Is it a bird? Is it a plane? Is it a Superman? No, its 24 years old Arsen Dedić, twisting the night away along with doo-wop vocal chorus and enthusiastic Jazz band from Ljubljana. His public image of a serious artist has changed so much trough decades that nobody - except me and you, dear reader - remembers these early twisting years and Dedić himself did not exactly insist of putting this on any of his compilations. It is not embarrassment since everybody twisted at the time - just check Zvonko Špišić, Stjepan Jimmy Stanić, Gabi Novak or Tereza Kesovija for example, they all have their own cute little recordings - it just sound very odd from today's perspective as we know Dedić from his more serious, poetic work. But once upon a time, long time ago, he was a young, skinny provincial guy who arrived in town with a suitcase tied up with a string, moonlighted as lyrics writer for pop songs under pseudonym and yes, was so eager to have his own recording that he even accepted covering Chubby Checker. Recording has two instrumentals by Ljubljana Jazz Ensemble and two vocal numbers by this young punk, who is just fine - if his own son later had different upbringing and piano lessons in Vienna, Dedić himself had no such luck and had to make his own place in the world. We all have to start somewhere.
Where his previous, debut album, had several re-recordings of already well-known hits, this time Arsen Dedić came up with completely new set of songs and its as good as its older brother. Now in his early 30-es and with a solid decade of songwriting behind him, he was at the crossroads, leaving hit pop singles behind and creating poetic body of work that will define his future. There is no single misstep here, each song is a little masterpiece, be it a romantic ballad or a gentle, ironic ditty bursting with humor. Most of the songs have classy, big orchestration behind them, though the most effective are piano-and-voice titles where he is backed by Nikica Kalogjera. He also gives place to other lyrics writers, notably poets Zvonimir Golob and Antun Šoljan, not to mention Jacques Brel for finale - not just any ordinary pop album, but a inspired, intelligent collection that stands up with any of artist's best work. Since his songs were always lyrics-driven, this might not have easy appeal to foreigners baffled with huge orchestration but to my ears this is a Scott Walker Croatian brother.
"Ne plači" was also successfully covered by Bisera Veletanlić, who later always claimed this had changed her life completely and started her true career in music.
"Arsen" (1974)
Just like Gabi Novak and Tereza Kesovija who recorded for Belgrade's PGP RTB trough 1960s, Arsen Dedić also had a rich back catalogue with this recording company before moving to Zagreb's "Jugoton" later. When all three of them blossomed into stars of first order and started releasing new, original LP albums, PGP RTB responded with compilations of their older work from previous decade - naturally pointing at the question why they didn't release them at the time when they still had contract with these artists originally. Oh well. It is quite a decent compilation, selected from singers early years when he was still a skinny, young troubadour with lovely voice. For many who are not familiar with this material, its still the best one-stop introduction to Dedić the way he was when he was still pop singer and not Croatian Leonard Cohen. There is nothing embarrassing here, in fact music is solid and mostly melancholic - as opposite to many other singers of his generation, Dedić did not depend on covers but wrote his own material and even when he did cover, he did something as beautiful as Italian Gino Paoli. "Tamara" is a curious collaboration with Karlo Metikoš (ode to a Russian girlfriend) while "Ni ti, ni ja" got a new life on celebrated 2002. "Pjesma je moj život" album by Gabi Novak.
"Otisak Autora" (1976)
Very interesting album where Arsen Dedić sings some of his most famous material composed originally for other people. Trough the years, he had great success as songwriter (in fact, lots of people who complained about his declamatory style, usually loved these same songs sung by other singers) and this recording is a welcome reminder how other people's hits would have sounded if performed by their author. For all the criticism of Dedić as a singer (and he sure always was acquired taste and very peculiar artist) the results are surprisingly nice, since he sounds far more knowing and intimate than most of the singers who recorded this material. Anyone familiar with "Pusti me da spavam" (Gabi Novak), "Proljeće bez tebe" (Ksenija Erker) or "Odaju te oči" (Miki Jevremović) would be surprised with familiar songs done with a twist (Arsenized?) - he can't be further from powerhouse vocalist like Josipa Lisac, still he does her "Život moj" with grace, tenderness and style that is quite endearing. The only misstep is "Ne daj se, Ines" where he can't match dreamy reciting of giant actor Rade Šerbedžija who owns this song. Recorded and released in Ljubljana, the album has excellent production and musicianship of Slovenian talents (Dečo Žgur, Mario Rijavec and backing vocals by Strune) that lifts this far above usual Arsen Dedić discography - it is not so well known, but is one of my favourites.
"Porodično Stablo" (1976)
Now slightly forgotten but well-known among artist's fans, this was probably the most joyful and happiest of all his recordings, courtesy of arranger and producer Kornelije Kovač who always had a good sense to put his singers in the spotlight and just embellish surroundings around them - since Arsen Dedić was always about good, strong lyrics, producer don't interfere to much here but makes sure music is wrapped in modern arrangements and radio friendly. Goodbye big, baroque orchestrations and hello to country guitars ("Vrijeme ironije") that bounces like no other Arsen Dedić song before. Singer himself sound inspired, rejuvenated and at the peak of his powers - it seems like he is actually having fun here. Backing vocals is all-star, though unintentionally all I can hear is Zdenka Kovačiček. It is perhaps one of my all-time favorite Arsen Dedić albums.
"Dedić / Golob" (1977)
Tailored around lyrics of poet Zvonimir Golob - which is a nice gesture coming from such first-rate songwriter as Arsen Dedić - Radan Bosner arranges and Zlatko Černjul conducts but its not terribly interesting or joyful music. Perhaps I had been spoiled with not-so-distant pop production of Kornelije Kovač, his absence is seriously showing here and no matter how many times I hear this record, I can't remember anything except impression that it was gloomy. "Nedjelja" has already been recorded by Hrvoje Hegedušić - interesting to compare two artists.
