Among many bands that were paving their way to recognition during the fertile New Wave era, one that particularly stood out were Dorian Gray. The rumour has it, some of the public were somewhat laid back when 'Sjaj u tami' ('Shine in the Dark') finally came out, noting the group sacrificed its raw, edgier sound (especially witnessed in Dorian Gray's earlier live performances) for something way too polished and glossy. However, none of it prevented "Sjaj u tami" from becoming a landmark debut album. The intriguing music was greatly helped by Dorian Gray's unusual public appearance - faces covered in phantom-like spooky makeup added volumes to the noir atmosphere in the very songs, underlined effectively by goth, funk and jazz.Clearly, the nocturnal mood prevailing in Dorian Gray's music always stood close to David Bowie, Roxy Music, King Crimson and especially Japan (additional flavour worth mentioning here, is also that of a certain Bauhaus) - impeccable rhythm section, especially the use of fretless bass and horns, round up for a nice little surreal story told. The title song is a modern, translated adaptation of The Walker Brothers' oldie-goldie 'The Sun Ain't Gonna Shine Anymore', and it served its breakthrough purpose for Dorian Gray - the rumour has it, this very song was the main reason the early line-up drifted apart, due to a compromise imposed by Jugoton that the group record this song. Reportedly so, the choice of the producer Saša Habić to work with the group on their debut also contributed to the disagreement. Habić is said to have been quite a dictator in the studio, not just dominating over the production work itself but suggesting other ideas that some of the groups he worked with at the time didn't fully agree with. Whatever the truth or the legend, while proved to be a sizable hit for the group - the song "Sjaj u tami" forever stayed an albatross around Dorian Gray's neck, undeservedly marking the group as "one hit wonders". But there's much, much more - wrapped in suitably arty packaging to provoke the public eye, the list of songs is well worth the ear's attention: 'Dugo si sam' ('Alone For Too Long'), 'Kuća' ('The House'), 'Monstrum pored sna' ('Monster by the Dream'), 'Legenda' ('The Legend'), 'Zoveš me' ('You're Calling Me'), 'Gusar' ('The Pirate'), 'Umorni lovac' ('The Weary Hunter') and especially the morbid 'Jahač' ('The Rider'), all contribute to the impressive nightmarish picture.