A group from Zagreb founded in 1978 by Jurica Padjen, who was previously the guitar player of Grupa 220 and Parni Valjak. Aerodrom (in English: Airport) had a similar style of heavy rock (quite mainstream, really) to these groups, though perhaps a little more symphonic at times. Indeed I prefer Aerodrom to Parni Valjtak, particularly their first album Kad Misli Mi Vrludaju.
ALBUMS (UP TO 1981):
| 1 | KAD MISLI Ml VRLUDAJU | 1979 | JUGOTON LSY 66072 |
| 2 | TANGO BANGO | 1981 | JUGOTON LSY 66117 |
"Atomic Shelter" were from the Croatian city Pula. Infarkt (1979) came in a cardboard cover with a lavish large booklet full of photographs of the band. Their music was "no frills" fast heavy rock, modelled on Deep Purple, Bachman Turner Overdrive (both circa 1972-74) and the like. This is hardly progressive rock, as you know all the chord progressions and guitar versus organ battles from countless other records. Turn off your mind and you might still enjoy their enthusiastic drive. The lyrics are a completely different story, as Atomsko Sklonište were enraged and critical. Their best album Mentalna Higijena (1982) dealt with political manipulation and suppression. From V Vremenu Horoskopa (1980) onwards they abandoned the keyboards and acquired a more "modern' heavy rock sound (no signs of new wave, though).
ALBUMS (UP TO 1980):
| 1 | NE CVICAY GENERACIJO | 1978 | RTV LD 0433 |
| 2 | INFARKT | 1979 | RTV LD 0510 |
| 3 | U VREMENEMU HOROSKOPA | 1980 | RTV LD 0588 |
| 4 | ATOMSKA TRILOGIJA (LIVE) | 1980 | RTV LD 0643 |
| 5 | EXTRAUTERINA | 1981 | RTV LD 0721 |
| 6 | MENTALNA HIGIJENA | 1981 | RTV LD 0819 |
| A1 | SPACE GENERATION | 1983 | RTV LD 0887 |
| A2 | THIS SPACESHIP | 1987 | RTB 2122910 |
| A3 | CRIMINAL TANGO | 1990 | RTV LD 1873 |
Bijelo Dugme from Sarajevo were the most commercially successful Yugoslavian rock band of the 70's. Some of their concerts were attended by more than 100,000 eager rock fans. The leading forces in the group were guitarist and composer Goran Bregović and vocalist Zeljko Bebek. At first, the group was known as Jutro, but they changed name to Bijelo Dugme (White Button) in 1974. Their early singles merged glam rock with heavy rock, which proved to be an effective formula. Their first LP Kad Bi' Bio Bijolo Dugme (1974) contained a couple of long tracks in a heavy progressive style that will appear as kitsch to some listeners (with semi-classical overtones, thus giving a nod to Uriah Heep and Deep Purple). One of the other tracks was a Yugoslavian remake of Chuck Berry's "Rock 'n' Roll Music".
Šta Bi Dao Da Si Na Mom Mjesto (1975) veered in the direction of soft heavy rock (aka stadium rock) and manifested their success on the home market. Eto! Baš Hoću (1976) was perhaps their best (and most straight-forward) rock album. Bitanga I Princeza (1979) introduced a softer kind of pop-rock with some orchestrated tracks. Doživjeti Stoti (1980) continued this trend, but was a far more banal album (particularly the adhesive synthesizer backdrop). At the start of the 80's, Bijelo Dugme (as a commercial measure) attempted to adapt new wave influences into their music to match the changing times. In the final analysis, Bijelo Dugme doesn't stand the test of time too well (as they always looked for commercial success) and more lasting statements were left by the likes of YU Grupa, Dah, Drugi Načim, Korni Grupa, Bulldožer, Time and I.S.P.
