Oh, how I love Đorđi Peruzović - of all the guys who came along in the late 1960s and than established themselves in the next decade, Peruzović is definitely my all-time favorite and the strangest thing is (and probably a part of my delight) that he has not been overplayed, you actually have to make some effort to find and discover his recordings. Everybody else from that generation seems to had more attention, some even came to be embraced as legends that easily fill stadiums, where good old Peruzović kept low profile and besides occasional festival performance, after early 1970s burst of hits, one hardly ever heard about him. It appears that even though he always possessed phenomenal, booming baritone and was vocally superior to many other artists, he never really broke into big time, which is a mystery to me as in my personal opinion he definitely belongs to category of the greatest singers, the ones whose voice you recognize immediately and this for me is the sign of being special. I love individual voices and you know Peruzović the moment you hear him. It was a great joy and pleasure to discover his discography.
"Viva Maria" EP (1966)
Like almost everybody back in the 1960s, Đorđi Peruzović recorded covers of international hits. This beautiful, little EP recording (released, curiously by Belgrade's PGP RTB) has four covers, of which standout is his Croatian version of "Everybody loves somebody" - it points at where singers inspiration came from, as he easily glides the notes just like Dean Martin. Born in Šibenik, Peruzović eventually moved to Split where he became known as local Sinatra, although this recording shows the influence might came from other direction. Two Italian songs are not coincidence, as Italian music was always very popular in Croatia and many singers emulated what they heard on San Remo festivals. I dare to say that Croatian artists were often as good as their Italian idols, to my ears they sometimes even surpass them.
Peruzović has truly regal treatment in the studio - he is backed by legendary vocal quartet Vokalni Ansambl Predraga Ivanovića (excellent Jazz quartet who often served as backing for many pop singers, for once they recorded with equally brilliant talent), the musicians were no other but great "Indexi", arranger was a very young Đorđe Novković and Croatian lyrics were provided by dependable Ivica Krajač. It might appear like just another, typical 1960s recording full of covers but I loved this EP so much that for many years this is the only Peruzović recording I ever listened, I really got stuck on this one until eventually, with time I discovered there is more.
"Hello Dolly" EP (1966)
When it comes to Đorđi Peruzović and his instantly recognisable, velvety baritone, for me he just couldn't do wrong: this is excellent, 1960s excursion in swinging material that Sinatra and his guys recorded so successfully at the time. Because this was Belgrade's PGP RTB, the conductor was great Ilija Genić whose work I admired so often on other recordings and honestly, whatever this man did was always like stardust, he was truly a sophisticated genius and great artist. I have actually discovered Genić behind some classy orchestrations on albums of traditional folk music and later noticed his signature on many other recordings, so this was kind of working with Nelson Riddle.
"Hello Dolly" is opener but its not the best song here - it just serves to set the tone for this lushly orchestrated, swinging jewel. The greatest track would be cover of "I Left My Heart In San Francisco" that Peruzović croons like he just arrived from Las Vegas and was taking lessons from Tony Bennett. His slow, melliferous delivery is nothing short of sensational and a great discovery, I only wish he had a chance to record the whole LP album worth of this kind of material. Italian cover of "Giugiola" irresistible as well, ring-a-ding-dong, finger-clicking, swinging delight worth re-discovering.
"Cvijet u travi" EP (1969)
No more Jazz or swing influences, in fact it seems that somebody finally turned a look away from Las Vegas and glanced elsewhere. For some unknown reasons, it appears that Mexican music was very popular here during the 1960s and many artists tried their luck with this kind of music. So here we have opener ""Cvijet u travi" that to my ears sounds completely horrible and out of place, but it might be something that guys at PGP RTB considered good idea and sellable on the market. Personally, I dislike this kind of music immensely but there are still many people who love it and recently I even spotted TV show with a cover of this number, so what do I know.
Once you get over God-awful Mexican ditty, the rest is more contemporary: "M' Lady" was a hit single by John Rowles from New Zealand and it came straight out of "It's not unusual" pop school. In any case, Tom Jones was much closer to Peruzović than Mexican weepies. "Let The Heartaches Begin" is even better, a slow-burning hit by Long John Baldry and a perfect example of songs Peruzović would so successfully record in early 1970s. Kornelije Kovač and his band Korni grupa are in the background but final results are fairly unmemorable schlagers and its probably the only Đorđi Peruzović record I can live without. He was a terrific singer and I dearly love his voice, but this is not material for him. From now on he will move to Zagreb's Jugoton and his discography will take decidedly different turn.
