"My House in Umbria" (2003) by Richard Loncraine.

Last night I watched truly beautiful movie.
It was something I bought on DVD during my last year's visit to London, an impulse purchase but intuition told me this might be something I would like - I love drama with eccentric characters and good acting, so name of Maggie Smith was in itself strong recommendation. It turned out "My House in Umbria" was exactly the type of feel-good movies I love.

Made from a novel by Irish writer William Trevor (whom I need to check out) "My House in Umbria" is about a group of train passengers who survive bomb attack.None of these people knew each other from before and as they recover in Italian hospital, gentle eccentric romance novel writer Emily Delahunty (Maggie Smith) decides to take this little bruised group in her Umbria house - she lives alone in a beautiful country side house and loves the idea that perhaps nature and silence would heal the wounds of this unexplained, brutal attack. Her naturally strong imagination is inspired by these new friends and who they might have been before they boarded the train. There is an old general (Ronnie Barker), German journalist (Benno Fürmann) and a little American girl (Emmy Clarke), all of them lost people who travelled with them - the little girl is in fact mute now from a shock of losing her parents.

The cast is excellent but it is Maggie Smith who stands head and shoulders above everybody else as her character (sweet, lonely soul tormented by memories) tries to help people who only yesterday were strangers on a train and suddenly had turned into friends connected with survival. Smith is very much like Blanche du Bois in a sense that she refuses to see bad things in life and focus only on positive. Her own life was all but romantic as we slowly find out, nevertheless she writes love stories with happy endings and creates her own reality, believes in dreams and astrology - the character of Thomas Riversmith (Chris Cooper) is her direct opposite as American scientist who has different outlook at life, laughs at her little eccentrics and in general has no patience for people like her. As Mrs.Delahunty slowly finds more about her guests, we also find more about them and about her - all of them in their way help to each other but its Italian countryside that truly heals everybody. What a beautiful, beautiful movie.

From "Nexus" to David Icke

For some time now I liked New Age magazine "Nexus" - its published in Australia and can be find elsewhere around bookshops in Europe. I had usually collected few monthly issues and than slowly read them during my ship work, as these articles have to be taken in a small doses otherwise your head gets dizzy with too much information's about ancient civilisations, alien abductions, secret knowledge, paranormal activities and conspiracy theories. If you read the whole thing at once, you probably won't be able to sleep from all this paranoia but I usually read one (selected) article at the time and some of this stuff is actually very interesting.

Recently I found out that we have own own Croatian version, translated and adopted for our market, so naturally I purchased it immediately and enjoyed slowly as usual. This year's Spring issue have several interesting articles about radiation from mobile phones, new discoveries about Asthma and Cancer, usual paranormal/Bermuda triangle articles and some adverts for books about this area (Croatian version has far less adverts than UK magazine). One of the books translated and advertised here was by somebody called David Icke and I was amused to find that author suggest the Moon is a giant space ship that manipulates people on Earth. Hey, I said to myself, even I would never came up with that! There was another article about financial crisis in Cyprus and how it might have been arranged by big international banks - the article rambled up a bit but had also mentioned how unwise was for Croatia to enter EU because its similar to entering a building on a fire. What a coincidence, it was written by the same Mr.Icke. So I was intrigued to look out about him.

To my biggest surprise, I have discovered something that UK's TV viewers knew all along - yes, David Icke is a very well known name, thought notorious might be better description than famous. He was a football player who later became sport journalist for BBC and had a successful career before early 1990s when he started hearing voices - what came after this was painful, public humiliation of someone who until that time was respected if controversial figure. As predicting end of the world wasn't enough, Icke appeared on TV shows where audiences laughed at him, his children suffered bullying in the school, his wife divorced him. Had he kept his thoughts for himself, Icke would probably avoid all this, but he strongly believed that he was chosen to tell the world about evil manipulators (reptilians in human form) who dominate the world for their own purposes. Now comes interesting part - Icke had recovered from all this humiliation and became writer and public speaker, in fact he travels the world giving speeches about all of this to a numerous audiences who is apparently intrigued with his conspiracy theories. He is author of 19 books and very successful. I am myself curious about his writing and what he has to say about "reptilian humanoids" who control human population on Earth, though I am even more fascinated with his public humiliation, the way people reacted so intensely at his claims and how he eventually had completely rebuilt his life about this new chapter. He is perfectly aware that most of the people see him as a "nutter" but if you read just one of his articles, its clear that this guy is very eloquent and convincing. And would it be perfectly logical that reptilians in the power isolate "Son of God" by making him look as a harmless nutter? Think about it next time you see Queen Elizabeth II or Obama on TV. They are watching you and know what you are thinking.

