Early 1970s Croatian artists: Dalibor Brun

Who knows why exactly I turned to this musical archaeological excavations in the first place, but they gave me so much pleasure - I trace the origins of this hobby back to the days when I worked as a DJ on the radio and was fed up with than-current pop hits that I had to play, so I would return home tired of this sounds (whatever was current was supposed to be popular, trendy and accepted but it bored me to tears) and found that digging trough music archives gave me much more thrill - my fingers were all black from the dust, nobody paid any attention to these old recordings anymore except me in those days - armed with the book "Bolja prošlost" by Petar Luković I bravely continued to find out who were all those artists who worked decades before I even became aware about music in the first place. Some of them I would vaguely remember from radio waves in my childhood but majority of them were completely forgotten, swept aside by new fashions or metamorphosed into unrecognisable versions of their younger selves. With everything else I listened trough the years (every now and than I would get completely carried away with enthusiasm for such different genres as classical, blues, country, French chanson or anything that came my way) it seems that at the back of my mind there always was affection for these now-forgotten old recordings of my country and the only important factor in selection is that they have to be old - older, the better in fact - I would approach any cheesy pop festival, obscure folk singers from Macedonia or schlager one-hit-wonder with the same seriousness as anything else I listened and always tried to find out who these people were, what were the circumstances around these recordings and what they meant, how they passed the test of time. Since in the meantime I became a collector and perhaps a bit of aficionado, I recognised the most important artists but still have open mind to accept people from the background who for whatever reasons never made it to the big time. Perhaps I got stuck in the 1960s for little too long, because it took me forever to actually move on to 1970s where finally these past few months I actually discovered some interesting recordings.

"Prolaze godine/Tvoje plave oči, Liza" (1969)

Nowadays Dalibor Brun is just another schlager veteran who (along with dozen of similar performers) swapped his younger incarnation for profitable mainstream waters but what distinguish him from the others is that at certain point he actually was truly interesting potential and genuinely blue-eyed soul artist par excellence. When he was only 19, Brun was already star of bands like "Uragani" and "Korni grupa", while his first solo recordings show strong soul belter with a impressive voice, although from the start there is a curious tendency to slip into radio-friendly schlager territory that seriously clashes with his true talent.

A side is Brun's first big festival debut as a solo artist (from festival of new artists, Omladina '69) where Kornelije Kovač gave him mildly interesting "Prolaze godine" that in retrospective doesn't sound particularly inspired, but its side B with cover of Italian hit "Lisa dagli occhi blu" that shows where his heart truly lies: Brun was obviously fan of Italian canzone and could stand next to any of them. That Mario Tessuto had first choice to record this is just geographical accident - had Dalibor Brun been born in Italy, he would have swept the floor with Tessuto. Although Brun wrote perfectly fine translation, it would later became big hit for Gabi Novak with changed lyrics as "Duga je, duga noć". 

"Djeca ljubavi/Uvek ću ostati tvoj" (1970)

Because it was not part of official LP album from that year's pop festival "Opatija '70" (and it was a very strong one) I was not even aware of this single. On the other hand, recording companies at the time had a habit of launching potential hits as a singles, so this one was obviously selected as a big potential. With exception of "Oluja" by Josipa Lisac, this might have been the only true modern song on that festival, the rest were all mainstream entertainers. "Djeca ljubavi" is majestic tour de force, powerful soulful ballad with Brun belting it for all he was worth, really impressive. That is why B side, with waltz ditty comes as a cold shower - same composer (Vojkan Borisavljević) but its calculated for radio plays and therefore sound as a bad idea for singer of this calibre. Obviously someone thought it might be a safe bet to add something commercial on B side, but this is a flaw that would eventually follow Brun trough all of his early recordings.

"Ovaj život s tobom/Za tebe" (1970)

Composer Vojkan Borisavljević again and song from pop festival "Beogradsko Proleće 1970" where than-young Dalibor Brun unleashed that spectacular soulful voice on unsuspected audience used to gentle crooners. He was such a great singer that I don't even mind dated music and lyrics (sung in Serbian), its perfectly fine pop song for its time and interpretation lifts it above ordinary, however the mammoth grand orchestration places it squarely in its time. As usual, B side is Italian cover (Brun obviously had a soft spot for Italian pop music and he was good enough to stand up to any of them) and again, he sounds excellent when matched with solid material.

"Kidajmo lance ljubavi/Marie" (1971)

Very strong early 1970s pop hit, courtesy of composer Đorđe Novković and lyricist Maja Perfiljeva - Novković was already responsible for some huge commercial radio hits and in my opinion he often crossed the line between great and banal, but this time "Kidajmo lance ljubavi" happened to be simply irresistible, great pop song where Dalibor Brun finally had a chance to shine. It helps that for once he was not hindered with mammoth orchestration but had impeccable band behind him ("Mi" from Šibenik, same band who backed Josipa Lisac on her classic "Život moj"). B side is from festival Zagreb '71 and again singer seems to have been better than the song. 

