"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. 

"Game of Thrones : A Knight of the Seven Kingdoms"

After watching it like a maniac trough the years of swapping the whole seasons with friends and co-workers, sleepless nights where seeing just one episode was impossible, now we arrived to a very last season and are actually forced to watch one by one episode as it originally shows on TV. Initially, the very first episode was frustrating because it felt like nothing is actually happening and I was genuinely criticising the whole show, saying why is there so much talks and nothing when danger is lurking around the corner. However, the second episode was just fantastic - either it was really great or I was simply in the right mood, I found myself rewinding scenes and watching them again and again, enjoying every second. Strange enough, nothing really major happened yet - the big battle is expected soon, so what we got - and very cleverly done - was to see all the important characters finally arriving in the same place (Winterfell) and mingling along each other, fully knowing and understanding this might be their last night alive. But the dialogues and connections between them were just awesome and I loved every second of it.

Because now everybody finally realises that Cersei Lannister lied and had no intentions to send army to help in the North, it comes as a big surprise that her brother Jaime Lannister arrives alone, by himself to join the Northerners. Initially he is doubted, despised and faces potential execution but somehow we understand he is actually not a bad guy - he really changed trough the TV show and we got to really like his character - when Brienne of Tarth stands up in front of everybody and vouches for him (saving his life, basically), saying to Sansa that he swore to her mother that he will protect her, things drastically change for him and furious Daenerys Targaryen has nothing more to say. Daenerys has a really bad time now since here in the North nobody likes her, nobody really listens to her anymore and even Jon Snow is kind of distant now (either busy with upcoming battle or feeling bad about their relationship). Both sisters - Sansa and Arya - have their big moments, but personally I still feel bad for character of dwarf Tyrion Lannister who once used to be the highlight of the show and now is just reduced to occasional quip in the background, he got lost in a shuffle somehow and although its nice that he survived so long amongst all the killings and madness, I expected him to be more prominent and important. Brandon Stark on the other hand, really surprised me because he turned into such a fascinating creature - he is obviously not human anymore and knows all the future and the past, so everybody hushes when he speaks. I just love how all these characters finally got to interact together for the first time and there was a scene where several of them meet for the last drink before the fire - one of the best scenes ever - they just talk and reminisce but what happens was one of the most beautiful and affectionate scenes in the whole history of the show. What it means to Brienne, who truly was always the only good-hearted, sincere person in the show, was just phenomenal and I cried my heart out for the joy of seeing her smile. I have been watching "Game of Thrones" for so long now, that I can't even imagine that the show will eventually end, will probably watch it all over again at some point. 

"The White Crow" by Ralph Fiennes (2018)

Thanks God I have nice friends who appreciate my movie choices, so there was never a doubt about checking this one out - a little escape out of mainstream cash box mega hits and predictable car crashing explosions - we were actually both excited and curious about seeing biopic of Rudolf Nureyev although our ignorance about his life was both touching and plus, as we enjoyed the movie without knowing much about his background. For some reason I just assumed the movie will be in English (because of its director) so it came as shock to find out I had to deal with Russian with Dutch subtitles (after all, we were watching this in Amsterdam) but as usual, it was not a problem for me, I have already watched French, Spanish and even Japanese movies with Dutch subtitles and found out that when I'm really into a movie, language is not a barrier at all.

Ralph Fiennes directed this one and its very clear that someone with artistic sensibility holds the reigns - in my mind he is forever associated with role of SS officer in "Schindler's List" but there is of course much more to him, here he carefully avoids anything bombastic and in fact creates very evocative atmosphere of cold war, where politics control the fate of individuals. He also gives wonderfully restrained performance as ballet master who nurtures young, wild and immensely talented dancer who will eventually became world famous Nureyev. The role of Nureyev is played by charismatic real-life Russian dancer Oleg Ivenko who is actually genuinely magnetic, although physically there is only a slight resemblance between them, but that was not the point - what Ivenko brings to the movie is impression of a untamed, young country bumpkin who has neither patience or social skills to ease his way into higher spheres of heavily organised Soviet system where art is financed and therefore controlled by government.

Even at home amongst his own colleagues, he is outsider who does not search for company and prefers reading books - once he finds himself on European tour, he is thrilled with sense of freedom and all the art he encounters - I was personally very moved with the way he actively searches famous museums and galleries of Paris, to soak in all the beauty he knew only from books, something I often did myself once I found myself around the world. Strange how we crave beauty above all the other things, when my work colleagues would all go to McDonalds, I was the one who went exploring museums and loved every moment of it.

