nedjelja, 23. travnja 2017.
subota, 22. travnja 2017.
petak, 21. travnja 2017.
During the 1980s Marko Brecelj led an unconventional career of a solo artist. He used to play minimalist one-man show performances, accompanied by guitar or violin, with hilarious poetry recitals and stage acrobatics (burning his hair, singing from a wheelchair...). In 1985 he assembled a short- lived band (or rather: a project) called MARJANOV ČUDNI ZAJEC who recorded a minor avant-rock masterpiece under the indicative title "Svinjam diamante". Album went unnoticed on the Yugoslav market due to poor distribution and obviously deliberate underground Lo-Fi approach. Brecelj's twisted sense of humour and absurd lyrics is best heard in the short miniaturist sketches performed live in front of small audience constantly bursting out in laugh. The opener "Vrba" contains nonsense quasi-translation mix of Slovene and German lines, while "Midnight" is a straightforward finger showed to the class of "Tovariši" (that is "the Comrades" - the Communist party aristocracy) backed by the sounds of pigs squeak and jazzy piano! "When I Am Dead" shows the band capable of delivering a true "a capella" in the vein of Negro spirituals, but still with a sort of distant echo of Zappa's doo-wop workings. Along with Brecelj (described on the album cover as "the former rock star"), his long-time associate singer/songwriter Ivan Volarič Feo is also present and both were actually credited as "guests" on the album. Strange indeed, but when you start listening to other compositions, MARJANOV ČUDNI ZAJEC shows very good musical competencies, much greater than is commonly the case for usual backing bands. The members were: Leon Ukmar-guitar, Zlatko Basič-bass, Taljub Lapajne-guitar, Robert Vatovec-keyboards and Marjan Medvesćak-drums. Music is full of unusual and odd rhythm patterns provided by scratchy guitars, leading bass lines and occasional synths. Brecelj's voice is funny, exaggerated, aggressive, satirical, mocking, gentle, and cool all from one moment to another. Comparison with Frank Zappa cannot be avoided, but this music is related to many different styles - avant-gardist RIO approach, especially in strong political overtones like in "Soldaška" satirising the JNA - Yugoslav People's Army - everyday life of involuntary soldiers, post-punk guitar and bass riffs as in "Ali slišite" and "Drugi, tretji", BULDOZER-like psychedelia with disturbing vocals and jazz-manner played bass and piano in "Mamici za 1. November", or spacey beat with odd time signature in "Bilećanka"invoking certain elements from Krautrock or even "Planet Gong" universe. "Svuda ljudi, svuda zastave" with its keyboards and synth flushes is even close to progressive rock. "Sexy Disco Hit" is one of Brecelj's best songs, in which Zappa meets Talking Heads or Pere Ubu, having one of the most fervent spits into the face of popular dance culture. And it is really seducing, hypnotic, danceable and funky! "Majmuni" is the electric version of the angst-filled protest song against Yugoslav rock dinosaurs Bijelo Dugme, previously recorded on the acoustic EP "Parada" in 1981. "Stonesi spoznajo moje stare starše" is previously unreleased old acoustic track in a folksy singer/songwriter style, presumably written in 1970s. This fine, excellent, funny, serious, obnoxious, ridiculing, mesmerising piece of unconventional rock music ends on another absurd poetry note in the closing 20 seconds "Smrt" - "Death is without colour, taste or smell/Death does not have acid-base reaction/Death is an isolator/Death does not show any signs of life"! (from wikipedia)
četvrtak, 20. travnja 2017.
MARKO BRECELJ was born 1951 in Sarajevo, Bosnia And Herzegovina (ex-Yugoslavia). A failed student of physics at Ljubljana University and composer of film music with a Golden Palm award. Played violin in the band Krik with whom he performed at Subotica Youth Festival in 1973/74. In 1974 Brecelj recorded solo debut LP "Cocktail" which included singer-songwriter style of avant-garde blues-based songs accompanied with orchestral arrangements by Bojan Adamić. In this period he joined the band Sedam svetlobnih let who were soon to change name into Buldožer. In 1975 with his band Buldožer made quite a big draft in former Yugoslavia concerning the term rock-music. After leaving Buldožer in 1979, with later groups - Zlatni zubi, Marjanov čudni zajec, Beli crnci, Javna vaja managed to stay "under the ground". He built an image of a cynical, unexpected and extravagant-prone performer who used to appear on stage in a wheelchair, burn his hair and beard, make acrobatics and tell hilarious and funny jokes in front of audience bursting in laugh. During the 1980s his noteworthy releases included EP "Parada" in 1981 and LP "Svinjam dijamante" with the group Marjanov čudni zajec in 1985. With the band Strelnikoff he recorded an album in 1994, which included several covers of old Buldožer songs. He is living in Kopar, Slovenia, where he was the director of "Mladinski kulturni centar". This is where many young creative rock bands were given opportunities to perform. In recent years he has been active in politics as the president of "Društvo prijateljev zmernega napredka" and as candidate for the mayor's office in Kopar. Brecelj's music can be described as singer/songwriter style (vocal and guitar) with avant-garde approach. His lyrics are bitter, cynical and full of humour and social commentary. One can imagine a cross between Frank Zappa, Tom Waits, Krautrock, punk and RIO. Essential albums for listening are "Cocktail" (1974) and "Svinjam dijamante" (1985). (by Sead S. Fetahagić)
srijeda, 19. travnja 2017.