Deep in my heart I feel compassion for Icke, he's like mythical Cassandra cursed with prophecies that no one wants to believe. Since I love conspiracy theories, I would probably read his books and visit his speeches if only I have chance. Reptilians or not. Fascinating story.

Dolly Parton in the 1960s

Dolly Parton has always been a curiously American phenomenon - product of Tennessee culture and background, she was a milestone of rural authenticity at home while Europe had seen her as a comical "kitch" queen for decades and it took a long time before (at least some) European listeners recognised her for what she is - talented country songwriter and successful crossover artist who grew up to be a music giant of biggest calibre. Beneath of all that fluff, wigs, make up and frills (and in spite of it) Parton is an incredibly lovable, eccentric and good-natured original who had succeeded simply because there is no one like her - today she is up there with Johnny Cash, George Jones and Tammy Wynette as one of all-time biggest stars of country music, the only difference being that others had fallen sideways or passed away while Parton works, records and sings her little heart out even today after almost 50 years. Parton also finances "Imagination Library" that provides free books for children in Tennessee and beyond.

I loved Parton as a kid trough her 1980s pop hits, but at that time I had no idea who she really was and how at that point she had completely metamorphosed from a Nashville superstar into pop icon - country purists raged and God knows what obstacles and sexism she had to endure but Parton managed to move to Los Angeles, into movies and pop charts. Here I will try to look back at her beginnings, before she moved into disco and Kenny Rogers duets.

Parton had released few cute singles that ranged from 1960s girl-group sound ("Don't Drop Out", "Busy Signal", "Ping Pong") to rockabilly ("What Do You Think About Loving?") before she had a chance to record her 1967. studio album debut that would put her on hit charts with three singles and introduce her to wider audience. Its incredibly sweet, spunky debut with embryo-voiced Parton who sounds like anybodies favourite baby sister (judging from album cover, recording companies had not used her sex appeal back than) and incredibly for the times, she wrote or co-wrote ten of twelve songs here, its all her own work! Because this is hard-core country, music is either assertive argument with no good lover (kind of Loretta Lynn material) or tearjerkers ("Put it Off Until Tomorrow") and Parton swims like a fish in the sea here, she really brings her personality here. Personally I love the uptempo material the best ("Dumb Blonde", "Something Fishy") but she is equally good at ballads ("Fuel to the Flame") and in only four years Skeeter Davis would record a whole album of Parton-written songs as a loving tribute to a this talented little lady. This album would later get attention of Porter Wagoner who adds Parton to his TV shows and her star will burn even brighter.

Parton's 1968. "Just Because I'm a Woman" was a move to big-time TV shows with Porter Wagoner and RCA recording company where she would get full star treatment. Its far better produced than its debut album, sounds less eccentric and more Nashville (Bob Ferguson is producer here, Anita Carter pops in for backings vocals) with usual share of argument songs, country weepies and occasional comic number ("I'll Oilwells Love You"). More songwriters are added here, though centrepieces are actually Parton's own songs, particularly dramatic "The Bridge" where pregnant and suicidal protagonist ends abruptly the story in the middle of the sentence. Perhaps because Parton was so over-exposed in her work with Wagoner, this album didn't chart as high as her debut, but she had a lot of hit duets at the time. Bill Owens have few good songs here ("I'm Running Out of Love") and title song is of course country classic now.

Parton's 1969. album is a spirited collection that starts with the bang - ""Don't Let it Trouble Your Mind" and "He's a Go Getter" are delicious Parton originals that find her in a excellent voice (she sounds better than ever before here). Almost all the songs are her own, except few covers ("Harper Valley PTA", "The Carroll County Accident" and "D-I-V-O-R-C-E") and as usual, she is like a little country butterfly with this instantly recognisable, cute voice. Occasionally Parton slips into corn ("Mine", "Mama, Say a Prayer") but this is where she was as artist at the point. She might be sentimental in the ballads but is excellent in uptempo songs.

