Tri posleratna druga

Tri Posleratna Druga je meni najdraži Balaševićev album, i zadnji za koji mogu reći da ga poznajem. Na njemu se Đorđe vraća svakodnevnoj melankoliji, oslobođen težih političkih tema, uz fin utjecaj vojvođanske folk muzike.

Odmah na početku stoji svojevrsni litmus test – “Sugar Rap (proces diferencijacije u kombinatu za proizvodnju i preradu šećerne repe)”. Balašević ovdje... repuje, što je samo po sebi dovoljno da zbuni slušatelja. Pjesma nosi irealan prizvuk, koji je baš onako hladan tuš za svakog ljubitelja. Istovremeno se ruga tadašnjim novim generacijama koje su furale b-boy stil i disco rap. Meni sve ovo nekako daje čudan okus. Vidi se da je Balašević bio staromodni gospodin koji je bio skeptičan prema novim idejama, što mi kvari njegovu sliku jedne osobe za koju sam mislio da će sve ove nove muzičke izume koliko toliko prihvatit. Dodamo li tome njegovu jugonostalgičnu auru, jasno je zašto je favorit starijima, ali i mlađima koji gaje taj stil. I da, pjesma je bila hit.

Ostatak albuma je nevjerovatno snažan. Dok je Bezdan bio teška depresivna epizoda, Tri Posleratna Druga donosi pastoralnu melanholiju. Ima i mračnih trenutaka, ali oni su uravnoteženi ljubavnim pjesmama koje daju laganiji tempo. Trilogija pjesama Ćaletova Pesma - D - moll i Kada Odem su klasična Balaš formula, dok je recimo Remorker možda najljepša balada u ovom perioud njegove karijere.

Naravno, ne bi to bio Balaševićev album bez jedne pjesme koja priziva propast Jugoslavije. Od ’85. godine on neumorno muze tu ideju – i uspijeva. Nekome drugom bih možda zamjerio, ali ovom šarmantnom mornaru teško je išta prigovoriti.
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Tri Posleratna Druga is my favorite Balašević album, and the last one I can say I truly know. On it, Đorđe returns to everyday melancholy, freed from heavier political themes, with a fine influence of Vojvodina folk music.

Right at the start comes a kind of litmus test – “Sugar Rap (proces diferencijacije u kombinatu za proizvodnju i preradu šećerne repe)”. Balašević here… raps, which in itself is enough to throw the listener off. The song carries an unreal vibe, like a cold shower for any fan. At the same time, he mocks the younger generations of the time who embraced the b-boy style and disco rap. To me, all of this leaves a strange aftertaste. It’s clear Balašević was an old-fashioned gentleman, skeptical of new ideas, which spoils the image I had of him as someone who might at least partially embrace these new musical inventions. Add to that his aura of Yugonostalgia, and it’s obvious why he was a favorite among older listeners, but also younger ones who cherished that style. And yes, the song was a hit.

The rest of the album is incredibly strong. While Bezdan was a heavy depressive episode, Tri Posleratna Druga brings pastoral melancholy. There are still dark moments, but they’re balanced with love songs that give a lighter tempo. The trilogy of Ćaletova Pesma – D-moll – Kada Odem is classic Balaš formula, while Remorker might be the most beautiful ballad of this period in his career.

Of course, it wouldn’t be a Balašević album without at least one song invoking the collapse of Yugoslavia. Since ’85 he’s been milking that idea – and he succeeds. With someone else I might complain, but with this charming sailor it’s hard to hold anything against him.