BEOGRAD was formed in Beograd (Serbia) on late 1980 by Slobodan Stanić "Gricko" (synthesizer) and Ljubodrag Bubalo "Ljuba" (bass guitar, synthesizer), the latter being a former Uliks and Rulet member, whom, influenced by Kraftwerk and Ultravox, decided to form a synth-oriented band. The two then invited the Električni Orgazam keyboard player Ljubomir Đukić to join the band, but the deal eventually fell through. During the following year, the duo was joined by Ljubodrag's brother Milan Bubalo "Mića" (rhythm machine, electric drums) and Dejan Stanisavljević (synths, vocals). In the meantime, the band had recorded their newly written material on a four-channel Teac cassette recorder. Beograd had their first live performance at the Beograd's Dadov Theatre where they performed with an additional member who had sequenced the rhythm machine behind the stage. On their latter live appearances, the band continued the trend of adding an additional member, usually the U Škripcu drummer Miloš Obrenović, mainly performing in Dadov and KST. At the time, Stanić had left the band, and after a two month break, the band continued working as a trio. Intending to replace Stanić's playing with music samples, previously recorded by the band themselves, the band used the backing tracks on their live performances. During the Spring of 1982, the band released the first former Yugoslav electronic music single, "Sanjaš li u boji" with the song "T.V." as the B-side. The single, featuring Dejan Stanisavljević as the author of both music and lyrics, arranged and produced by Saša Habić, was released through Jugoton. Because it had been released in 500 copies only, the single is today considered a rarity and a collector's item. From August until November 1982, the band had been recording the material for their debut album at the PGP RTB studio V. The following year, the label released their debut album "Remek depo", featuring a combination of synthpop and brass instrument-oriented soul. The album was produced by Saša Habić and featured saxophonist Paul Pignon, trumpeter Stjepko Gut and timpanist Borislav Pavićević "Bora Longa" as guest performers. The album reached the fourth position on the Džuboks magazine top ten Yugoslav rock albums list on March 1983, and remained on the top ten list for twelve weeks. After the album release, on mid-1983, Stanisavljević left the band and thus Beograd disbanded. (from wikipedia)
utorak, 18. travnja 2017.
"Ćiribiribela" is the ninth and final studio album released by BIJELO DUGME. "Ćiribiribela" is critically considered to have been Bijelo dugme's best album in their fifteen year carrier. Goran Bregović pushed for softer sound to its fullest on "Ćiribiribela" which is stylistically close to the band's previous studio album "Pljuni i zapjevaj moja Jugoslavijo". "Ćiribiribela" is perhaps best remembered for containing one of Bijelo dugme's best known songs, the traditionalist, brass loaded "Đurđevdan je, a ja nisam s onom koju volim", which became an instant classic upon its release. In contrast "Lijepa Naša", often considered one of the band’s least popular songs, Bregović (who is half Serbian, half Croatian) combined the Croatian anthem "Lijepa naša Domovino" with the Serbian World War I traditional "Tamo daleko" to form the chorus of the song, this proved very unpopular as ethnic tension among the people of Yugoslavia was on the rise at the time which would eventually boil over into full scale Yugoslav wars in the 1990s. (from wikipedia)
"Pljuni i zapjevaj moja Jugoslavijo" is the eighth studio album released by BIJELO DUGME, and the first to feature vocalist Alen Islamović (formerly of the heavy metal band Divlje jagode). Goran Bregović had first approached Alen Islamović to join Bijelo dugme after the departure of the bands original lead singer Željko Bebek in 1984, however, Islamović rejected the offer and Bregović eventually recruited the young and inexperienced Mladen "Tifa" Vojičić. After recording 1984’s self titled album things began to deteriorate within the band, Vojičić’s drug and alcohol dependencies coupled with an un-professional approach frustrated the elder Bregović who was forced to fire Vojičić in October 1985. In April 1986 Islamović received a second offer from Bregović this time accepting to join the most famous band in Yugoslavia. The album was notable for featuring Yugoslav national hero and Central Committee member Svetozar Vukmanović-Tempo singing the Partizan song "Padaj silo" at the beginning of "Pljuni i zapjevaj moja Jugoslavijo". (from wikipedia)
ponedjeljak, 17. travnja 2017.
