petak, 20. listopada 2017.
četvrtak, 19. listopada 2017.
srijeda, 18. listopada 2017.
utorak, 17. listopada 2017.
ponedjeljak, 16. listopada 2017.
nedjelja, 15. listopada 2017.
subota, 14. listopada 2017.
petak, 13. listopada 2017.
DUGE were a rock band from Osijek (Croatia) in former Yugoslavia, active from 1975-1982. Members were Damir Vojvodić (guitar), Damir Mihić (guitar), Damir Prlić (vocal), Berislav Crnković (drums) and Željko Gusić (bass guitar). They recorded a few songs for Radio Osijek.
četvrtak, 12. listopada 2017.
TREF was a rock band from Osijek (Croatia), active in the seventies. Members were Slobodan Ivanović-Danče (guitar), Zlatko Vukasović-Kec (bass guitar), Ivica Matković-Makika (drums), Boro Vidović (vocals) and Damir Rokšer-Roco (keyboards). They recorded a few songs for Radio Osijek.
srijeda, 11. listopada 2017.
Frequently compared to Macedonia's most famous progressive rock group Leb i Sol, personally I don't hear it so much. DEN ZA DEN are way more fiery, with a stronger melodic sense. Still there's no denying the late 70's fusion sound. What separates Den za den from the pack is the exceptional guitarist, the distinct melodies, and perhaps best of all, the insane drumming along the lines of Arti + Mestieri. I'm a sucker for active drummers, so I naturally rate this one higher than other fusion albums of the era. Maybe Slovakia's Fermata is the closest comparison amongst the usual suspects like Mahavishnu Orchestra and Weather Report. (from rateyourmusic.com)
utorak, 10. listopada 2017.
After LEB I SOL released the album "Zvučni zid" in the band came Goce Micanov (saxophone) and Kiril Džajkovski (keyboards). Shortly thereafter they began recording material for new album "Kao kakao". They decided to change the musical style and offer ten vocal tracks. As musical guests on the album appear Dragana Šarić (known as Bebi Dol), Ana Kostovska and Ronnie Wathen, who played irish bagpipes. The texts are written by Vlatko Stefanovski and his brother Goran. Album produced by Vlatko Stefanovski, Bodan Arsovski and Bratislav Zafirovski. The text for the song "Femme Fatale" written by Arsen Dedić. The album contains some great success songs like "Skopje","Kao kakao", "Mamurni ljudi" and "Čuvam noć od budnih".
ponedjeljak, 9. listopada 2017.
LEB I SOL second album would be with the same lineup as the first and the same overall style too. "Akupunktura" has this relaxed intro then it kicks in at a minute. Nice drum and guitar work here. In fact the guitar provides a light show after 3 minutes. Nice. "Kako ti drago" has these intricate sounds that come and go and the tempo continues to shift too. "Aber dojde donke" opens with atmosphere as the guitar makes some noise. Keys come in. Drums 2 minutes in. So good. "Talasna dužina" opens with synths and guitar. Drums and vocals join in. "Dikijeva igra" kicks in quickly to an uptempo instrumental soundscape. "Uzvodno od tuge" is spacey with piano and bass. Drums and guitar follow. "Marija" opens with electric piano and cymbals. It picks up with drums out front. Guitar 3 minutes in. Killer stuff. It's the keyboards turn after 5 minutes then the guitar returns 6 minutes in to end it. "Bonus" is a short piece with laid back guitar and vocals. They started their careers with a couple of exceptional albums that would satisfy any progressive jazz/fusion fan. (by Mellotron Storm)
nedjelja, 8. listopada 2017.
LEB I SOL is a jazz-rock fusion group founded in the 1970s in Skopje, Macedonia (ex-Yugoslavia) by Vlatko Stefanovski (guitar), Bodan Arsovski (bass guitar), Nikola Dimuševski (keyboards) and Garabet Tavitjan (drums). Leb i sol were very popular in the 1970s and 1980s and, while not selling as many records as some pop and folk acts, where very well known and respected and often sold-out venues in most of the larger towns in the former Yugoslavia. The first two albums are often considered foundational, while most are diverse enough to be, at least in part, accessible to a fairly wide audience. The influence of ethnic and folk music of southeastern Europe and more specifically of the Republic of Macedonia are recognizable in the use of odd meters (5/4, 7/8) and non-traditional scales (e.g. the Phrygian dominant scale). While all the musicians were fairly accomplished, Vlatko Stefanovski is frequently regarded as an exceptional guitar virtuoso. (from answers.com)
subota, 7. listopada 2017.
petak, 6. listopada 2017.
After two successfull albums LEB I SOL decided not to repeat the formula but to go into a deeper exploration of jazz. For the third album they almost abandoned the lyrics and invited a saxophone guest for two tracks. Vocals are present but except "Lenja pesma", an excellent even semi-commercial hit at the time, they were utilized as an instrument. Koki Dimuševski is more active than ever with his electric piano and plethora of synths, Vlatko Stefanovski's guitar technique is brought to perfect here,while rhythm section of Garo Tavitijan and Bodan Arsovski is impeccable as always. Macedonian folk is less present in favour of more "avant-garde" approach in a manner of jazz improvistions, so "Ručni rad" is not very accessible on the first listen. Production of Josip Boček is finally top notch for the time, the whole album carries the balanced sound of all instruments, perfectly arranged so you could get a sense of the band playing as a single body. Solos are rare but very effective and functional. All 7 tracks are perfect but obvious favorites would be "Lenja pesma" (lyrics as always by Goran Stefanovski, Vlatko's brother, who is a renowned Macedonian playright), Arsovski's title track "Ručni rad" with some beautiful fretless bass melody line and Stefanovski's "Kumova slama", one of the most memorable instrumentals of the former Yugo music scene, beautiful melody with emotional guitar solo weeping. However there is present a sort of optimistic, positive feeling in this composition. This is a true gem of ex-Yugo prog and probably the best fusion album of the era just before the coming of New Wave age. (review by Seyo)