Arsen Dedić discography continued

"Moje Popevke" (1986)
Arsen Dedić always claimed self-mockingly that he is just a craftsman and if so, he is craftsman of the first order - throw him anything, from songwriting hits for other artists, to soundtracks and theatre work, he comes up with true gems. Take this collection - it is a compilation of music he composed for "Krapina festival", which is a fairly obscure little local music festival that valiantly works on keeping a tradition of northern countryside dialect alive. Judging from his Mediterranean roots, Dedić don't belong here - after all, he was born right in the middle of Adriatic coast - but in fact, he had spend almost all his adult life in the north and understands the tradition, sounds and perspective of locals very well.

"Krapina festival" is, I must admit, quite a Don Quixote business as it does not have huge mainstream appeal - the local dialect makes it mildly interesting only to people who live there, you would never hear any big hits and best-selling records on national radio here. It also means that far from commercial pressure, there is a freedom of translating chanson into local dialect and some very pretty melodies indeed. Any of those festivals (be it Split, Slavonija, MIK or Krapina) sometimes comes dangerously close to certain overused clichés and before you know it, you have avalanche of drinking songs, seems that just geography is different. Dedić however, is too clever for falling into such traps and when he "went Krapina" the detail of selecting just right lyrics (mostly excellent Drago Britvić) and matching it with melancholy music is his usual graceful and sophisticated style. I dare to say he was perhaps too good for this company.

The complete A side of vinyl was given to songs performed by artist's wife Gabi Novak and her soothing, calm and melancholic voice is a wonder - we often take her for granted, because she's been around for so long, but she is a true original whose sound is almost healing. Side B brings other performers like Zvonko Špišić, Hrvoje Hegedušić and talented Tanja Mršić, along with several Dedić-Novak duets that truly spark with humor and love. CD edition has even more bonus tracks, its just a magic compilation.

On the personal note - this is certainly not a music for a young, trendy kids who can't see further than foreign pop charts. But as a person grows, matures and accepts the beauty of his own culture and traditions, its beautiful. I am not a specially nostalgic person, but there was a evening when I found myself so far in the world that this music - heartfelt, melancholic and in my own dialect - made me weep.

"Kino Sloboda" (1987)
Even more self-consciously arty, sophisticated and intelligent than preceding album (if that's possible) here is where Arsen Dedić looks back at his youth trough metaphors of old movies that he watched long ago. Musing about Rita Hayworth and Marlene Dietrich, he describes old loves, what it meant to him and how much he would love to experience that passion again, even willingly allowing himself Emil Jannings treatment. Not everything is about cinema - "Tko stoji iza mene" (Who stands behind me?) philosophically ponders the question of tribe mentality and a realization that only shadow stands behind protagonist. "Automati" is ironic look at phone messages that replaced friendships, "Otkako te ne volim" (Since I don't love you anymore) clear-eyed look at freedom and "Napudraj nos" (Powder your nose) mocking conversation between husband and wife after angry argument, where tired Dedić apologizes to his wife and tells her to get herself together or else they will welcome the dawn in this situation.

Music and interpretation is excellent, however I slightly dislike than-modern production (Mato Došen) that surrounds everything with icy-cold synthesizers , but they were all the rage back than and must admit that this sound makes results little dated and places them squarely in 1980s. I have very strong aversion to synthesizers. The little boy on album cover is artist's son Matija Dedić who will grow to became magnificent jazz pianist and even compete for "Porin" music award with his own mother in the same category. (Gabi Novak also has a lovely cameo on the album)

"Tihi obrt" (1993)
A wartime album.
If you wonder, dear reader, who cares for music and entertainment in such serious times, let me enlighten you, since I was there - people do care. Sure, the tone of music changes slightly with time and initial heroic, sturdy battle calls get somehow replaced with prayers for piece after a while, but music (along with other things, like reading your favorite newspaper with a morning coffee) reminds listeners on different world we are all used to. As we went with our usual business, expecting air raid any moment while we visit post office, shops and banks, as we hid in basements and finally got to know all those neighbors, as we run foolishly upstairs for some more cigarettes and covered windows with blankets so lights won't be visible in the night, radio played on. Only our own, morale-raising, home-grown artists for sure, as blood cells were counted and checked carefully  (I worked as radio DJ and found it very difficult to suddenly limit myself on handful of locals, alarmed phone calls always made sure of it) and whoever had a bad luck to be a child of mixed parentage was suspicious, even Arsen Dedić was not immune to such attacks.

It was a surprise when our radio archive got something - anything - new from home-grown repertoire so yes I welcomed and carefully listened this album. Very autumnal, grey and melancholic, as expected. Dedić is far too intelligent to wave the banners, he actually mentions war only occasionally, noting friendships suddenly blocked by war and the frivolity of celebrating year of Mozart when fire rages so close to Vienna. "Mother courage" is about his own elderly mother who stubbornly stayed and lived right in the middle of it all. The rest is his usual, gentle ironic look back at different times and younger years, how the smell of cheap food reminds him of youth that looks so magical now, how the music of old favorite artists sounds comforting now and there is even a bluesy number where protagonist likens himself to Howard Hughes. The best of all is a duet with his wife Gabi Novak about TV remote control - simple metaphor about escapism that don't work when we have to face the life around us. This was the song I played the most on the radio.