"Bijelo Dugme" is the seventh studio album released by rock group BIJELO DUGME. Due to Bijelo dugme's usage of the famous painting by Uroš Predić for the album's cover the most widely used name for the album is "Kosovka djevojka", despite it officially being a self titled album. "Kosovka djevojka" marks the return of folk music elements most prominent on song "Lipe cvatu, sve je isto k'o i lani" and oriental on song "Za Esmu". The album produced by Goran Bregović was recorded at several locations with Mufid Kosović and Milka Gerasimova as sound engineers. Bora Đorđević, frontman of the rock band Riblja Čorba made a guest appearance in the song "Pediculis pubis", having co-written it with Goran Bregović (Bregović would, in return, make a guest appearance on Riblja Čorba 1985 album "Istina", singing with Đorđević in the song "Disko mišić"). Other guest appearances included, the Croatian folk group Ladarice, the Macedonian gajda player Pece Atanasovski and the folk instruments orchestra of the Radio-Television Skopje and Sonja Beran - Leskovšek who played the harp. It was the group's first album since the departure of former frontman Željko Bebek who was replaced by Mladen "Tifa" Vojičić. Despite his talents, Tifa's stint as Bijelo Dugme's lead singer would be a short one, due to personality clashes, lack of professionalism, and drug and alcohol abuse causing friction between Tifa and the other band members, particularly Goran Bregović who would go on to fire Tifa in October 1985. (from wikipedia)
BIJELO DUGME sixth single record from 1975.
nedjelja, 16. travnja 2017.
"5. april '81" is the second live album by BIJELO DUGME. It was recorded in Zagreb's "Kulušić club" during the Yugoslavia-wide tour in support of "Doživjeti stotu" studio album. The album was put out in limited release of only 20,000 copies. The album featured a live cover of Indexi song "Sve ove godine".
subota, 15. travnja 2017.
"Koncert kod Hajdučke česme" is the first live release by BIJELO DUGME. The album's title refers to the band's famous concert played before approximately 100,000 people on August 28, 1977 near Hajdučka česma grounds at Košutnjak Park in Beograd, however, the material on the record is only partially recorded at the said event. After disappointingly realizing the concert recording sounded terrible on tape due to technical limitations and the wide open space, the band played another show at "Đuro Đaković Hall" in Sarajevo on October 25, 1977, which is the actual performance heard on the album. In the end, the only part of original Hajdučka česma concert that ended up on the record is the crowd reaction after each song. (from wikipedia)
BIJELO DUGME fourth single record from 1975.
petak, 14. travnja 2017.
Coming off their New Wave-inspired "Doživjeti stotu" album, which was a radical departure from BIJELO DUGME's original folkish hard rock style, "Uspavanka za Radmilu M." was to be the band's chance for redemption as they decided to make it a lot less New Wave-oriented. And though it had a considerably more favourable initial reception than its predecessor, most still found it to be unfocused and incoherent. Tracks like the opening "Polubauk polukruži poluevropom" and the Lou Reedesque "Ovaj ples dame biraju", both featuring barely intelligible lyrics, were in many circles taken as the defining proof that Goran Bregović was fast becoming a spent author with no new credible ideas. "U vrijeme otkazanih letova" fuses lyrics featuring oriental motifs with the '80s new romantic sound. The band only somewhat sounds like the famous Bijelo dugme of old on "Ako možeš zaboravi" (by far the best known song off the album) and "Zašto me ne podnosi tvoj tata". The album is rounded off by "Ne plači", followed by the instrumental title track. Still, Goran Bregović managed to get the public's attention by having Željko Bebek sing "Kosovska" in Albanian. The fact that this occurred only a year after 1981 Albanian protests in Kosovo made the song a controversial choice. In addition to generating media publicity for the band, "Kosovska" also opened new doors for Bijelo Dugme as they now felt comfortable staging a concert in Priština - something that most other Yugoslav bands at the time stayed away from due to fears of crowd trouble. The track also featured Leb i Sol leader Vlatko Stefanovski on guitar. During its making, Bregović conceptulized "Uspavanka za Radmilu M." as the band's farewell record. He later said: “When we were working on "Uspavanka", we approached it with the intent of making it our final album. Some pieces came together that made it clear to us that it is time to go. I planned on making our Belgrade concert at Sajmište on April 24, 1983 our last, but the entire atmosphere was so good, that we had a change of heart." And while "Uspavanka za Radmilu M." turned out not to be Bijelo dugme's swan song, it was the end of an era in other ways. It was their last album featuring Željko Bebek, founding member who spent the previous decade as the group's lead singer. He officially left in April 1984 to pursue a solo career, following a long period of quiet and open feuding with Bregović, mostly over revenue sharing. It was also the last studio album Bijelo dugme released for Jugoton, as the record label wasn't happy with the band's recent shift towards New Wave, which they thought perciptated a drop in sales. On the other hand, Bregović thought the lack of a proper marketing effort by the label contributed to band's deteriorating popularity. (from wikipedia)
BIJELO DUGME eleventh single record from 1979.
četvrtak, 13. travnja 2017.
srijeda, 12. travnja 2017.
"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)
"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)
utorak, 11. travnja 2017.
"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)