Marim ja...

Mnogo ljudi koje poznajem se kunu u ovaj Balaševićev album. Čak je i ovdje na RYM drugi najocjenjeniiji njegov album. Ima tu niza razloga: Marim Ja je zadnji Đoletov album prije raspada Jugoslavije, jedan je od najskupljih albuma na gramofonskoj ploči (koju sam vidio da se i proda), i što ima Ringišpil na njoj.

Vidim taj razlog kunjenja. Album je dobar, iako mi opet vuče ka šablonu sa Panta Rei, odnosno da se izbaci nešto, jer je prošlo dvije godine od Tri Posleratna Druga. Na svu sreću, album ima više mesa u sebi od Panta Rei, iako je izuzetno melanholičan. Najbolji opis bi bio miks izmedju licnih nota Tri Posleratna Druga i socijalnog komentara Panta Rei. Dupli udarac Bube Erdeljan i Ringispila su licne karte jadi mladjih i onih malo starijih, Olelole je divna pjesma sa utjecajem tanga i latinoamerickih melodija koja je mozda najjaca njegova ljubavna pjesma. Nekako odise vigorom Zadnja pjesma ciji mi je naziv mrsko pisati je prvi direktni Balasevicev komentar o ratu, zajedno sa pjesmom Marim Ja... Album sam od sebe je snimljen u junu 1991, kada se vec orilo u Sloveniji, a pripremao inferno u Hrvatskoj. Ova prva mi je draza, jer ima jedan saljiv ton u sebi, za razliku od Marim Ja koji je vise ozbiljan i jadikovan. Plus, prvi ima spomen Twin Peaksa i Bob Dylana. Gdje ces bolje.

I tako nekako ostane ovaj sredisnji dio od Nevernika do Citron Pesme. Citron Pesma moze direkt u kantu. Jednostavno ne lezi. Divlji Badem je prosjecna balada, a Nevernik je isto dobar pjesma koja mi raste pri srcu sto je vise slusam, ali opet treba tu jos malo vremena.

Na kraju bi rekao da ovdje ima vrijednih pjesama. Mozda ne bas vrijednih onih novaca kojih traze za ovaj album, ali i dalje vrijedno.
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A lot of people I know swear by this Balašević album. Even on RYM it’s ranked as his second highest-rated record. There are plenty of reasons for that: Marim Ja was his last album before the breakup of Yugoslavia, it’s one of the priciest LPs on vinyl (I’ve seen it actually sell), and of course it has Ringišpil on it.

I get why people swear by it. The album is good, though it leans again toward the template of Panta Rei—something released because two years had passed since Tri Posleratna Druga. Luckily, this one has more substance than Panta Rei, even if it’s drenched in melancholy. The best way to describe it would be a mix between the personal notes of Tri Posleratna Druga and the social commentary of Panta Rei. The double punch of Bube Erdeljan and Ringišpil are calling cards for the woes of both younger and slightly older generations. Olelole is a beautiful song with tango and Latin American influences, maybe his strongest love song. It radiates vigor. The last track—whose title I’d rather not write—is Balašević’s first direct comment on the war, alongside Marim Ja. The album itself was recorded in June 1991, when fighting had already erupted in Slovenia and the inferno was brewing in Croatia. I prefer the first of those two songs, since it carries a humorous tone, unlike Marim Ja, which is more serious and mournful. Plus, the first one mentions Twin Peaks and Bob Dylan. What more could you ask for.

And so you’re left with this middle stretch from Nevernik to Citron Pesma. Citron Pesma can go straight in the trash—it just doesn’t fit. Divlji Badem is an average ballad, while Nevernik is a good track that grows on me the more I listen, though it still needs some time.

In the end, I’d say there are songs here worth holding onto. Maybe not worth the kind of money people are asking for the album, but still worth it.