The second 1969. album by Dolly Parton opens with somber version of "In the Ghetto" that stands in a contrast with next song, "Games People Play" in happy, countrified dress.  Porter Wagoner's hit "Big Wind" is a delicious, happy country gospel in her hands, while "I'm Fed Up With You" is another uptempo "Dumb Blonde" sound alike.  Her own material is very interesting here, apparently Parton really let her imagination running wild and she came up with several heavy drama stories - "Evening Shade" is about orphans burning the orphanage (with evil headmistress inside), protagonist of "My Blue Ridge Mountain Boy" could be relative of Bobbie Gentry's "Fancy" prostitute, "Daddy" is about father leaving poor mother for a younger woman and if you think this is enough country soap opera for one album, wait until you hear "Gypsy, Joe and Me" where all three protagonists die during song. In all of this, Parton chirps like a birdie so it takes some time before message of the lyrics actually sinks in. This album actually charted higher than any of her solo albums until than and it had three hit singles.

"Satisfied Mind" (1956) by Porter Wagoner

Decades ago Porter Wagoner was the one who pointed at his new discovery, young Dolly Parton.
Many had discovered Parton thanks to him, but in the meantime her star so overshadowed his that today thousands of her fans discover Wagoner via Parton, me included.
No matter how you stumble upon him, I recommend this album because he is truly a great discovery.

Wagoner's first album from 1956. titled "Satisfied Mind" is highly enjoyable, hard-core country collection with strong melodies and very good performances - I am not sure is this compilation of successful singles or original album release, however material is first-rate and almost every song a winner here. Wagoner had a warm baritone and was effective in both ballads ("Satisfied Mind") or happy, uptempo novelties ("I Like Girls", "Company's Comin') - there is also a excellent version of "Born to Lose" (later covered by Ray Charles) and wonderful, bluesy "Midnight" that would appeal to Mark Knopfler and his buddies today. There is nothing flashy or showy about Wagoner's singing, he sounds honest and basic, often backed by vocal chorus. I understand his later work was often borderline sentimental but here he was simply excellent.

"Dinah" (1931) by Bing Crosby and The Mills Brothers

Truly fun 1931. version - and very different from Ethel Water's sentimental ballad recording - where Bing stars slowly with that famous croon, before Mills Brothers join in and totally destroy any idea that this ever was torch song. They romp so deliciously together that Bing can't resist and clowns with them in this neck-breaking speed (he actually matches them pretty good) the result being one of the best versions of "Dinah" ever. I used to like Waters but this must be my new favorite now.

Bing Crosby 10 CD Box set

In his days, Bing Crosby was a God - that is why its only natural that decades later his life work is sold re-packaged in bargain boxed sets, decades of million-seling hit singles and once ground-breaking recordings now reduced to "sales" bins where even 10 CD set costs less than new album by current pop star. There's no doubt that similar destiny waits for Sinatra, Beatles or Presley once they will be perceived as ancient museum pieces. Nothing wrong with Crosby's music of course - what is so generously offered here is career highlight by pop music giant, tons of albums and once unforgettable singles, all in one convenient place boxed nicely (no booklet or liner notes, but there are info on each CD) it just bothers me to see BING CROSBY sold like this. Oh well.

I was in a CD shop (yes,I still buy CDs occasionally) looking for something else when I spotted this CD box and couldn't believe my eyes. Any current little teenage "star" has album at full price and 10 CD box of Bing Crosby (with hours of truly magnificent music) costs next to nothing. How embarrassing. Does anybody really cares for this music? Well I do - so I purchased it, fully understanding that 10 CDs will be a daunting task and I will probably listen them rarely, in small doses since I grew up with vinyl and 30-45 minutes of music is enough for me (CD format kills me with never ending song program).

