srijeda, 23. svibnja 2018.

EXODUSI - Tužan sam kad kiša pada (1968)





































EXODUSI was a rock band from Herceg Novi (Montenegro) in former Yugoslavia. This is their song from 1968.

HORIZONT - Horizont (1978)









































HORIZONT was a rock band from Ljubljana (Slovenia) in former Yugoslavia. These are their two songs from 1978.

ponedjeljak, 21. svibnja 2018.

KOREN - Tema br. 13 (1975)









































KOREN was a rock band from Novi Sad (Vojvodina, Serbia) in former Yugoslavia. This is their song published on "Gitarijada Vojvodine-Kisač '75" from 1975.

VIA OFENZIVA - Via Ofenziva (1983)







































VIA OFENZIVA was a Slovenian short-lived punk band active in early 80's in former Yugoslavia. Members were Esad Babačić-Car (vocals), Zoran Železnik (guitar), Ivo Frančič (bass) and Robert Frič (drums).

nedjelja, 20. svibnja 2018.

ROCK EXPRESS - Moj drug (1973) Single









































ROCK EXPRES was founded in 1973, in Beograd, Serbia (ex-Yugoslavia). Members were Dragan Stojanović (guitar and vocals), Saša Stojanović (sax and vocals), Miroslav Šutić (bass and vocals) and Milivoj Obreški (drums). They recored one and only single in 1973.


SMAK - Live in Sava Centar (1990)









































SMAK recorded live on concert in "Sava Centar" in Beograd 1990. (thanks to sveto)

subota, 19. svibnja 2018.

SMAK - Crna dama (1977)






































SMAK second album from 1977, with big hits "Crna dama", "Daire" and "Alo".


SMAK - Ulazak u harem/Plava pesma (1975-1977)









































In the light of commercial success of their second studio album "Crna dama" issued on PGP RTB, their previous label RTV Ljubljana decided to assemble a compilation, obviously in order to capitalize on SMAK's popularity. "Ulazak u Harem/Plava pesma" LP contains songs taken from early singles and EPs, two tracks from the debut "Smak" and one instrumental ("Oro") taken from Radomir Mihajlović Točak's first solo album. While the selection of tracks is always subject to debate, this serves a purpose of capturing and condensing the essence of this period in the band's career. Most tracks are heavy, folk-inspired blues rock with occasional elements of jazz and funk where you can hear Točak's talents and technique of guitar playing, while he was building a cult of "guitar hero" status in ex-Yugoslavia. Only "Plava pesma" is a soft jazz ballad and it was taken from "Crna dama" album, marking a bridge to more elaborated fusion territory that they would purse in the years to come. Recommended collection of early SMAK works, if you can find it because it is quite a rarity nowadays. (by Sead Fetahagić)

petak, 18. svibnja 2018.

SMAK - Smak (1975)





































SMAK was formed 1971 in Kragujevac (Serbia) in former Yugoslavia by a guitar virtuoso Radomir Mihajlović nicknamed "Točak". The first stable line-up was assembled in late 1974 including Slobodan Stojanović (drums), Zoran Milanović (bass), Boris Aranđelović (vocals) and Lazar Ristovski (keyboards). During 1977-78 Ristovski was replaced by first Miki Petkovski and then by Tibor Levay on keyboards, while in the period 1979-81 Dado Topić (Time, Korni grupa) collaborated with SMAK as producer and occasional guest vocalist before the band broke-up in late 1981. The original line-up gathered again in 1986 with a new keyboardist Milan Đurđevic, but after the released one LP they split again. The third comeback of SMAK happened in 1992 with Ristovski again as a member, when they mostly played concerts in Serbia and issued a live album. Finally, in 1994 SMAK re-appeared again, this time along with Točak and Stojanović they added younger musicians: Dejan Stojanović (second drum kit), Dejan Najdanović (vocals), Vlado Samardžić (bass) and Milan Milosavljević (guitar). SMAK was celebrated for Točak's virtuosity in guitar playing, modelled on J. Hendrix and J. Page style, and for interesting, if not always successful, fusion of hard rock, prog rock, jazz rock with strong blues backing, with Aranđelović's falsetto vocal often used as an instrument rather than singing. "Ulazak u harem", a folk-inspired instrumental issued as hit-single in 1975, showcased Točak as one of the guitar-heros of ex-Yugoslavian music scene of the 1970s, while albums "Crna dama" and "Stranice našeg vremena" were highly celebrated among prog fans and were even released in English versions for the Western market. Their reunion, from the second half of 1980s onward, turned the musical direction of the band into less-inspired mainstream hard rock, abandoning any prog elements. As a comparison, one can mention similarities in style with artists such as Deep Purple, Taste, Traffic, Doobie Brothers, Santana, Leb i sol. This is their first eponymous album, mixed with hard and psychedelic rock and some jazz touches. (from progarchives.com)

SMAK - 'Alo (1977) Single









































SMAK sixth single record from 1977.

utorak, 15. svibnja 2018.

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SMAK - Smak '86 (1986)









































In October 1986, SMAK reunited in the old lineup featuring new keyboardist, Milan Đurđević. The band recorded the comeback album "Smak '86. The album was produced by Radomir Mihajlović-Točak and it featured Chris Nichols, Miša Komnenić and Vlada Nikodijević as guest keyboardists. The album was not well received by the critics, and after a shorter tour Smak disbanded again, although they continued to occasionally perform in Kragujevac. (from wikipedia)

SMAK - Rock cirkus (1980)









































At the beginning of 1980 SMAK released the album "Rok cirkus". The album was produced by Dado Topić and featured more commercial, hard rock-oriented sound, although songs "Instrumental Baby", "Hirošima" and "Ogledalo" were somewhat reminiscent of the band's early works. The album was not received well by the critics, mostly because of the Marina Tucaković's and Mirko Glišić's rather flaccid lyrics. The album did not see expected success for two more reasons: it was released at the time of Yugoslav president Josip Broz Tito's death, so there was almost no concert promotion of the album, and it was released at the time of huge popularity of New Wave music in Yugoslavia and a general decline of popularity of progressive and hard rock. (from wikipedia)