ponedjeljak, 22. prosinca 2014.

MAČAK - Mačak (1981)

MAČAK was a rock band from Split (Croatia) in former Yugoslavia. This is their demo songs from 1981. (thanks to trgec)


KOMAKINO - Komakino (1987-1988)

KOMAKINO was a post punk rock band from Ljubljana (Slovenia) in former Yugoslavia. They were active between 1987-1988. The members were Bojan Ažman (vocal), Maček (drums), Dragan Tomaševič (guitar) and Ana Korenini (bass). 

ponedjeljak, 15. prosinca 2014.

DENIS & DENIS - Čuvaj se! (1984)

DENIS & DENIS is an electro pop musical group from Rijeka, established in 1982. Group published four studio albums "Čuvaj se!" (1984), "Ja sam lažljiva" (1985), "Budi tu" (1988) and "Restart" (2013). They were one of the most popular groups in former Yugoslavia, who were often published on the front side of the newspapers and music magazines. After their third album "Budi tu" Denis & Denis in year 1988 disestablish. In the year 2012 the group reunited. (from wikipedia)

nedjelja, 14. prosinca 2014.

ŽARKO DANČUO - Sjećanje na septembar (1966) EP

ŽARKO DANČUO is Serbian pop singer, most popular in 70s and 80s. At the beginning of his career he sang in rock band "Roboti" from Zagreb. This is his first EP from 1966.


SAŠA POPAZ - Daj mi svoju ljubav (1961) Single

SAŠA POPAZ first single record from 1961. (thaks to MrSerbilly)


SAŠA POPAZ - Lučija (1962) Single

SAŠA POPAZ was one of the first rock and roll singer in ex-Yugoslavia. This is his second single record from 1962.

subota, 13. prosinca 2014.

ANA MARIJA - Zašto dečaci plaču (1990)

ANA MARIJA was a pop rock band from Beograd (Serbia) in former Yugoslavia. This is their first album from 1990.


BIJELO DUGME - Doživjeti stotu (1980)

"Doživjeti stotu" is the fifth studio album released by Yugoslav rock band BIJELO DUGME. The album is noted for the band's change of direction towards new wave, in contrast to folkish hard rock on their previous releases. "Doživjeti stotu" was being prepared and eventually released in the wake of the Yugoslav lifetime president Josip Broz Tito's death. His passing on May 4, 1980 triggered an extended mourning period that saw most of the entertainment activities throughout the country temporarily quiet down. Pre-recording rehearsals were held in Goran Bregović's chalet on Jahorina Mountain, before actual sessions began at Radio Belgrade's Studio 4 on October 6, 1980. Exactly two months later, on December 6, in anticipation of the album release, the 7" single "Dobro vam jutro Petrović Petre"/"Na zadnjem sjedištu moga auta" appeared in stores containing a song off the coming album as well as a B-side from the previous one. Immediately, the new song about a fictional character Petar Petrović received a radio ban due to the lyric "sve u finu materinu", which some found inappropriate "especially in the sensitive time following Tito's death". Also, once the album itself came out, some complained about what they saw to be the "morbidity" of its three part sleeve, which depicts a plastic surgery. The sleeve was done by graphic designer Mirko Ilić, artist closely associated with Yugoslav New Wave scene. Unlike with previous studio albums, promoting "Doživjeti stotu" also included selling the shocked public on the whole new sound and radically different look. Except for "Pristao sam biću sve što hoće" and "Pjesma mom mlađem bratu" every single track sounded much different from what came to be expected as Bijelo dugme sound over the previous 6–7 years, which is why the album was met with a lot of scepticism. (from wikipedia)

petak, 12. prosinca 2014.

