Naposletku...

Na listi sam napisao da predosjećam jednu vrstu albuma koje će Balašević praviti do kraja svog života. I šta se desi? Čovjek me odmah demantuje sa idućim.

Moj opis ovog albuma bio bi kombinacija melanholije sa Odlazi cirkus i modernijeg tempa kojeg je sebi zadao albumom Tri posleratna druga. Čak i pjesme koje imaju malo brži tempo, kao što su Namcor i Sin jedinac, i dalje su čvrsto vezane za lagani vojvođanski stil. Na kraju vrijedi pomenuti tekstove, kao i za svaki album panonskog mornara. Ovdje su oni najviše nostalgičnog karaktera, prisjećaju se starih ljubavi i prolaznosti života, što je nekako prikladno za album koji se zove Naposletku.

Kao što sam rekao, Balašević me iz groba demantovao. Iznenađen sam kvalitetom ovog albuma. Naposletku je album čiji je najveći adut tekstualno umijeće koje je Balašević u tom trenutku dvadesetak godina trenirao. Možda njegov najkompletniji i najprijatniji album devedesetih, iako bi vjerovatno čovjeku kojem je srpski jezik stran ovaj album zvučao osrednje, što mu je jedina mana na kraju dana. Ako se to uopste moze navesti kao mana.
__________________________________________
On the list I wrote that I sensed one type of album Balašević would keep making for the rest of his life. And what happens? The man immediately proves me wrong with the very next one.

My description of this album would be a blend of the melancholy from Odlazi cirkus and the more modern tempo he set for himself with Tri posleratna druga. Even the songs with a slightly faster pace, like Namcor and Sin jedinac, remain firmly tied to that gentle Vojvodina style. And in the end, it’s worth mentioning the lyrics — as with every album by the Panonian sailor. Here they are mostly nostalgic in character, recalling old loves and the passing of life, which feels fitting for an album called Naposletku (“At Last/Finally”).

As I said, Balašević proved me wrong from beyond the grave. I’m genuinely surprised by the quality of this album. Naposletku is an album whose greatest strength lies in the lyrical craftsmanship Balašević had been honing for the past twenty years. Perhaps his most complete and most pleasant album of the ’90s, though to someone unfamiliar with the Serbian language it might sound rather average — which is its only flaw at the end of the day. If that can even be called a flaw.