ALBUMS (UP TO 1980):
| 1 | KAD BI' BIO BIJOLO DUGME | 1974 | JUGOTON LSY 63016 |
| 2 | ŠTA Bl DAO DA SI NA MOM MJESTU | 1975 | JUGOTON LSY 63046 |
| 3 | ETO! BAŠ HOČU! | 1976 | JUGOTON LSVG 7 |
| 4 | KONCERT KOD HAJDUČKE ČESME | 1977 | JUGOTON LSVG 9 |
| 5 | BITANGA I PRINCEZA | 1979 | JUGOTON LSVG 10 |
| 6 | DOŽIVJETI STOTU | 1980 | JUGOTON LSY 10003 |
| S1 | SINGL PLOČE 74-75 | 1982 | JUGOTON LSY 61737 |
| S2 | SINGL PLOČE 76-80 | 1982 | JUGOTON LSY 61738 |
| A1 | GORAN BREGOVIĆ | 1976 | RTB 55-5274 |
| B1 | ...SKORO DA SMO ISTI | 1978 | JUGOTON LSY 68047 |
Boomerang was formed by previous members of the 60's group Kameleoni, although they had switched to pleasant jazz-rock on their first album.
| 1 | BOOMERANG | 1979 | RTB 55-5349 |
| 2 | NA ZAPADU NlŠTA NOVO | 1982 | DISKOTON LP 8041 |
A quiet folk-rock duo, based on vocals and acoustic guitars. Some tracks also had drums and orchestral backing.
| 1 | VEČE JE NAŠ PRIJATELJ | 1974 | JUGOTON LSY 63012 |
| 2 | BUCO I SRDJAN | 1976 | JUGOTON LSY 61276 |
This group from Ljubljana existed for almost 10 years and became the most important underground phenomenon in Yugoslavia, mixing satire and social consciousness in their lyrics with an inventive progressive rock. Pljuni Istinu U Oči (1975) was a kind of musical cabaret incorporating pastiches of different musical genres. A large booklet was attached to the cover, simulating a newspaper much in the same style as Jethro Tull's Thick As A Brick. However, the musical content is more in line with Floh De Cologne, The Fugs, Plastic People and Mothers Of Invention. Original copies on Alta are very hard to find, but a 1981 re-issue on Helidon should be easier to obtain.
Zabranjeno Plakatirati (1977) was more stylistically integrated, with five long tracks of weird heavy progressive music with slight jazz touches. The vocals might be disturbing to some (screaming and theatrical), but this is arguably their best musical effort.
The mini album Žun Bili Pa Vidjeli (1979) and the full-length Izlog Jeftinih Slatkiša (1980) were even more eccentric than past efforts, within minutes covering anything from rockabilly to new wave and from jazz-rock to vaudeville. Unfortunately I don't understand the language, which really is the most important ingredient on all their albums.
ALBUMS (UP TO 1980):
| 1 | PLJUNI ISTINU U OČI | 1975 | ALTA ATLP 109 |
| 2 | ZABRANJENO PLAKATIRATI | 1977 | HELIDON FLP 05-013 |
| 3 | ŽIVI BILI PA VIDJELI | 1979 | HELIDON FLP 05-017 |
| 4 | IZLOG JEFTINIH SLATKIŠA | 1980 | HELIDON FLP 05-019 |
| A1 | COCKTAIL | 1974 | RTV LP 1062 |
Their album is so rare that most Euro-rock collectors don't know about it. It contains pastoral folk-rock a la Spring, Moody Blues, CS&N and Ilous & Decuyper, and features arrangements for three voices with sitar and violin. Side two has three extended tracks and shows them at their best. Indeed, it's a very good album although no masterpiece. 1 believe they came from the Belgrade-area.
| 1 | SEĆANJA | 1974 | RTB LPV 5238 |
Veliki Circus (1974) is a very' good hard rock power trio album, comparable to the less blues-based material of Cream (or for the specialists: the majority of releases on the Little Wing label). Indeed, Manojlović's compositions are good examples of how plain powerful rock can be as valid as "serious" progressive or jazz-rock. The flexible rhythm section also works really well.