"Spavaj pored mene/Noći pune tebe" (1971)

With a truly spectacular singer as Dalibor Brun (and probably many of artists of the same generation) there is a curious thing about material - it seems that, lacking really strong original repertoire, they had to work with what they had. It was OK for them to cover international hits as youngsters but once they entered big arena, it was expected they have to work with established composers who often served undercooked, toothless ditties, like this one. "Spavaj pored mene" is very typical of its time but far cry from where Brun started and even though he bulldozes bravely, heroically (and stoically) trough this waltz, it makes you wonder was it worth to leave energetic bands for this kind of solo material. B side "Noći pune tebe" is only slightly better but still, the impression is that he deserved much better. He was really great soul singer in a search for the right composer. 

"Zašto me ostavljaš/Moja, moja" (1972)

Just a few years earlier Dalibor Brun was exciting new singer who could belt international soul hits with feeling and passion but as soon as he went solo, his singles decidedly took different turn, everything became MOR oriented and if at first I blamed uninspired composers who served this talented singer with mediocre material, here the composer of both song is Brun himself so there is nobody else to blame. It probably seemed good idea at the time, to record something catchy and easy listening enough for the radio waves but certain artistic integrity was sacrificed in the process - perhaps it did widened his audience and commercial appeal, no doubt weepy ballads were the thing but honestly it sounds like sellout to me. Its hard - almost impossible - to take him seriously as potential contender for any soul or funk status when the repertoire turned so excessively schmaltzy and this was obviously a conscious choice.

"Suze, suze/Ekstaza " (1972)

Somehow I have always looked at husband & wife team of Ksenija Erker and Hrvoje Hegedušić as a lesser version of Gabi Novak and Arsen Dedić - one of the most famous Croatian music couples - although they walked the same paths and worked in the same circles, in my mind Erker and Hegedušić never reached exactly the same heights but in retrospective I might reconsider Hegedušić as a composer. When he was still married to lyricist (should I say poetess?) Maja Perfiljeva they created long list of early 1970s pop hits that combined uncanny pop sensibility with pure poetry and besides unforgettable songs for band "Indexi" they actually helped singer Dalibor Brun to finally achieve solo success.

Brun was already noticed as potential while singing for bands "Uragani" and "Korni grupa" though real solo success didn't happen until Perfiljeva and Hegedušić finally stepped in and gave him proper songs where his powerful, soulful voice at last had a proper setting. A side was a sizable hit, excellent example of early 1970s pop but its side B that sounds more interesting to me, poetic daydreaming on which he was backed by "Indexi" and on this gentle, rock ballad he reaches artistic heights that might shock and surprise listeners who only know his later music.

"Miruj, miruj, srce/Nema više ljubavi" (1972)

Classic Dalibor Brun from the time when Maja Perfiljeva and Hrvoje Hegedušić were writing hits for him and its excellent example of early 1970s pop - its extremely memorable,danceable and far better than the rest of the songs performed that year on festival Zagreb '73 (hence, it was released as a single). Side B is surprisingly strong as well, seems that Perfiljeva and Hegedušić were on the roll at the time and they perfectly understood what works for Brun who later appeared lost without such great songwriters.

"Otkad si tuđa žena/Što želiš od mene (1973)

Everything Dalibor Brun did since he went solo seems like a conscious attempt to smooth out whatever rough edges he had at the start and to appeal to wider audience - this is unfortunate, because what made him interesting in the first place was exactly that passion and fire that suggested great blue-eyed soul singer. The succession of his solo singles almost without exception present the artist who would like to straddle across two opposite teams, both MOR commercial and younger, hip crowd who preferred his earlier output. This particular single actually managed to appeal to everybody - husband & wife team Maja Perfiljeva and Hrvoje Hegedušić (who were obviously at the very peak of their inspiration at the time, being hit makers of the highest order for almost everybody) presented Brun with a soulful ballad that brilliantly encapsulated his music persona of a hunky heartbroken lover and it turned a smash. It was one of the classic singles of 1970s and the ballad "Otkad si tuđa žena" is probably still the highlight of his career, the one song constantly played on the radio, no matter what else he did afterwards. Every note and every sigh still sounds just perfect and it shows how important was to work with collaborators who intuitively understand what are his strong points.

