of not being able to read anything (because of huge changes in my life, relocation to new country, finding a new address, new job and basically starting everything from the beginning again) last night I started reading again. I thought that perhaps I will eventually focus on classics but curiosity got the best of me and I ended just checking out latest biography of late Aretha Franklin - David Ritz wrote her memoirs together with Queen of Soul some years ago but the finished product was maddeningly lightweight because Franklin basically blocked anything she wouldn't talk about. Famously imperious, Franklin permitted to discuss her life only on her own terms, which means "From these roots" ended up being a slim volume that basically said nothing about her, except few inconsequential opinions about food and fashion. Now, Ritz decided to correct this and wrote his own version of the story, which is by far more interesting and I am actually enjoying it very much. 

"Noćas Si Lijepa, Ljubavi" by Miro Ungar (1978)

For somebody who started way back in 1958. it sure took a long time to get his first LP album - because he was present at the very dawn of popular music in Croatia, Miro Ungar likes to think of himself as some kind of rock pioneer, but in fact his connections to rock music are almost non-existent: in their earliest days, 4 M were covering international hits of the day like "Buona Sera", "The Great Pretender" and "Diana" but very soon this old-fashioned vocal quartet moved comfortably into easy listening waters of schlager pop festivals and variety TV shows, so basically they were novelty act. Chronologically they were amongst first Croatian artists who covered rock hits but this don't make them rock artists - even grandfather Ivo Robić recorded "Shake Rattle And Roll" and nobody thought of him as rock pioneer. Where people like Karlo Metikoš and Bijele Strijele actually pursued rock music, most of their contemporaries (including Ungar) chose different direction and went for what mainstream audiences wanted to hear - heavily orchestrated festival numbers and singles that recall German schlager music.

Ungar himself eventually forgot all about rock and his choice of covers ("Oh, Lady Mary", "Mamy Blue") shows conscious decision to embrace family audience. Handful of foreign-language singles show some international ambitions on French and German market but eventually he ended up neither here or there. Contrary to his famous ex wife who actually made it to the first league in France, I am not aware that Ungar left any mark internationally and at home he was just one of the many participants on ubiquitous pop festivals. "Noćas Si Lijepa, Ljubavi" is his late-in-the-game debut album as full-blown schlager singer and judged by merits of production and choice of material this is surprisingly solid, pleasant-sounding collection with intelligent lyrics (Maja Perfiljeva, Kemal Monteno, Ivica Krajač, Arsen Dedić) and some easy listening music by Đorđe Novković and Nikica Kalogjera. It is not bad by any means, but it brings nothing exciting or new, specially considering that guys like Ivica Šerfezi and Krunoslav Kićo Slabinac (not to mention Mišo Kovač) already covered the market and established strong music identity - Ungar had a nice, melodic voice and could probably do much more but judging by his recorded legacy, this was just pleasant easy listening radio fodder. Title song was already done by Vjekoslav Jut years ago. 

"Introducing The Hardline According To Terence Trent D'Arby" (1987)

Re-visit the old 1980s favourite and surprised how good it sounds - most of the 1980s music bore me to tears because I was there and had enough of it, but this album actually still sparks with energy, inspiration and talent galore. Terence Trent D'Arby was apparently a big-mouthed, self-promoting new Messiah of soul in tradition of James Brown and Solomon Burke (and many others) who loved to boast but guy was genuinely fascinating and this debut must be ranked amongst some of the greatest debut albums ever - where most of the artists take some time before they find the right music identity, D'Arby bursted on the scene fully formed like brilliant update on classic soul genre. Everything about his passion, music, rhythm and voice evoke best of of the 1960s soul re-imagined for than-current production and if I remember correctly, album was stuffed with hits that defined summer of '87.

Strange enough, D'Arby dwindled away very fast after this - like meteor, he came, he conquered and disappeared from public eye, though it must be mentioned that there are handful of subsequent albums released afterwards that perhaps deserve some research, since its inconceivable that someone with such impressive talent suddenly lost all the inspiration. (It could very possibly be that he fell victim to music industry) What is the most interesting about this album is how much he reflects best of the classic soul genre ("Dance Little Sister" for example, is pure James Brown in his prime) and still D'Arby don't sound derivative at all - by combining aspects of Sam Cooke, Marvin Gaye, Smokey Robinson and every great soul artist you can think of, this young punk manages to fit perfectly next to them, shoulder to shoulder.  Hits are just fine and they all sound great but my favourite now - in retrospect - must be haunting a cappella number "As Yet Untitled" that shines like diamond because it avoids any typical 1980s production and depends only on his multi-tracked vocals. Brilliant. 

"Elvira Voća" (1974)

Croatian artist Elvira Voća was one of those people who were forever lurking from behind, ever-present on ubiquitous 1960s and 1970s pop festivals, another pretty blonde on black & white screens who had hang around since early 1960s to 1991 Croatian Band Aid anti-war anthem "Moja Domovina" but for the life of me I can't remember any big hit or anything important from her and I love digging trough old recordings - either her particular charm eludes me, or a cynic in me can't get pass clumsy covers that forever place Voća squarely into dated schlager generation that was quickly swept away with the tide of rock music. Although lady herself loves to talk about 50 years career and how once she almost made it in Italy, where in he early 1960s she participated in famous travelling "Cantagiro" festival (inspiration or later "Pesma Leta" in Yugoslavia) if you look closely, well she was pretty. And so important that Croatian Wikipedia don't even mention her.