What do we have here:
1) Early Bing Vo.1 (1925-29)
2) Early Bing Vol.2 (1929-32)
3) Early Bing Vol.3 (1932-34)
4) The King of Jazz (1930-34)
5) The Dance Band Days (1930-31)
6) Bing Sings A Song of Island (1936-1950)
7) A Musical Autobiography Vol.1(1954)
8) A Musical Autobiography Vol.2 (1954)
9) Bing And The Dixieland Bands (1951-54)
10) Bing Crosby And The Andrews Sisters (1939-52)

Once you gave them listen, truly delightful pre-WW2 pop explodes from your speakers, there are lots of collaborations of other artists and of course that wonderfully nonchalant and relaxed baritone that generations of listeners loved and idolized. But no matter how big we think we are, we all end up boxed and insignificant at the end. At the bargain price.

"Ma Rainey's Black Bottom" - 1920s Blues by "Mother of the Blues"

Lovable Gertrude "Ma" Rainey was affectionately called "Mother of the Blues" and she certainly was chronologically one of the very first female artists of 1920s blues - material here is from 1924-1928 so naturally it sound ancient but it spark with humor, spirit and defiance. Her voice is a wonder - gruff, rough and raw but powerful, Rainey still communicates emotions and this is something that clearly shines trough a now-historical recordings. Whenever she laughs, jokes, moans or sings about unfaithful lovers who beat her and "black both of her eyes" there is something deeply affecting (and affectionate) in her music - perhaps its her earthiness and complete lack of any "sophistication" that transcendent decades separating us from her. Some other artists from same time (Alberta Hunter, Ethel Waters, Adelaide Hall) optioned for sweet chirping instead, but Rainey was pure unrepentant country-blues with rough edges and if other performers got bigger commercial success by adopting white-washed sound, Rainey was and will forever be a real thing.

Depression Era Country: The Carter Family

The Carter Family were hugely popular and beloved country artists from Depression Era and naturally today they are seen as untouchable and influential ancestors of any country artist who came after them. This sounds very interesting in theory but in reality this music actually scares me - I understand they were very important and all that, however it doesn't make for enjoyable listening. Everything about Carter's - from their gloomy harmonies to joyless songs clashes with my perception of music as something that uplifts the spirit (and this is coming from somebody who usually finds depressing music beautiful & relaxing) so every time I force myself to hear it again, I marvel at my own curiosity, what on earth had possessed me to buy this CD without hearing it before and how I simply can't convince myself that this universally acclaimed and historical music is pleasure to hear. It is not.

To me (personally - and I don't care what encyclopedias say) Carter's appear as some of those old family portraits where faces from different times speak about joyless lives, no laughter and only hard work & drudgery. You know, God-fearing, rising with a dawn, back-breaking field work and poverty, people who look ancient but were actually young as you or me. Even photographs of Carters scare me. And this is strange because usually music is one of the places where human spirit soars with beauty, harmony and emotions - where many other artists from same time (Jimmie Rodgers for one) have some kind of joy and spark, Carters are absolutely tight-lipped and adamant about not having any fun - they would probably criticize me right now for putting too much sugar in my coffee.
Sour, dour and stern, these country music ancestors are curious listening for anybody interested in Depression Era music - as for me,I find it almost gothic and very deeply disturbing. If on a rainy night I would find myself in front of their doors, I would rather continue trough the storm.

"Mission Chapel Memories 1971-1975" by Dolly Parton

Wonderful compilation of Parton's hard-core country years when she was still performing together with Porter Wagoner - all the material here is from 1971-1975 so it precedes her later pop crossover period and shows why country audience loved her so much.

Almost all material here are hand-picked gems written by either Parton or Wagoner - quality of songwriting is very high and songs are little stories about heartbreak, joy, religion or occasional autobiographic vignette ("Coat of many colors") that romanticizes hungry childhood years. What is very interesting here is that Porter and Wagoner were absolutely on the same wave-lenght and its difficult to recognize who wrote what, they both had soft spot for sentimental stories and strong melodies, in fact some of Wagoner's stuff is so strong (explosive "Highway headin' south") that I am surprised he actually gave it away to anybody. Behind that cutesy looks, Parton was a excellent songwriter and bursting with ideas - not all of the songs here were hits but this gives them "hidden gems" spark and spark they do, like a sunny Sunday afternoon. Just listen some forgotten numbers here, like "Pleasant as May" and she is coming across as almost overwhelmingly gifted artist, I mean she was this beautiful young woman with incredibly pretty voice AND was writing her own songs. "Highway headin' south" is such a joyous, rousing country-gospel that it is worth price of CD alone.