Povratak (1976) was recorded by another line-up and you can easily tell the difference - it's still good but lacks the spark that made the predecessor really stand out.
| 1 | VELIKI CIRCUS | 1974 | JUGOTON LSY 63015 |
| 2 | POVRATAK | 1976 | DISKOS LPD 712 |
| 1 | ZLATKO I NJEGOVE GITARE | 1980 | RTB LP 5390 |
The group was formed after several ex-members of the outstanding group Fir© returned from The Netherlands to Yugoslavia. Reputedly their album is rather plain hard-rock. A great disappointment awaits those who expect another Fire!
| 1 | NO. 1 | 1978 | JUGOTON LSV 61396 |
This group became relatively popular in their home country in the early eighties. Their first album might be of interest to readers, as it contained melodic heavy rock comparable to Bijelo Dugme, YU Grupa (1978-79) or Uriah Heep. Their sound was quite ordinary, though.
ALBUM (UP TO 1980):
| 1 | DIVLJE JAGODE | 1978 | JUGOTON LSY 61408 |
A protest singer from Ljubljana whose albums were probably inspired by Bob Dylan. His songs had a blues-edge and utilised harmonica and steel guitar.
ALBUMS (UP TO 1980):
| 1 | TOMAŽ U ŽIVO | 1977 | RTV LD 0419 |
| 2 | 48 | 1979 | RTV LD 0554 |
| 3 | ŽENSKA, ŽENSKE, ŽENSKI | 1980 | RTV LD 0644 |
The group came from Zagreb and released arguably the best ever Croatian heavy rock album in 1975. Their style was strongly influenced by Deep Purple (their period featuring Ian Gillan) and Uriah Heep. Similarly, the lead vocals of Požgajec were high-pitched, powerful and trembling. The electric guitar is predominant, with organ and flute in lesser roles. It contains six tracks in all, ranging from the original "Lile Su Kic" (with a sad, eastern-flavoured melody graced by multi-tracked flutes) to "Na Mom Dlanu" almost paraphrasing "Child In Time".
The group later evolved into Nepončin, following a similar path. The 1982 re-union album is rather weak and of little interest.
| 1 | DRUGI NAČIN | 1975 | RIB 55-5252 |
| 2 | PONOVNO NA PUTU | 1982 | SUZY LP 377 |
This trio lived in The Netherlands when they recorded Could You Understand Me? for a local label. This is simply one of the best and most violent power trio albums ever made, featuring a fuzz guitar sound hardly surpassed even by Jimi Hendrix, Jeff Liberman or High Tide. The seven tracks cover the whole spectrum of guitar onslaught from fast-moving hard-rock songs to the 13-minute instrumental inferno title track. That particular track is so powerful that the album should be issued with a warning sign. This album turns your heavy metal albums into dust as THIS is the real thing!
| 1 | COULD YOU UNDERSTAND ME? | 1973 | KILLROY LPA 89.598 (NL)
A group from Niš that eventually became very popular with their commercial rock in the 80's. More than 10 LPs have been released, although only the earliest are of relevance here. Galija (1979) and Druga Providba (1980) contained soft, song-based progressive rock. They are quite enjoyable overall but also bordering on the tedious. Only for those particularly interested in this region of Europe.
ALBUMS (UP TO 1980):
| 1 | GALIJA | 1979 | RTB 5322 |
| 2 | DRUGA PLOVIDBA | 1980 | RTB 2120089 |
This was the continuation of Dah with changing bass players. These two albums are not quite up to the standard of Dah, veering in the direction of average heavy rock.
| 1 | ČOVEK | 1978 | RTV LD 0432 |
| 2 | GORDI 2 | 1979 | RTB LP 5359 |
Grupa 220 from Zagreb became the first Yugoslavians to record a whole album when Naši Dani came out in 1968. The group was fronted by the singer and guitarist Drago Mlinarec, who wrote most of the 13 tracks. Those of you who know his solo albums will instantly recognise his style here - conventional pop-folk-rock songs, with only slight beat influences to indicate it was recorded as early as 1968. The album is mega-rare, but of historical rather than musical interest.