"Nevjerna je ona bila/Bit ću s tobom" (1973)
Maja Perfiljeva and Hrvoje Hegedušić again and although its lesser variation on smash hit "Otkad si tuđa žena" (with even similar lyrics) its still perfectly fine soulful ballad that captures young Dalibor Brun at that particular point in his life when he was riding the wave of first solo success. Far more interesting is B side with fascinating blues ballad "Bit ću s tobom" that suggest he never truly left music that inspired him initially - it is great, slow burning number where that powerful voice almost overbalances the microphone and it still sounds exciting today, some four decades afterwards. Just when you start wondering did Brun completely sold out to easy listening radio hits, something stunning like this B side proves that he still had it, he just chose to play different cards.

"Voljenoj" (1973)

This album is such an eye-opener: its almost as you climbed to the dusty attic and in some forgotten corner discovered ancient family photo album with pictures of your grandfather as a young bad ass, dressed to kill and full of attitude. Its really a shock because we all know Dalibor Brun in his later incarnation, as a MOR schlager  singer who decidedly courted festival audiences (and occasional misty-eyed, elderly housewife who cherished fantasies about heartbroken hunk of her youth and probably imagined herself as a subject of his greatest hit "Otkad si tuđa žena" that was all about married wife still thinking about old flame) - because his later music has been so consciously tailored for different market, its easy to forget that once upon a time, long time ago, he was actually one of the most promising soul singers around.

Sure, Brun had amazing start in bands like "Uragani" and "Korni grupa" with solid credentials and his obvious love for Italian canzone marked him as surefire contender for the next big thing. If his first few solo singles were somewhat schizophrenic affairs (divided between great and schmaltzy sides), everything finally fell in place when he start to collaborate with husband & wife team of Maja Perfiljeva and Hrvoje Hegedušić who served him with perfectly tailored material that for once straddled both funky and radio friendly corners. They understood that Brun can croon and wail soulful, bluesy ballads like "Raspleti kose zlatne" as well as magnificent, funky "Nema te nema" that bursts with passion and energy that once seemed so promising - to top it all, they had a sense to spice it all up with obvious radio hits like "Suze, suze" or "Ne daj se srce" that were so joyous and danceable that its hard to resist them even four decades later. The rest of the album is no less startling discovery - who could imagine that schlager veteran Stipica Kalogjera was capable of writing such fiery blues like "Bit ću s tobom" or that otherwise painfully commercial-minded Đorđe Novković would come up with such powerful pop anthems like "Krenut ćemo mojom lađom" and "Cvjetna polja ljubavi" , both just perfect slices of early 1970s pop. There is absolutely no wrong note trough the whole album, Brun sounds like a dream and best of all, there is no hint of conscious calculation to create something commercial (unfortunate direction of his later career). It sounds as Brun finally exploded with all the power and talent everybody always believed he had. Its just amazingly great album that showcases 24 years old singer in the best possible light, with no weepy ballads in sight. 

"Ne čekaj me majko/Ne igraj se vatrom" (1974)

This was the almost the end of his collaboration with Maja Perfiljeva and Hrvoje Hegedušić and its a pity because it seems that whatever they cooked up for him turned into great hit. 

A side was performed on festival Split '74 but its side B that in retrospective sounds more interesting, since its delightful slice of early 1970s pop and its macho swagger suggest direction that Zdravko Čolić later explored on his "Produži dalje" hit, kind of seductive come-on from a world-weary lover.

"Živi kako hoćeš/Kuca li srce zbog mene" (1974)

The very last single composed by husband & wife team of Maja Perfiljeva and Hrvoje Hegedušić and its the end of one chapter of Dalibor Brun's music career, since it was with them that he reached true success after several meandering solo years. Brun was always an excellent singer but needed strong material, which in this case was provided by couple, who unfortunately will at this time separated and without them nothing was the same anymore. In the same year he will release second album "Ponovo na poznatom putu" that shows how difficult it was to continue without them. 

"Ponovo na poznatom putu" (1974)

Very curious, completely obscure and now forgotten sequel to his spectacular debut album, this seems the project where singer Dalibor Brun poured his complete heart into. Once he became established as a hit-maker of the first order, now he was ready to take complete control over his career: not only that he produced the whole thing, he also wrote lyrics and the task of composing was completely divided between himself and Andrej Baša. The energy is here, the voice is naturally here but neither of them could ever come close to work previously tailored for him by husband & wife team of Maja Perfiljeva and Hrvoje Hegedušić who knew how to combine poetry with irresistible melodies (I think they got divorced around this time). On their own, Baša and Brun seems to have been listening a lot of James Brown because they tried to explore some serious funk (listen "Svađamo se") but the final result appears curiously undercooked or perhaps they tried too hard - there is absolutely not a single standout track that could be selected as a potential single, lyrics are meandering (except few written by Perflijeva) and Brun himself often overreach himself by trying too hard to be a rock singer. Perhaps only towards the end, gentle ballad "Moj svijet od oblaka i boja" suggest some inspiration and closing "Hvala vam" have some spark but its little too late to save the whole album that feels ill-conceived. 