"Gdje je taj svijet/Sve što želim" (1970)
The real beginning of Đorđi Peruzović as a hit maker - of course he was on Split festival from its earliest days, but with this single he genuinely took a step in the front line where he always deserved to be. Where his previous records on PGP RTB had sophistication but no real hit potential, from now on Jugoton will release string of successful and quite irresistible singles (some of them still highly enjoyable) that almost broke him into big time.
Following the example of influential San Remo festival, Split also used to present same song in two different interpretations - what was pretty little reggae number as conceived by Jimmy Cliff ("The Song We Used To Sing") got completely new dress when orchestrated by Stipica Kalogjera who turned it into sunny uptempo pop ditty and when you add the booming baritone of Peruzović on top of it all, the result was smash. To be perfectly frank, I actually like reggae original slightly better because heavy orchestration and dated backing vocals didn't age very well but it appears this ushered singer into very successful period. Hidden on side B is obscure schlager that would have been completely forgettable if not for amazing vocal that is always joy to hear. Peruzović was such a presence that everything he sang sounded like an anthem.
"Sve ću ti jednog dana reći / Ne daj da tuga mi srce lomi" (1970)
Majestic single where fabulous Đorđi Peruzović finally - in my opinion - comes to his own. He always had everything, even from the earliest start - the voice, the charisma, the talent - but here finally everything clicks together and he indisputably gets material worth of his consideration. No more Mexican weepies or covers of swinging standards, here he gets absolutely beautiful pop ballad that rolls nicely with that booming baritone - I always had my doubts about composer Đorđe Novković because he often pursued decidedly commercial direction but here for once I must admit that the guy was capable of writing classy and heartfelt song.
Side B is equally stunning - I am not exactly sure where it comes from, since its a cover and in equal measure it could have been either Tom Jones or reggae origin (Dobby Dobson) which would not be unusual as previously Peruzović scored with cover of Jimmy Cliff but I'll go with Jones who might have been obvious influence. In any case "Ne daj da tuga mi srce lomi" comes across as imposing and unforgettable, rare occasion when Croatian cover actually sounds really great as its international inspiration. I just love both sides and find it a perfect single.
"Udri brigu na veselje/Objašnjenja nema" (1971)
If 1960s just hinted at what Croatian singer Đorđi Peruzović was capable of, it seems that with the dawn of the new decade he was completely ready to step into spotlight . Like so many artists of his generation, Peruzović had to play by the rules and used than-popular pop festivals that used to put media in frenzy and he was often dependable participant on such gatherings, where his personality and voice often outshone the colleagues. Rousing singalong on A side was written by composer Đorđe Novković and it sounds as a surefire radio hit, though its simplicity might lean towards repetitiveness but obviously this is what audiences liked back than. Far better is side B with a stirring ballad performed that year on festival Zagreb '71 and written by Mišo Doležal where his voice is much better served.
"Upamti to/Ja vjerujem u tvoju riječ" (1971)
Side A is joyous ditty that sounds like it came from "It's not unusual" school - nothing wrong with it, except that Tom Jones already did it with much greater success so its too obvious imitation. For the ballad on side B singer turns to his old collaborator Zdenko Runjić who unfortunately was not very inspired - song is perfectly competent but lacks anything original and it could have been recorded by anyone at that time, even that spectacular voice can't really lift it above the ordinary. It was tucked away and forgotten probably as soon as it was released.
"Ljubavi ruku mi daj/Danas opet slušao sam pjesmu" (1972)
Because singer Đorđi Peruzović depended on composers to come up with songs, his recordings were often mixed affair - he always had sensational voice, powerful and instantly recognisable but after all, nothing can lift the weak material. Luckily, here he had not one but two festival performances spread over single and they are both contagiously memorable songs. Side A is joyous ode to love, composed by Ivica Krajač and was launched on Beogradsko proleće '72 while side B has even better song performed in the same year on Vaš šlager sezone in Sarajevo. Krajač was dependable lyrics writer but his music often came as simply perfunctory and its only vocal here that makes it worth listening. I'll go with side B instead where composer is far more interesting Nenad Vilović who serves the singer with haunting ballad that perfectly encapsulates what makes him so unforgettable and unique - Peruzović had not only naturally beautiful color of voice but that voice was also very powerful, so when he holds the long notes in refrain its completely intoxicating.