"Rimska Ploča" (1979)
Recorded partly in Rome (hence the title) this was arranged by late Krešimir Oblak - nice, talented man who could write some breath-taking, seductive orchestrations but he was no pop mastermind like Kornelije Kovač. Where just three years ago, Kovač gave Arsen Dedić a perfect pop cellophane, Oblak sounds uninspired and too darn tasteful for his own good. It is nice to be respectful and polite towards such genius as this songwriter, but Kovač had spark, glow and was (most important of all) fun, this music with its distant strings and occasional piano is just anonymous. Since it was composed and conducted by singer himself, obviously part of the result lies on him - I just can't help wondering how would all of this sound had Kornelije Kovač been involved. (The answer: check Zdravko Čolić singing "Zagrli me" under this producer.) Sergio Endrigo has a nice cameo in a song by wonderful poet Tin Ujević, which is quite delightful. As always, lyrics are first-rate.
"Pjevam pjesnike" (1980)
"Pjevam pjesnike" (translated as "Singing the Poets" or "The Poets Songbook") looks very much like something Arsen Dedić and his good pal Hrvoje Hegedušić cooked simultaneously - both recorded albums under the same title, Arsen's LP cover is black while Hrvoje has white. Only three years ago, Dedić had the whole album tribute to poet Zvonimir Golob (not my favorite album, must admit) and here he decides to go the whole log and compose music for poetry that spoke to him, this time from various poets. A curious decision, since singer is a very talented and accomplished songwriter himself - where Golob album was one-dimensional, this time nature of selection means Dedić let his imagination fly and music is far more varied - from the very first introduction of dreamy "Odlazak" (Tin Ujević) to final, renaissance-like "Moljenje oproštaja" (Francois Villon) album is a marvel of dreamy poetry set in music, a true masterpiece with probably zero commercial appeal and a timeless quality for handful of followers. The lyrics are so good and involving that the biggest surprise comes towards the end - in company of names such as literary giants Jure Kaštelan, Miroslav Krleža or Gustav Krklec, there is a song titled "Svete krave" (The holy cows) and author is no one else but singer himself - it fits perfectly with the rest of selected poetry here, the lyrics are stunning and it might be one of the best songs here. Music was completely composed and arranged by Dedić, backing musicians his usual team of friends and collaborators, Hegedušić amongst them. Excellent album.
"Arsenal" (1981)
Two decades after his initial twisting steps in recording studio, Arsen Dedić finds himself as 40+ years old veteran in a business where teenagers are buying records by pretty new boys and girls on the block. Luckily for him, he had left youthful image and romantic ballads behind and built himself quite a nice profile of serious artist with a very respectable body of work behind him. Like with so many other middle-aged artists, he had also faced criticism for growing old, metamorphosing into adult person and losing interest in hit singles. In fact, not only Dedić left pop festivals completely, but he focused his energy on albums, turned his attention on composing (theatre, soundtracks, other people) and decidedly replaced his youthful croon with sing-talk not unlike Leonard Cohen. If the mainstream eventually found new songwriting darlings (like young Đorđe Balašević) the loyal fan base continued to follow Arsen Dedić trough thick and thin, as they grew old together. This compilation serves to remind the audience on his gems from the past decade - since all the titles were previously released on either albums or singles, it looks like it should be introduction to new listeners. Only one song is re-recorded again and its a new version of his 1964. hit "Okus soli" (Gino Paoli cover) - like the album cover, it shows that 1960s skinny kid had changed long ago.
"Arsen pjeva djeci" (1982)
Since Arsen Dedić wrote one of all-time most beloved children's songs back in 1960s ("Kad bi svi ljudi na svijetu" - cover of "Skip to my Lou") it came as no surprise that he would eventually decide to compose the whole album of children's songs. Majority of these are written by singer himself but he adds lyrics by some of his friends like Zvonimir Balog and few others. Understanding that his voice might be too droll for kids, he also invites children's choir "Girice"and they sound delighted and enthusiastic as only children can be. Special guest (but not really surprising) is singer's wife Gabi Novak who is gentle like a warm milk and fairy godmother of sorts here. This album naturally might not appeal to pop music lovers but fans who grew up with his music probably came to parenthood themselves and were grateful for this collection. Curious, sweet but not banal lyrics, tender music for kids that even might make them think (what is the purpose of parents?) or simply to laugh together. It is quite accomplishment to create something so lovable and seemingly simple, without being saccharine or cutesy - even more to remain unscarred and than return to chanson field with respect unblemished. Album was recorded in Ljubljana, Slovenia with local musicians who provided sunny country feel to music. Cover art is adorable.
"Provincija" (1984)
It makes me want to scream out of frustration when people complain that Arsen Dedić recite more than sing his songs - yes, he had changed with time as we all do and he is not, can't and won't be same skinny kid he was back in 1960s. Neither he even tries. As for long-gone croon, get an old record if you want that sound. In my opinion, Dedić only got better with time as this 1984. album nicely shows. It is a great, adult music for adult listeners (perhaps unusual accident in a pop field) with some pretty brilliant lyrics on it, where singer muses about girls from his hometown (arriving in town after sleepless nights in a second class train), old loves (now aged and unrecognizable) and as finale there is a memorable conversation with a bar waiter, where protagonist admits his loneliness. Material here is so darn good that I think it must be one of Dedić's strongest albums ever - synthesizers aside, this was 1984. after all - it is also a clear sign of things to come, of all the autumnal work from now on. If younger Dedić occasionally whistled and laughed, here he is elderly gentleman looking back at his life with tenderness but clarity.
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