BIJELO DUGME - Bitanga i princeza (1979)

"Bitanga i princeza" is the fourth studio album released by Yugoslav Rock band BIJELO DUGME. It is highly regarded as the band's most mature effort and is considered by both fans and critics alike to be one of Bijelo dugme’s finest works. It is considered by many to have been the bands final progressive/hard rock influenced album before Bijelo dugme re-invented themselves for the 1980s, by taking on board a more New Wave sound that started sweeping the former Yugoslavia at the time. In addition to containing shorter, more softer songs in comparison to their previous works, "Bitanga i princeza" also features the seven and a half minute "Sve će to mila moja prekriti ruzmarin, snjegovi i šaš", a haunting ballad that went on to become one of Bijelo dugme's signature songs. The album was polled in 1998 as the 9th on the list of 100 greatest Yugoslav rock and pop albums in the book "YU 100: Najbolji albumi jugoslovenske rok i pop muzike". (from wikipedia)

četvrtak, 11. prosinca 2014.

BIJELO DUGME - Eto! Baš hoću! (1977)

"Eto! Baš hoću!" is the third studio album released by Yugoslav rock band BIJELO DUGME. Album continues Bijelo dugme's early folkish hard rock style, although it is on this album that Goran Bregović began to react to changing trends in rock music (both internationally and domestically) by slowly shedding the band's heavy metal and progressive rock leanings in favor of a more soft rock, consequently paving the way for the band's eventual shifting into 1980s New Wave. Still, "Eto! Baš hoću!" is acknowledged as Bijelo dugme's last, true hard rock album from the early period, together with the 1977 live album "Koncert kod Hajdučke česme". What eventually became "Eto! Baš hoću!" album was created in extremely stressful circumstances. Rehearsals and pre-recording sessions began at Borike village in September 1976. Of the now established lineup that completed the first two albums, only Zoran Redžić was missing since he was away serving the army stint. His replacement on bass was Ljubiša Racić who was with the band since the beginning of the year having played his first show with Bijelo dugme on February 11, 1976 at Belgrade's Pionir Hall during the tour supporting the previous album. The tour lasted through the summer finishing in August and Bregović then decided to quickly record a new album to be in stores by the end of the year since he knew Pravdić would have to go away to the army as he was turning 27 in early December. To that end Bregović booked a studio in London for the month of November and set about writing and practicing the new material on the fly at Borike. In early October both the keyboardist Vlado Pravdić and drummer Ipe Ivandić got unexpected call ups to immediately report for their mandatory army stints by October 13, 1976 in Čačak and Belgrade, respectively, which meant that Bregović suddenly had to find two new members on a very short notice. For the drummer spot, he right away turned to old bandmate Milić Vukašinović who quickly accepted, but getting a new keyboardist was not as smooth. Bregović wanted Laza Ristovski, playing with Smak at the time, who in addition to being uneasy about leaving his band also felt apprehensive about fitting into Bijelo dugme setup that was much different both creatively and organizationally from what he was used to with Smak. Ristovski finally decided to give it a shot, and after some initial difficulties, eventually stayed on. His arrival got major attention in Yugoslav media that covered it like a bigtime football transfer. Dissatisfied with the way things are going on organizational front generally, Bregović also sacked the band's manager Grada Veljković and brought Raka Marić in his place. The album was originally supposed to be called "Sve se dijeli na dvoje, na moje i tvoje", but despite trying very hard, Bregović wasn't able to come up with a satisfactory melody to a Duško Trifunović-written poem from which the above lyric is taken, so the whole the idea was abandoned. The next suggestion for the album title was "Hoću bar jednom da budem blesav!" which the people at record label "Jugoton" didn't like, so finally right before departing for London "Eto! Baš hoću!" was agreed on as sort of a compromise. Since Racić was just a replacement until Redžić gets back from the army, the band did not take him to London, so Bebek ended up playing the bass on the album. Once the recording sessions began at Air Studios, a new problem arose - the band featuring two new members (Ristovski and Vukašinović) versus two returning ones (Bregović and Bebek) sounded much different from how Bregović envisioned this album should sound. Still, by the end of their time in London most things fell into place and the album was released back home on December 20, 1976. Upon coming back to Sarajevo the preparations for the tour to begin in February 1977 started. That brought about more personnel issues, however, as bassist Ljubiša Racić asked for more money, but instead of giving him a raise, Bregović fired him. Bregović and manager Marić turned to looking for a replacement, picking up Sanin Karić. (from wikipedia)

INDEXI - Sve ove godine (1965-1986) 2CD

Double CD collection of their best songs from 1965-1986.