IBRICA JUSIĆ first studio album from 1975.
subota, 31. kolovoza 2024.
IBRICA JUSIĆ - Ibrica Jusić (1973)
IBRICA JUSIĆ started his career in Dubrovnik in 1965. On invitation of composer Pero Gotovac he went in Zagreb. He was a winner on Zagreb Festival in 1968, with song "Celuloidni pajac". He won the first prize on the same festival also in 1969 with song "Osobenjak" and in 1970 with song "Mačka". Then, Zagreb became too small for him (as he said), so he went in Paris where he has felt international experience. After all, he always returned by summers every year to his hometown Dubrovnik and sang midnight concerts to his loyal public. By using his summer travels to Dubrovnik he started to cooperate with Dubrovačke ljetne igre in 1971 and with songs of Pero Gotovac he sang on shows of Games Edward II, Columbo and Aretej. He composed music and sang in the show "Životopis Miha Pracata" in 1977. In the same year he recited in Knežev dvor, and, as he recited in so elite place, that was also his reward for his artistic value. He is one of the first singers who recorded songs on LP records in 1974. He was one of the first persons who did solo-concert in Lisinski Theater in 1975. In next years he sang in almost all world-wide popular places, like Opera House (Sydney), Carnegie Hall in New York, China Theatre in Stockholm and so on. He composes music for poets of Luko Paljetak, Dobriša Cesarić, Aleksa Šantić, William Shakespear, Brecht, Britvić, Zuppa etc. The most important thing in his career was symphony album "Ibrica" (1981), done in a rich Mediterranean arrangements of his brother, maestro Đelo Jusić, who wrote anthology songs for Ibrica like: "Šalom Sara", "U svakom slučaju te volim", "Na Stradunu" and others. His went to France once again in 1980 on invitation of famous French show Le Grande Echique. He got one more invitation of the same show on Christmas Eve, but this time, the guests also were stars like Becaud, Aznavour, Greco and Golden Gate Quartet. In next two years he was on the swhos of the same producer, which was a great honor for French singers also. As a result of the Parisian school he recorded album "La vie" in French in 1985, while the album "Hodaju ljudi", recorded in 1988, was a result of impact of his many years of residence in Sweden. He returns to homeland once more in 1991. At the end of 1993 he writes music for "Velika magija" (P. Magelli and K. Dolenčić) in Gavella where he played and sang. His return to domestic waters resulted in retrospective compilation issued in Croatia Records in 1994. In 1997 he entered to the newly founded Dancing Bear House and published compact disc of significant title "Dan prije" with the material recorded at a concert held on 24 May 1997. in ZeKaeM. The day before in the same place, the ceiling collapsed. In 2001 he recorded an album "Hazarder", a tribute to Leonard Cohen, with 12 translations of poems of legendary Canadian chansonier. Below compact disc "Amanet" which Ibrica Jusić dedicate homage to his first, to the spiritual homeland and the country of his parents, Bosnia and Herzegovina, by recording the new, modern arrangements of a number of beautiful Bosnian sevdalinka. He was first Croatian singer who was officially invited to the Montreux Jazz Festival in 2004., at the one of the largest jazz festivals. That same year, he performed on Etno World Festival, Oslo. In 2008 is marched with "Amanet 2", with 13 original Bosnian sevdalinka recorded in the studio Liburnia Jazz Mozart, back in Elvis Stanić Music Production Station, with the sounds of the accordion virtuoso Omar Pobrica and violin maestro Sasha Olenjuk. In 2009 is jubilee year in which Ibrica marks 45 years of his artistic work. Since his musical expression a mixture of Italian, French, Croatian and Bosnian influence, this year marked a number of concerts titled "From Shakespeare to Sevdah". This is compilation album with his best songs from 1968-1974. (from wikipedia)
petak, 30. kolovoza 2024.
četvrtak, 29. kolovoza 2024.
srijeda, 28. kolovoza 2024.
utorak, 27. kolovoza 2024.
ponedjeljak, 26. kolovoza 2024.
nedjelja, 25. kolovoza 2024.
subota, 24. kolovoza 2024.
petak, 23. kolovoza 2024.