Approaching Eurovision 2013

There are certain things that we can always count on - after cold winter comes the Spring, day will follow the night, the battery in your watch will stop when you least expect it, the change given to a beggar is the one you will need later in supermarket and every May there will be Eurovision. I wrote about it previously (last year) when I enjoyed 2012's annual TV show and accordingly (and not surprisingly) had almost forgotten who was there - its a family entertainment that perfectly works as Saturday night fun and we shouldn't expect more than this. Decades ago it was actually truly music festival that reflected european tastes way back than, but in the meantime it became circus where visual part of performance overshadows everything else, generations and cultures clash in mind-boggling variety (who actually love this music? Older viewers nostalgically expect big voices and orchestrated ballads, kids want explosions and dazzling shows) and local neighbors vote for each other.

Of course I must admit that I am slowly turning into "old fart" who also unrealistically expect good singers and strong songs but reality is that I don't really get new pop music appeal and to me it sounds derivative, calculated or simply unimaginative. From zillion songs of last year Eurovision I truly remember just a few (Italy's Nina Zilli was a cute Amy Winehouse soundalike) and I always dread songs with local folk influences because this ethno sound is an old hat and nothing new but you can bet that some countries would always try to put some fiddles or bagpipes in their songs - and dress up their artists in century old costumes.

As croatian, I am always horrified with croatian entries because they reflect particular aesthetics that obviously work in our little country but sounds and look old fashioned and laughable to others. This unfortunately describes our own perspective and particular croatian pop culture input in general - to put it simply, there is hardly anything new, original or innovative about our music/movies that might look even slightly interesting to foreigners. Our movies are dry (or amusing only to local audience who would understand its humor), our music follows whatever trend happens in the west, I honestly don't see anything here that might impress anybody in London or Paris.
Some interesting,angry young artists ("Gustafi") are excellent and would leave far better impression than moth-eaten music we send as our representatives on Eurovision, but unfortunately "Gustafi" are not mainstream and mainstream composers usually push their favorites - last year Nina Badrić had limp pop song that got nowhere (Badrić is a perfect example of artist popular locally who has absolutely nothing interesting to offer to wider european audience, they have hundreds of singers like her).

This year Croatia again decided to show to the world our "culture and tradition" which means pushing modernized "Klapa" sound (male vocal group) - Croatians love this kind of music where guys are crooning gently and it is all nice and bla bla but "Il Divo" did it already so what's the friggin' point? Guys sing like a dream of course and their harmonies are beautiful, however this is EUROVISION and we need something catchy or impressive or bombastic to be at least noticed between thirty-nine countries, not depressing song about poverty ("Misery") sung by bunch of undertakers. The fact that this kind of music is very much loved in our Adriatic part of the country just shows that croatians have no clue about discrepancy between what they find interesting and what the world expect. Foreign commentators ridicule us already, calling our singers
"constipated and seriously depressed". If we send eccentric and happy band like "Gustafi" we would at least appear interesting.

     

"Liza! Liza!" (1964) by Liza Minelli

Very impressive debut from my a 18 year old girl, but than again this wasn't just ordinary next door girl.

It can be said that "Capitol records" had a safe bet with this release because Minelli's family background almost guaranteed she would inherit at least some of her parents talent (thought nobody expected it would later blossom so much) and Barbra Streisand's recent success on her "Columbia" debut also intrigued "Capitol" enough to try and give kid a chance, why not putting her together with Streisand's arranger Peter Matz and see what will came out of it? If Streisand in her way broke the ice on the market for a "ugly duckling with golden voice", Minelli in her way was a safe bet - she had famous parents, well known name and already a successful single behind her.

All this business decisions would mean nothing if Minelli did not had great voice and personality - not surprisingly she sounds very much like her mother, singing with same passion and abandon that Garland was known for. She was still very young but this combination of bravado and vulnerability served her well on collection of standards and occasional comic number. Of course this was far from any current pop trends in 1964. and firmly put Minelli in category of "traditional pop" where she would more or less stay firmly during her career. The most surprising thing about this early album is her collaboration with John Kander and Fred Ebb who gave her "Maybe This Time" (recorded here) that would became her trademark and perfectly describe her stage persona of hopeful loser. The debut album sold over half a million copies and established Minelli as a huge potential who of course just started - "Cabaret" was still to come.

