During my days as a radio programmer, a 45 by some guy I never heard of before crossed my desk. It was called "Blue Hotel." I put it on the little turntable in my office, and listened. When it was over, I got up, closed the door, and played it again. Loud. After that, I was hooked. Chris Isaak had made me a fan with one 45.

I then went out and found this CD in a Rehoboth Beach Delaware boardwalk record store, and was blown away. The music was dark and sexy, evocative and moody, and rang of broken hearts drenched in reverb. "Chris Isaak" was so beyond anything being released in the period that I had to play it for friends, to show them real musicians still made rock the old fashioned way. Isaak even took a classic chestnut (The Yardbirds' "Heart Full Of Soul") and completely reclaimed it.

This was the CD where Isaak and his band Silvertone found their voice. The album sounds full and rich, both deliciously retro and thoroughly modern at the same time. He was able to tread that line perfectly here and on the follow-up, "Heart Shaped World," so if you ever wondered where all that original excitement about Chris Isaak sprouted from, just pop this CD into the player and cue up "Blue Hotel." Hearts in agony never sounded this good.

This album was a landmark recording for me. I heard (and purchased) "Silvertone" while living in the Bay Area. When this record came out, I was blown away. The production values are outstanding and the music is unbelievable. Although you can't deny Chris and his fabulous voice, kudos have to go to guitarist James Calvin Wilsey and producer, Erik Jacobsen for creating an awesome space on top of which Chris can shine. Well versed in the ways of creating the "sound" full of reverb, twang, gently bent notes and ambience, Chris and the band take you back in time, while still keeping you in the present.

This is Chris Isaak's most consistent record, and his best, in my opinion. "Fade Away," to me, is the best Chris Isaak song ever. You'll never get sick of it. The rest of the album is great as well.

Oh, darling. This was my first taste of Chris Isaak while in Texas after having my heart smashed into a mazillion teeny bits. Driving home to LA in my '63 Lincoln at night, this just floated out of the air and knocked me galleywest. This guy was a combo of Tang & Cool-Whip, Kookie Burns & Rick Nelson. It was just too perfect. From the eerie opening of " You Owe Me Some Kind of Love" surf guitar sinously floating with lyrics that meant what they said. Oh send me someone like this! As addictive as candy, there ain't no going back. Well, of course I was a convert and had to have it all. Even going up to SF to Slims on the offchance...well, a girl can DREAM, can't she? It all just sounds better and better as you keep listening. Excuse me, I have to slip on my heels, gas up, pull down the top, and go for a ride under the stars.

I have all seven of Chris Isaak's albums and this, his second one, is my favorite. There are so many stand-out songs here. Lie To Me and Fade Away are haunting, beautiful songs. I love his soaring voice on the strong opener You Owe Me Some Kind Of Love, and the closing song Waiting For The Rain To Fall will set you adrift in thought.

If you're looking for another Chris Isaak album to buy, I'd recommend this one next.

On the surface, this is a stylish retro album with Elvis/orbison-inspired crooning accompanied by lovely western/surf guitar as well as an ace rhythm section. But the result amounts to more than the sum of the parts. You get Isaak's warm but heartbroken voice, plus James Wilsey's guitar which morphs into a second voice coming straight out of eternity. These wordless, chilling lamentations not only complement the lyrics perfectly but add another dimension. At times the music has hypnotic effects as it takes you to another time and place. I mean, these are love songs that made dreamscape-maker David Lynch sit up and listen.