četvrtak, 22. kolovoza 2024.
srijeda, 21. kolovoza 2024.
DUGE (Kreka-Tuzla) - Kiša je padala (1968)
DUGE were a rock group from Kreka-Tuzla (Bosnia and Herzegovina) in former Yugoslavia. This is their only demo recording from 1968.
utorak, 20. kolovoza 2024.
ponedjeljak, 19. kolovoza 2024.
nedjelja, 18. kolovoza 2024.
subota, 17. kolovoza 2024.
petak, 16. kolovoza 2024.
četvrtak, 15. kolovoza 2024.
DAG - Sećanja (1974)
DAG was seemingly a typical representative of the so-called "Belgrade acoustic scene" of the mid-seventies. Dragan Popović (vocals, guitar) and brothers Aleksandar (vocals, guitar) and Grujica Milovanović (vocals, percussion) came together in 1972 naming the band after their first names initials. After two singles that enjoyed moderate success on the local acoustic folk scene, they recorded LP "Sećanja" in 1974. In order to expand the musical performance and offer richer arrangements, they invited a large group of colleagues and session players to support the recording. The result is pretty remarkable acoustic/electric acid folk rock album with elements of psychedelic and symphonic/chamber pop. However, the term "folk" should be understood as describing the Anglo-American "folk rock" rather than the local/Balkanian folk influences as was the case with another famous similar band, their contemporaries S vremena na vreme. The album starts with gentle acoustic ballads "Svitanje" and "Jutro jednog fauna" that are enhanced by symphonic/baroque sounding strings. It seems like an early precursor of what would recently be labelled "chamber pop". "Ljubav" continues in the acoustic style, bringing a sad, melancholic atmosphere of the Pink Floyd's "A Pillow of Winds" and the dark moments of Nick Drake's songs. A Neil Young-ish mouth harp introduces another beautiful harmony of tenor vocals and acoustic guitars in "Cvet starog samuraja". The song ends with an odd psychedelic effect of reversed electric guitar solo, like the one utilised for instance in the Beatles' "I Am Only Sleeping". The second part of the album provides a space for guest players to add their spices to the musical act. Notable appearances include the Pop Mašina rhythm section (Robert Nemeček on bass guitar and Bata Popović on percussion), another two drummers: Rasa Đelmas (ex YU Grupa, Pop Mašina) and Nikola Jager (ex S vremena na vreme), a distinguished session keyboardist Slobodan Marković on organ and piano, who played on numerous rock and pop albums in the seventies, and lyricist Marina Tucaković who was yet to build her, often disputed, song writing career in the pop music scene by the end of the decade. "Tragovi u pesku" has a pleasant and highly accessible melody provided by laid-back organ chords, supported by slow drums pattern and fine brief electric guitar solo. Psychedelic/acid highlights of the album are present in the following two tunes, which are played in a very electrified folk rock style of Crosby, Stills, Nash & Young or Jefferson Airplane. "I sad..." contains changes of tempo between easy/acoustic and speedy/electric sections of the song. The eight and half minutes magnum opus "Na Drini ćuprija" opens with sitar sounds courtesy of Ljubomir Ristić. The song develops along the Incredible String Band sounding raga rock timbre with additional electric guitar with wah-wah effects and piano. DAG vocals are somewhat put in the background but nonetheless are perfectly fitted within the frame of this acid folk masterpiece. Strings are back again just to announce a sudden shift into a brief hard beating boogie-rock led by electric guitars, while the organ fades out the track. The album finishes with another ballad "I na kraju zvuk" which presents even a nice, short jazz-rock jamming with electric piano, energetic drums and excellent lead guitar play. If compared with international contemporaries, this record may sound sub-standard, even dated or amateurish. But, being situated within the Yugoslav rock scene, "Sećanja", due to its sincerity, creativeness, lyrical and topical approach and unpretentious performance, must be graded with high mark. Together with the eponymous album of S vremena na vreme, DAG debut is perhaps the best album of acoustic prog folk of the seventies in former Yugoslavia. (from wikipedia)