A perfect performance

Last evening I was watching spectacular concert tribute to Stephen Sondheim - guy is a genius of american musical theatre and connection between Broadway's golden years of decades ago and our time (he is writing BOTH music and lyrics for his musicals) - this particular concert was released on DVD as "Sondheim: A Celebration at Carnegie Hall" and the night was full of stars as dazzled audience watched each of these wonderful artists out-performing each other on Sondheim's musical masterpieces that demand all sorts of talents - some were crooning, others belted, third would act and so on. Than Liza Minelli came on the stage and my God was she brilliant or what - she was singing Sondheim's song written for "Dick Tracy" movie "Back in business" and that was truly show-stopping moment. First she appeared in her simple dress and just being who she is - great musical and movie legend - that was already enough to overshadow anybody else on the program. Than she started to sing, pouring out that magnificent, rich voice that we all loved way back in "Cabaret" but actually she sounds even better now as she got older. And THAN she started to dance - phew! - strange how she suddenly turned from gawky duckling into magnificent, hypnotizing performer. I couldn't believe my eyes, I had actually watched her twice and rewinded it back again. This must have been one of those rare PERFECT performances so I need to share it with everybody. After her,I couldn't watch the rest of the show, I left it for another time because nobody could top this. Others sang, some danced but nobody did everything so perfectly as Minelli.

Piaf connection

Insomnia and bad stomach kept me awake at ungodly dawn hours so I surfed the net and out of curiosity checked some names I had encountered while reading Edith Piaf's biography. First, there was Marie Dubas who was a big star in 1930s and everything Piaf wanted to be. Honestly, on the record she doesn't sound so special but apparently when she was on the stage, she had audience in the palm of her hand and was very moving.

I had also discovered that Piaf herself usually depended on good songwriters (Marguerite Monnot was her good friend and famously absent minded, according to the book) but once was inspired enough to write song herself that turned out into "La Vie en rose". Interestingly enough, nobody thought much of it and song was given to another singer - Marianne Michel - who recorded it first. It was so popular and loved that Piaf herself reluctantly recorded it two years later and it turned into her biggest success.

Yves Montand was of course Piaf's discovery - like all her discoveries, he was first her lover and than she left him once he became successful.I am familiar with his name of course, but if you ask me wouldn't know any of his songs. At least this is what I thought until I found out that until I heard this.

Marlene Dietrich warmly welcomed Piaf when she came to US and they were such good friends that Dietrich was even matron of honor on Piaf's 1952. wedding - Piaf herself wore little cross necklace Dietrich gave her. They appear very different but it seems they really liked each other.

Otis Redding

Future soul giant was only 23 years old here - he sounds just fine, rugged, rough voice and all but he depends too much on people who had set the path before him: Rufus Thomas, Ben E.King, Sam Cooke and most of all Little Richard. Its a loving tribute - "Hey Hey Baby", "Lucille" and "Louie Louie" could easily pass as original Little Richard had I not know better. "I Need Your Lovin'" on the other hand could have been early James Brown. In all honesty, album actually sounds fairly generic R&B release of its time (title song could have been anybody) but apparently was highly influential among young UK rock musicians who idolised this particular sound, far more than in homeland where it didn't even make top 100. Beautiful ballad "These Arms of Mine" is the highlight here, it's written by Redding himself and points at his potential as songwriter.

Phew! Is this one of the best 1960s soul albums or what?
Its probably difficult to understand now why exactly artists used to record own hit songs as singles and sing a LOT of covers on studio albums, but just one look at Redding re-imagining songs by Smokey Robinson ("Its growing") or Sam Cooke ("Chain Gang") makes it all worth - no matter where this guy found his inspiration, results were always sweaty, angry, energetic and tortured SOUL and to me epitomises the best of 1960s soul music. The best of all is a truly magical version of old 1920s Bessie Smith blues jewel "Nobody Know You When You're Down And Out" that keeps all the passion of original but brings song to recognisable horn-driven Memphis sound. Redding growls, roars and commands absolute attention thought guys from "Stax" backing band must get recognition for excellent work - when I hear something like "Scratch my back" it truly sounds like some of the best 1960s R&B. Magnificent stuff.