Towards the end of the movie, the big finale eventually arrives - and I must admit that Fiennes does wonderful job of building the climax, where we suddenly realise that government officials won't allow Nureyev to travel further with the rest of Mariinsky Ballet troupe but they are sending him back to Soviet Union with some false explanation. Being who he was, Nureyev won't mildly comply but creates scandal on the Paris airport, where eventually he asked for asylum and escapes the clutches of Soviet officials for good. From now he is not able to travel back home anymore, but the international career is open to him and he will become world famous. I must admit that I enjoyed the movie very much and was actively pouring over Nureyev video clips afterwards, its really a gripping story. Ah yes, Nureyev's homosexuality is treated very matter of factly and it was never the main issue, it was kind of obvious and not a big deal, in fact movie strongly suggest that he was perfectly fine with both genders if occasion came his way. 

"Through The Storm" by Aretha Franklin (1989)

As a young man, fresh from high school, full of youthful confidence (and ignorance) I took my best pal along and bursted in the office of celebrated newspaper offering our services as music critics. They must have been amused with our youth, because they actually gave us assignments: I was to review latest album by Queen of soul, while my friend had to write up about a certain artsy fartsy rock concert where we got drunk at the bar and didn't even realise that the concert actually started (" nah, they are just adjusting instruments"). I don't recall were we actually paid at all but we were thrilled to see our names in national paper and I did my best to sound very mature, article overflowing with complicated words and phrases that might sounds impressive (at the end nobody believed that I wrote it).

While my friend was at loss how to approach artsy fartsy concert by celebrated artists who didn't make any sense to her, my task was no less complicated because I was very much aware that I was just a kid and this is Aretha Franklin and album is very mediocre - so, I wrote my review very respectfully but made a point that we are talking about the artist venerated for her back catalogue and no amount of producers and special guests can hide the fact that this is extremely formulaic, slick product far removed from golden glory of her former years. Some twenty years I am listening "Through The Storm" again and my opinion has not changed - just like back than, the only time when the album gets mildly interesting is gently swinging ballad written by great lady herself ("He's The Boy") where she sits by piano and tones histrionics down - by this point we are so used to Franklin's style that it actually gets more satisfying to hear her singing relaxed instead of trying to smash the ceiling. The rest is unfortunately very bland and indistinguishable. 

"Green Book" by Peter Farrelly (2018)

Since I moved out of the centre, I noticed that my perspective has changed and suddenly I dislike the idea of just popping out somewhere for a drink or a walk, like I used to do when I was in the heart of town and it was the most natural thing to do. Now, when I'm back, I'm really back and  wild horses can't make me go back to town again - which is a pity since I neglected something nice as for example cinema treat. Well, to go back to that frame of mind, I decided to simply stick around after work and make it to the cinema in the evening, even though it was a bit challenge since the Spring in Amsterdam means storms, rain and hail + until evening I was quite tired but it was definitely worth it.

"Green Book" was suggestion from my work colleague, who somehow became my cinema buddy - we really enjoy going to the movies together and discussing everything later. Perhaps I was to excited with "Roma", "The Favourite" and "The Wife" to actually pay attention to other "Oscar" nominations, so I'm glad we checked this one out because it was really entertaining, feel-good movie that played me like a violin. It is a story about New York bouncer accepting a new job, to drive classical music pianist trough the tour of American deep South - the catch is, this is still segregated US and his new employee is a black. Very sophisticated, cultivated person but it don't mean a thing to audiences in Alabama and such places - they will applaud the entertainment and will probably be amused with the spectacle of black classical pianist, but he still can't eat in the same restaurant, use WC in their homes or sleep in decent lodgings (hence "Green book" with list of motels available to blacks in the south). The dynamics between the driver and his employer is the heart of the movie, as they come from completely different backgrounds - Vallelonga is uneducated, simple Italian who survived trough life on the strength of his knuckles, while Don Shirley tries to keep his dignity trough the incredibly rough times and insist on good manners. It's a white man's world in which driver manages to bulldoze his way somehow, but black classical pianist might be too much of an refined oddity - later in the movie we get to understand that Don Shirley also feels outsider in both white and black worlds. There is a very poignant scene when the car stops in the middle of some fields deep down south and black farm workers all stop their work and stare at the spectacle of white man driving a car for a black person. Of course, bigoted policemen just wait for such people on the road to lock them up for no reason but being out in the night (the first time I ever heard about "Sundown towns" where it was actually against the law for blacks to be out after sundown).