Not that everything is a complete disaster: Brun is excellent singer and the direction where he wanted to go was commendable (he could easily get himself some lightweight ditties instead of going funk). Personally I have a soft spot for this kind of brave experiments and forgotten albums that nobody knows - sometimes successful projects suffer from over exposure and this album definitely didn't have too much of it. Like Darko Domijan's "Pastir kraj vatre" or Zdenka Kovačiček's "Frka" it has been destined to be cult favorite, these albums actually grows on listener with repeated listenings, even if there was no special hit on them.

"Tiha tugo moja/Željena" (1974)

Lovely, mournful ballad that actually sounds very good even today - Maja Perfiljeva is still around and she provided excellent lyrics while old pal Đorđe Novković came up with unusually (for him) subtle melody, but perhaps the most important here is arranger Rajmond Ruić who was a first-rate collaborator and I have already noticed that whenever Ruić was involved, it usually guaranteed something interesting. Side B is so-so ballad composed by Andrej Baša who will take the role of composer on singer's second album "Ponovo na poznatom putu" but his work always sounded undercooked to me.

"Ruže/Nedaj, nedaj moja ljubavi" (1975)

Excellent pop single from festival Opatija '75 and composed by Aleksandar Korać but for whatever reason the version we all remember much more was the one recorded by Serbian singer, awesome Boba Stefanović - my guess is that at this time festivals still used the practice that same song was performed in two versions. "Ruže" was basically same song, note for note, in both versions, just vocals were different and in both cases singers were strong, its just that I remember Stefanović much better. Side B is equally strong number from the same composer and young Brun was always dependable and impressive vocalist. 

"I Poveo sam je u travu/Voliš li - čekaj me" (1975)

Although he tried (and tried and tried) to write songs himself - most noticeably on his second album "Ponovo na poznatom putu" - singer Dalibor Brun was never really strong songwriter. The most memorable songs for him were composed by husband & wife team of Maja Perfiljeva and Hrvoje Hegedušić who divorced around this time, but curiously both of them are still present on this single, just on different sides of the record. Perfiljeva provided lyrics for A side, elegant and seductive mid-1970s number that was composed by ever-reliable Nenad Vilović who will still go strong much later (he was the one behind "Nismo mi bez cilja" by Josipa Lisac in 1987). Hegedušić is behind side B which is very unremarkable schlager that probably appealed to MOR audiences to whom Brun will soon completely turn to, leaving soul and funk completely behind him. This kind of oompah-pah really bothers me because it suggest awareness about commercial appeal, but its at the same time the artistic death sentence, since it completely kills the image of Brun as a pop singer and embraces disastrous direction.

"Poludjela ptica" (1976)

This might be the great, unknown Croatian pop album of 1970s - one of those discoveries every curious collector always dream about - you know when after years of going trough every nook and cranny of ancient discography and hours of listening schmaltzy records, you suddenly stumble upon something genuinely great. That album like this somehow got lost amongst more commercially visible competition means that rules of the market demanded less sophisticated and simpler music, however if you approach it not as ubiquitous easy listening fodder  but as ambitious pop/rock project, it becomes thrilling surprise.

Dalibor Brun was exceptionally gifted, blue-eyed soul singer with impeccable pedigree and like many other youngsters of his generation, in the beginning he showed great potential and passion, just to got lost in 1970s festivals. The call of Mammon became too strong and as years went on, Brun went further and further from his promising start, until he became one of those MOR entertainers against he competed in the first place. The powerhouse voice was always there but there was always a tendency to flirt with schlager for the sake of sales, until initial fire dwindled and he metamorphosed into unrecognizable version of his younger self. Nowadays he might be remembered only for his later music, beloved by completely wrong audience (or perhaps this is the right audience he courted later), but none of his later fans would know or care for his soul and funk past.

If his second album "Ponovo na poznatom putu" was unfocused, this time on "Poludjela ptica" everything fell right into place - it is a surprisingly strong, mid 1970s pop-rock album with great lyrics, swaggering, macho and good time music, spectacular vocals and even collaborators were inspired (Oliver Dragojević on piano). Initially it seems as there is no outstanding single here, but "Želim da poludiš" might be one of the best songs he ever recorded. The opening song (and the title of the album) "Poludjela Ptica" is unforgettable rocker with lyrics taken from a famous song by poet Dobriša Cesarić and curiously composed by Zdenko Runjić otherwise known for completely different kind of music. The most unusual of all might be Brun's own "Noćas sam je opet sanjao", hypnotic and sinuous dreamy swirl of song that gets better with each listening.

Its excellent album and great discovery - probably it didn't do anything for the market and audiences accustomed to his hit singles, but he dabbled too long with schlager music so this is the price you pay when people expect weepy, sentimental ballads and you follow your heart instead.