Just in case you were thinking it can't get any better than "Soul album" here comes "Dictionary of Soul" with more gritty horns, guitars and excellent Memphis musicians who were at the peak of white-hot inspiration behind volcanic singer who completely turns other people songs inside out: his version of "Day Tripper" blows British guys out of the window and "Try A Little Tenderness" pulls the same trick like Bessie Smith cover recorded previously (how he came with with all this obscure 1920s and 1930s stuff?) - strange nobody thought about giving him a whole album of these old standards, he would probably bring Midas touch to anything he set his mind to. "Try A Little Tenderness" is such a explosive re-imagining of old song that it could be finale of any brilliant concert even today.

Sure its a gimmick but it works surprisingly well, considering that these two had almost nothing artistically in common (except conveniently recording for the same company) - Irma Thomas was cutesy singer but Redding was of course soul giant and together they actually fly. Wherever he pours his tortured heart in ballads ("Tell it like it is", "When something is wrong with my baby") or shouts in upbeat material ("Tramp", "Lovey Dovey", "It takes two") he actually makes Thomas far more interesting than she was. Since Thomas had previously recorded her "answer" to Sam Cooke's "Bring it on home to me" it seemed just natural that they sing it as a duet here and works wonderfully. Despite my initial reservations, this turned out to be actually very good album.

I am usually suspicious when it comes to posthumous releases, as they tend to be nothing but curiosities and re-mixed unfinished ideas that artists didn't find good enough to release when they were alive - however "Tell the truth" must be exception because its material actually recorded in 1967. (the year of his tragic death) and there is absolutely nothing unfinished or embarrassing here. In fact, everything we always knew and loved about Otis Redding music is here, including spectacular Memphis guys in the background, that familiar passionate growl and Little Richard cover. James Brown's "Out of sight" is perhaps too close to original but still good to hear.If you were listening Otis Redding up to this point, you are probably hooked as I am so it doesn't matter that album was standing on the shelves some time before it saw the light of the day. Guy was genius.

"50 godina sa Vama: 50 Years With You" by Predrag Gojković - Cune

Predrag Gojković (affectionately known as "Cune") is a giant among keepers of the tradition of traditional folk music flame in Ex Yu territories.

Gifted with almost impossibly beautiful voice, Gojković flirted with pop music in the early 1960s (he had recorded several interesting pop singles with covers of than-current brazilian and mexican songs) before finding national success in 1963. with best selling 4-song EP recording with traditional folk melodies ("Kafu Mi Draga Ispeci") that made him mega-succesful and from than on he was undisputed king of traditional folk music. As this 3 CD box presents, Gojković had uncanny, almost hypnotic way with slow, dirge-like folk laments from (mostly) ancient serbian and bosnian repertoire where his gentle, sensitive croon waved magic clouds around listener - backed by sophisticated, almost classical orchestrations or simple folk bands he was always impeccable interpreter with deep respect for this material and I could hardly think about anybody in his league. With celebrated bosnian singers like Safet Isović or Himzo Polovina it was about vocal virtuosity but with Gojković its always about heart and soul.

With my urban, croatian background it took me some time before I turned attention to this kind of ancient folk material (it was much beloved by older generations) but once my curiosity took over, I was deeply moved with Gojković's seductive croon - its a relatively unknown world to many younger listeners who know folk music only trough later commercial artists but that music was bastardized to almost unrecognizable point since Gojković had started and no wonder he was act impossible to match. I dare anybody to listen songs like poetic "Sagradiću Šajku" or his duet with gypsy queen Esma Redžepova ("Kaži, kaži Libe Stano") with dry eyes. It is truly sophisticated art that deserves to be heard and appreciated. This 3 CD compilation covers a lot of material trough different decades (it completely ignores his pop beginnings) and needs to be taken in small doses because it might reduce listener to a weeping mop but its truly magnificent tribute to a brilliant artist.