Some nitpickers complained that movie is too simplistic but I disagree - its a very sensitive subject and language of the cinema have to somehow point at the atmosphere of the times, the world that today most of us find completely alien. At the beginning of the movie Vallelonga (who at that point still has no contact with blacks, since they are not customers in New York nightclubs) actually throws glass cups in the garbage after he saw his wife ordering refreshment to some black construction workers - this is how most of white people lived. Trough the journeys with his black passenger, he slowly changes his mind, comes to admire his virtuosity and becomes fiercely protective of him - at the end they share the same lodgings and Vallelonga genuinely invites him on a family Christmas dinner. The story is based on actual real people who really lived and became lifelong friends and movie suddenly (and very belatedly) put a spotlight on music by Don Shirley who was all but forgotten and ignored by now - to me he sounds like some distant predecessor of Nina Simone who was also classically trained pianist and often mixed genres (in her playing one can clearly hear classical influences). Reality was that black person simply had to entertain - there was no place for black people in classical music - so even on his tours, Shirley was playing lightly swinging variations on classical music combined with popular pieces. However, I need to research his music now because the movie became huge sensation and it brought him back to the spotlight. The soundtrack itself became one of the most popular in history of "Milan Records".

Thought of the day

"I Am a Photograph" by Amanda Lear (1977)

Where intriguing, nightclub hopping, jet set personality finally steps into music as solo artist and plays with smoke and mirrors to titillate continental audience hungry for another Dietrich-like entertainer. Of course its all a brainchild of German producer Anthony Monn who masterminded the introduction of his latest discovery and it must be said he did a good job of packaging and selling his product - all of his albums for her are great, guilty fun without pretensions and not for a moment listener would confuse this with US disco - this is decidedly European affair with tons of schmaltz and kitch but great in itself. 

Can't say why, but this reminds me very much of early Donna Summer (also brainchild of European producer Giorgio Moroder) though of course Summer was great singer while Amanda Lear couldn't really sing to save her life, although critics who gleefully pointed at this obviously missed the point - with Lear it was all about wink and nudge, suggested naughtiness and oversized camp personality. The whole hoopla about singer's real identity is actually pretty obvious, since Lear wrote majority of lyrics herself, to me this all sounds like any Asian Tony Manero imagining himself as femme fatale  - the harder Lear tries to convince us she is genuinely seductive, the less believable she is but my guess is that just like with Mae West back in the 1930s, it worked for some. The whole album is great fun, like first four Lear LPs and once she severed ties with Monn, the magic was abruptly gone. Guilty pleasure. 

"Ten Cents A Dance" by Ruth Etting

If you are familiar with Hollywood 1950s classics, chances are you know the biopic "Love Me or Leave Me"  that one and only time had Doris Day playing cold and manipulative role of a calculated nightclub dancer who uses the influence of gangster boyfriend to break into show business, just to drop him once the fame and fortune happens. James Cagney was heartbreaking as besotted gangster pulling all the connections so his girlfriend can get on Broadway, though watching Day in an her dazzling glory its a bit unclear why she needed any push at all, since she had charm, looks and talent galore - it was heavily fictionalised and kind of "Fatal attraction" of its day but the story is timeless and deserves new version that could look closely on dynamics between the two main characters.

This "ASV" compilation (on unfortunately obsolete British label) is the real thing: here you can hear genuine article and what Ruth Etting actually sounded like. In music literature she is mainly unfairly compared to contemporary Annette Hanshaw who seems to be kind of artist critics prefer - while Etting was a big star, Hanshaw is known only to cognoscenti therefore by some strange logic she is celebrated as better of two, though there is absolutely nothing wrong with Etting herself. Both possessed thin, slightly squeaky and girlish voices popular back in 1920s but where Hanshaw had annoying trademark to end her recordings with a phrase "that's all!" (it gets predictable and tiresome after a while), Etting milked pathos of her sentimental ballads for all its worth. In addition to sensational looks (she was in Ziegfeld Follies), she also had tons of really good songs of which some later became American Songbook standards - "Love Me Or Leave Me", "You're The Cream In My Coffee", "Body And Soul" and "Mean To Me"  were later re-visited to death by any Jazz singer from later generations, while "Ten Cents A Dance" was Etting's own "Private dancer". Its a surprisingly strong jukebox of 1920s and early 1930s hits and of genuine interest to any listener curious about that era.