Polish-American Culture in One Recording: Manifesto by Badinov

Polish-American polka music is a vibrant musical style that still enjoys a large audience of passionately devoted fans. This can be seen by the large number of polka radio broadcasts, as well as the number of religious and secular festivals where polka bands perform annually for thousands of dancers and listeners. The vitality of Polish-American polka music can also be seen by examining the albums produced by the bands. This is a close look at one such recent release: Manifesto, by the band Badinov.

The recording consists of 14 tracks, and is a mix of styles, which I believe is necessary to keep the genre vital. For example, the first track, “Hear and Now” is described by Badinov’s leader Randy Krajewski as a, “progressive, new age original,” which is a fair description in that the song features a modern horn sound, electric guitar, and urgent vocal by Jimmy Rutkowski. The 14th track is an even wilder alternate mix of the song. The recording is important for its musical innovation, but it is also significant for its lyrics.

The words are concerned with the declining crowds at some Polish-American polka events, as well as the near compulsion that dedicated musicians feel to play this music. I take at least two messages from the song. The first is to enjoy the music while we still have it. Second, and more importantly, I believe the song is a call to arms to continually revitalize the polka genre. Write and record new songs, try new things musically and lyrically, and polka music will stay alive. Covers of the classics are great, but we need new songs and energy too, especially if we’re going to attract a new audience to replace the current one.

On the topic of covers of classics, Manifesto does an outstanding tribute to several great older tunes. “Matka’s Waltz Medley” tugs at the heartstrings with a light-touch arrangement to highlight the beautiful Polish lyrics. Eddie Biegaj blows the doors off with a rousing vocal on “Oj Jej Jasienku.” Biegaj and Krajewski have been working on polkas together since their high school days, and it’s always good to hear a collaboration succeed like this.

Scholars have long recognized that polka music provides a space where Polish-Americans tell their stories that are ignored or downplayed in more traditional media. This is evident in at least three songs on Manifesto. First, there is “The Gift of Life” that endorses organ and tissue donation in the context of a long-time fundraiser that was in tribute to a friend of the band and a polka fan, Lisa Marie Biskup.

Second is “Stanley’s Market,” penned by Andrew Pawlak. The song is a tribute to the venerable Toledo meat market and purveyor of all things Polish that has been located in one of Toledo’s Polish-American neighborhoods since 1932. Makes you want to grill up some festival kielbasa and cover it with their homemade horseradish sauce!

Finally, “Accordion Man” is Krajewski’s musical autobiography. It tells the tale of his commitment to the accordion from a young age, the financial struggles that accompany the life of a musician, and the satisfaction one finally derives from playing their own music, their own way.

The musicianship on this recording is outstanding, which is important if polka is going to attract a new audience. New listeners with no ethnic connection to the music can become fans by being dazzled by the shining trumpet work of Pawlak, the stirring clarinet of Jim Mackiewicz, Jr., Krajewski’s accordion and Rich Benkowski’s concertina, and the driving drums of Matt Gury. You don’t have to be Polish-American to appreciate individual musicians working together to produce excellent music.

There’s lots more to like about this recording, such as Marion Lush and Connecticut Twins covers (eastern and Chicago-style polkas side by side), two fine instrumentals (the Pawlak-penned “Kuszwanc Stomp,” which is named for a Toledo Polish-American neighborhood, and the Don Cialkoszewski-authored “Wow”). Krajewski offers a heartfelt tribute to his younger daughter on “Morgan Raye,” and his other daughter Aly provided the eye-popping graphic design for the recording.

Manifesto is a great recording, but it also is evidence of the vitality of Polish-American polka music. It showcases new music along with classics, and presents the Polish-American experience in musical form. By doing so it works along with polka radio and ethnic festivals to preserve and extend Polish-American culture.