...unlike Aretha, [Al Green's] only rival vocally, Al never sold himself short in the studio. Where the albums follow the vagaries of genius, the hits exploit Al's personal production line, every one a perfect soul record and a perfect pop record in whatever order suits your petty little values. Brashly feminine and seductively woman-friendly, he breaks free in a register that darts and floats and soars into falsetto with startling frequency and beguiling ease. He's so gorgeous, so sexy, so physically attractive that only masochists want to live without him.
I have a transgressive spirit, and Pop is transgression's best friend.
It's so frustrating that everybody rags on eighties music, when there's a lot of terrific stuff out there," he said. "There's no irony to it. It's not afraid to just be happy or enthusiastic or earnest. Or to have melody. Sure, you can blame it for being naive, but isn't that refreshing next to the whiny navel-gazing that came after it?
Take Tom Jones and mix him with Enrico Caruso, the Italian tenor-cum-castrato singer. Then add tons of pathetic love songs, faked sex appeal and musical kleptomania focusing on Western hits from the 1970s. Spice it up with a political flexibility rare even for Central European standards and a personal status close to that of the Pope. What do you get? Karel Gott, Czech pop music's most mega-super, long-lasting and brightest star.
Logically, when Maestro Gott some years ago, after an especially cruel critic had compared him to "a zombie who causes acute depression to innocent radio listeners", decided to stop performing in protest, the situation was considered so grave that the Minister of Culture himself went to console the deeply insulted star.