Production is for once, very good - Stipica Kalogjera and Nikica Kalogjera painted it all in autumnal colors, artist's son Matija Dedić plays piano and old friends Hrvoje Hegedušić and Ksenija Erker are on backing vocals. Whoever plays tenor saxophone did a excellent job. In the time of total darkness and madness, here was someone with dignity - even if as the mocking title of the album points, artist himself didn't believe this can make any difference.

"Ministarstvo straha" (1997)
Named after film by Fritz Lang "Ministry of fear", this was artists response on post-war mentality that swept the country, its profiters and victims.
While he grimly recites his lyrics, Arsen Dedić searches for comfort in love, the only warmth left to people lost in the fog and these surreal times. Several of the lyrics came from other sources - Zvonimir Golob and Antun Šoljan - but majority is completely self-written and as usual he is poetic, touching and insightful. There are allusions to Fellini, death, war criminals and people who change the cloak as it suits them - the best of all is "Čistim svoj život" (I'm cleaning my life) where protagonist realizes it's time for spring cleaning of all the people who don't deserve his friendship. "Where in the world did I collect them?" he wonders while concluding that silence is better than these parasites. He is joined by Gabi Novak and Drago Mlinarec in refrain. It is all arranged by singer himself and Stipica Kalogjera, usual old pals play and sing behind him, son Matija Dedić on piano and Ksenija Erker arranged backing choir.

"Kinoteka" (2002)
It seems that of all arrangers, Arsen Dedić is best served with Stipica Kalogjera who has just the right cinematic touch to his music. Silvije Glojnarić conducts the orchestra and its just fine, no more icy cold synthesizers that bothered me back in the 1980s. It is usual Dedić album, just what we expect from him - intelligent lyrics, musings about love and life - with two stand out tracks that show that veteran artist still has some surprises up his sleeve. Moroccan-sounding "Le Meteque" is actually Greek origin, Georges Moustaki number while instrumental "Pont Neuf" is just heart-breaking melody and such a surreal, pretty thing that listener can't get it out of the head - for me this is truly the highlight of the album. There is also a cover of Jacques Prevert, some interesting duetting with new rock talents and for finale, slowed down, new recording of old song "Sve te vodilo k meni" (Evertyhing lead you to me) this time sung with more tenderness than ever before.

"Na zlu putu" (2009)
After serious health scare, Arsen Dedić returns with a new studio album, mostly written as he faced his own mortality in Padova's hospital - this sudden outburst of inspiration was not so much sign of vitality as fight for life and what songwriting means to him. In the days of vinyl this would be double LP album, on CD we have 19 new songs welcomed with huge praise and relief that now elderly artist is still here with us. As expected, its typical Arsen Dedić, autumnal album, poetic lyrics, witticism and irony abound, modern (but not bombastic) production, bard recites and muses about his own life, loves and friends. There is a lovely song tribute to his wife Gabi Novak, usual songs about midnight walk trough the rainy streets and many gentle ballads of which one was soon covered by Kemal Monteno ("Vratit će se").

In all honesty, it is not spectacularly exciting collection - at this point Dedić has already four decades of recording behind him so there are lots of other, more quintessential songs but we all sighed with a relief that he is still with us. Listen carefully and you will hear Elisabeth Schwarzkopf hidden somewhere in here.

"Rebus" (2008)
There is a whole lifetime between young, skinny Arsen Dedić who arrived on study in Zagreb with an old suitcase tied up with a string and this 70 years old man who survived fashion trends, highs and lows, media adorations and criticisms, political turmoils, wars and serious health problems. As a singer, he had in during 1960s when women loved his hungry frame and wanted to nurture him, everything that came afterwards was work, work, work and more work - theatre, soundtracks, pop hits for others, anything that provided for his family and kept him dignified in a business that bows to Mammon, but reluctantly accepts true originals. When I think of Croatian pop music - and beyond the borders - it is Dedić who first come to my mind as one of its cornerstones, one true survivor amongst now handful of still active artists who took this profession seriously as a choice of life. Where are all the others comrades-in-arms? Retired, fell aside, owners of pizzeria's and bars, withering away out of the spotlight, occasional embarrassments of TV shows where cruel camera gleefully enlarges their features but nobody except Dedić, his wife and few others still bother to do something new.

Luckily for him, Arsen Dedić disposed with any visual traps decades ago - once he got married to Gabi Novak, he became "man in black" and stayed that way. You would not find him jogging, doing plastic surgery or doing anything to sell himself for heart-throb. Instead of posing for posters, he published books of poetry. Recorded albums that sold in small quantities but made devoted fan base swoon again and again. While I listen to this, his 20+ full-length album, I can't help but marvel and celebrate his talent, longevity and intelligence - it sounds timeless as always, it could have been recorded 20 years ago and it is still the same old artists we know and love. His lyrics are recognizable, his style completely his own, that dark bark of a voice still grandfatherly as always. For me, its always Arsen first and everybody who came afterwards is like branches of a strong, old Oak tree.