"Mojoj Jedinoj Ljubavi" (1973)
Definitely the most impressive discovery in many years of my music archaeology, this album is so undeservedly obscure that its just mind-boggling how is it possible that such wonderfully completed and created project came to be forgotten amongst current pap. Singer Đorđi Peruzović started a good decade earlier on local festival in Split with some sad ballad about donkey (!) but it took him forever to establish himself enough trough series of successful singles and finally in 1973 "Jugoton" came around to release the album of completely new material. It must be noted that at that time LP albums were usually collections of previously released singles so this is actually very brave attempt to present something else.
Now, I must admit right here and right now that personally I find Peruzović one of the best voices around - its a powerful, booming baritone capable of blasting full power and at the same time expressing some wonderful, undefinable melancholy and vulnerability. His is also instantly recognisable sound, which in my eyes is the highest compliment - I just love original, unique voices. I would have been perfectly happy just with his singles but when I finally discovered this long forgotten LP album, I actually flipped with excitement.
Contrary to what I expected - considering his constant presence on Split festival and schlagers promoted there - this is not another orchestrated extravaganza brimming with Mexican horns and zombie backing vocals but full-blown, wonderfully sophisticated and lovingly created pop album. Most of the material is very uplifting and brings the sun in the gloomiest room, specially when that unforgettable voice explodes with joy. I must have been listening that opener "Tvoje su usne ostavile trag" forever, that's how great it is but along the way there are many similar highlights (could it be that I actually remember TV video clip of "Tebe nitko ljubit neće" with Peruzović burried in a beach sand with some dancers twirling around? I must have been four years old, imagine that) There are many upbeat moments and Peruzović excels in them but give him a melancholy ballad and he will just floor you - the title song is Croatian pop version of "Concierto di Aranjuez" and everything that shouldn't work actually works beautifully because vocals are so heartfelt that the final result is faultless. The only thing keeping this album from sheer perfection are closing numbers - "Propa je mali Duje" is giddy drink song that sits uncomfortably with the rest of the rest of pop material and two re-recordings of previous schlager performances from Split festival were unnecessary - the sound is updated but it doesn't bring anything new to the songs. Strangely enough - and this is really a mystery - "Mojoj Jedinoj Ljubavi" was not a beginning of great recording career but it got stuck somewhere and it never got a sequel. Liner notes explain this with singer's reluctance to relocate closer to the centre of music business industry and considering that he happily continued on local festivals it might be true.
"Đorđi Peruzović Zlatna kolekcija"
For once the idea of all-encompassing compilation that Croatia records advertises under the title "Zlatna kolekcija" (The Golden Collection) makes perfect sense as artist in this case have small discography spread over handful of hard-to-find singles and only one (!) LP album, so finally we have a perfect introduction to great Đorđi Peruzović and all his essential work is at last in one place. Peruzović has been around since the early 1960s but it appears he really went on a roll in the first half of 1970s when combination of good luck, right collaborators and the right pop climate resulted with a string of classic pop singles that sound excellent even today.
As it happened, I was familiar with his earliest work on PGP RTB (mostly cover versions on beautiful "Viva Maria" EP from 1966) and loved this period for a longest time, unaware that he later moved to Jugoton (now Croatia records) where his real success belatedly started - for a few years, staring from 1970 Peruzović was unstoppable and all these singles are included here. Gifted with impressive, sonorous voice he was truly one of the best voices around and personally I find him excellent, but after ultra-rare 1973 LP album "Mojoj Jedinoj Ljubavi" we have no other albums except occasional perfunctory single until it seems he had simply either burned out or lost the steam. Which is evident even here, as his early 1970s hits are contagious, while later it all kind of gets slightly unadventurous. Best of all are tracks from his one and only LP that show a great talent in his full glory and at the height of powers. (There are a few live tracks from 2002 that show the voice in still perfect shape) All the recordings are original versions except - unfortunately - fabulous "48 Uri" which was really great 1971 smash but here gets updated treatment sung with his son. Perhaps it could have been included as a bonus track along with the original but this is just my personal opinion. It is a great introduction to this neglected artist who deserves rediscovery and reassessment.
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