By 1974. Voća have been professionally performing for a decade and "Jugoton" was now releasing not just singles and compilations, but full albums by their biggest stars - everybody from Arsen, Gabi, Tereza and Josipa to Jimmy Stanić and Radojka Šverko got their own LP, so the opportunity came for self- titled debut by pretty wife of famous composer. Considering my everlasting reserve when it comes to this particular artist, it surprises me to say its not half as bad as I expected - it is a very pleasant, mainstream schlager pop collection impeccably arranged and orchestrated, leaning towards family audiences and easy listening background. If in all of this Voća comes across as slightly less interesting version of Gabi Novak, well that was her music identity. Croatian cover of "I'd Love You To Want Me" by Lobo unfortunately came too early (ITD Band re-made it into huge hit later as "Sonja" which must have irked the singer) but the attempt to cover than latest Eurovision winner "Waterloo" unfortunately shows where Voća comes from - as many singers of her generation, she spent too long covering international hits and undiscriminating choices were often hilarious. (She will go on with this next decade with ill-advised albums "Top Ten") As long as Voća sticks to her easy listening, schlager repertoire like mellow bossa nova "Ti Me Nosiš Iznad Snova" its actually perfectly fine, its just that from musical standpoint this don't really make any ripples - however, it must be noted that this is definitely by far the best recording of this artist I have heard so far. 

"I Am Woman" by Helen Reddy (1972)

Australian-born singer struggled initially to establish herself on fiercely competitive US music market, but her third album for "Capitol Records" proved to be third time luck - previous albums all had their moments, in fact the song that put Reddy on the map was already introduced previous year on 1971. "I Don't Know How To Love Him" album where for some reason it was ignored. Now, with arrangements slightly changed and tweaked, it suddenly became smash hit. Same song, same melody, same lyrics and same voice but now the whole world woke up and suddenly it became Nr.1 hit on the singles charts. 

Career-defining song of course touched nerve with million female listeners around the world who took its lyrics as self-empowering battle call and Reddy found herself in the front line of feminist movement, which was fine by the singer who wrote the lyrics herself. Urban, intelligent and educated, Reddy was also independent individual who came to US as a single mother of a little daughter, so obviously she was a good role model and her strength was admirable - that she also had highly appealing voice helped, since world suffered hangover from excesses of late 1960s and suddenly audience craved simplicity of the voices like Reddy, Karen Carpenter and Anne Murray who all ruled radio-waves at the time. 

As collection of songs, "I Am Woman" might be the best introduction to Helen Reddy - it has nice flow of that particular breezy, 1970s pop and combines upbeat numbers with ballads, which were always her strongest point. "This Masquerade" nests comfortably next to "And I Love You So" by Don McLean, while "Where Is The Love" and surprisingly, "Hit The Road Jack" works just fine as showcase for singer's talent. From this moment, Reddy will be unstoppable trough the rest of decade and each of her subsequent releases will have interesting highlights but its the title song that she will forever be associated with. 

"The Three Ravens" by Alfred Deller (1955)

I came to Alfred Deller via modern-day countertenors Andreas Scholl, Michael Chance and James Bowman who all praised their famous predecessor. Out of curiosity I checked out some of his 1970s recordings with Robert Spencer but naturally the voice of man in his sixties was perhaps too stately for my introduction to his art - this 1955. recordings were made at the peak of his powers and not only Deller sounds magnificent but material is truly magical, kind of music one can imagine being played at the court of Elizabeth I. 

The first impression is timeless beauty of these songs - we all know them, later often covered by folk singers from Joan Baez onwards, "Barbara Allen" and all those little stories set in poetry, "Greensleeves", "Waly, Waly" and even beautiful old "Coventry Carol" backed only with a discreet, gentle lute by Desmond Dupré but occasionally its just a voice itself creating magic. It has been re-released and re-packaged in many variations and no matter which one you find, its highly recommended collection. I found myself returning to this album time and time again, its truly soothes me and apparently I can't get enough of it. 

"Roots, Blues And Jazz" by Bonnie Bramlett (2006)

What a joy to hear veteran artist like 62-years old Bonnie Bramlett back in the recording studio - with her impeccable pedigree, one would expect that she would have career resurrection long time ago, however it seems she is known and followed by handful of true believers who still remember her as half of spectacular blue eyed soul couple Delaney & Bonnie back in the day.

While Bramlett was always distinctive vocalist, her solo albums lacked big hits that would push her forward like her contemporaries Rita Coolidge, Ronstadt or Raitt - truth to be told, her passionate delivery needed understanding producer who would handle such volcanic presence with care and it seems that now perhaps for the first time she toned it down just enough to actually sounds enjoyable trough the whole album. It could be that she mellowed with age or perhaps found herself surrounded with right musicians, in any case this is quite seductive collection of spirited covers delivered with singer's trademark passion. The biggest surprise is how good she sounds on reflective numbers like "That Lucky Old Sun", "Love Hurts" and best of all "A Change Is Gonna Come" that must be one of the best versions of that song I have ever heard. It could be that Bramlett is musician's musician - someone admired by peers but not universally known to larger audiences - in any case, the choice of material is perfect and musicianship displayed here is of the highest calibre. Definitely recommended.