The Grupa 220 collection released in the 80's contained tracks recorded prior to Naši Dani.
| 1 | NAŠI DANI | 1968 | JUGOTON LPSY-V-753 |
| S1 | 1967/68 ORIGINALI | 1987 | JUGOTON LSY 63268 |
Grupa 220, Mark II, was formed by Drago Mlinarec after he returned from his military service around 1970. Some singles were released under the Grupa 220 moniker, before Mlinarec started his solo career. The group provided the backing to his early 70's albums, but they also recorded on their own. Slike (1975) is a very rare album of melodic heavy rock fronted by twin guitars (reminiscent of early Wishbone Ash). The group then changed their name into Parni Valjak, but never matched the standard of the 1975 album.
| 1 | SLIKE | 1975 | SUZY LP-319 |
| . | SVIJET PO ROJEM GAZIM | 1977 | RTB |
In 1977 this mind expanding group played their first concert of "spherical psychedelic rock music" in Belgrade (their home city). ISP's music was predominantly instrumental with lots of almost spiritual improvisation. Their sound might be compared to Pink Floyd, Can, Tangerine Dream and Hawkwind. Their debut album was recorded in August 1978 at RTB's 24 track studio. The sessions were ridden by several disastrous accidents. Amongst others, the master for two tracks were destroyed, causing the finished album to have a running time of only 28 minutes. It started with ghostly organ tones on "Gošterov Trg", strongly related to the late 60's sound of Richard Wright (of Pink Floyd) and Peter Sjardin (of Group 1850). The track eventually grows into an energetic rocker with almost punkish overtones. The instrumental "Solarni Modus" had classical overtones and seemed out of place in this context. "Putovanje U Placo" featured howling psychedelic guitars steeped in echo effects. "Pečurka" was a very different interpretation of Can's 1971 track "Mushroom". The grand finale was "Majestetski Kraj", which displayed the archetypical, hypnotic ISP-sound. The production was not quite up to standard, leaving the band dissatisfied with the whole work. Still this is an important Yugoslavian rock album.
In the Spring of 1980 ISP recorded their second album Vrt Svetlosi (Garden Of Light). Unfortunately things fared even worse this time around, soon causing the band to split. The material wasn't up to the standard of their first album and a serious shortage of studio time made matters even worse!
It was true that ISP had failed to fulfil their full potential on these albums. However, three posthumous releases did something to rectify the picture. The earliest home recordings of ISP appeared on Inner Flow (1992), released on Thomas Werner's (an expert on Yugoslavian rock and general culture) label Kalemedgan. The album is a kind of scrapbook from the band, containing bits and pieces mostly recorded on ordinary MC cassettes (the sound quality ranges from tolerable to terrible) from 1976 to 1979. This sounds similar to listening to bootlegs containing Pink Floyd's radio recordings around 1968-69. Quite a lot of the material is good (reaching a spiritual peak in "Magic"), but check out the two other Kalemegdan albums first.
Soft Explosion Live (in Belgrade 1978) contained superior versions of most of their debut album and is the best place to start. Drives was an original "experiment in time travelling", according to the band. Using 1977 tape recordings as a basis, Pedja and Joshua added new sounds in 1991 (mostly recording live on two tracks along with the tape playback). The experiment worked well, apart from a few irritating tape dropouts.
| 1 | IGRA STAKLENIH PERLI | 1979 | RTB LP 5339 |
| 2 | VRT SVETLOSTI | 1980 | RTB 2120070 |
| 3 | SOFT EXPLOSION LIVE (1978) | 1991 | KALEMEGDAN KD 1 |
| 4 | INNER FLOW (1976-1979) | 1992 KALEMEGDAN KD 2 | |
| 5 | DRIVES (1977/1991) | 1993 | KALEMEGDAN KD 3 |
The group was apparently formed in 1962, although their first single hailed from 1965. Through the years up to 1978 Indexi released a large amount of singles and EPs, but no proper LPs until Modra Rijeka (1978). This was a highly accomplished concept album (based on the poems by Mak Dizdar) including some spoken parts. Rut do not. let this detract from its value as the music is excellent progressive rock. The band continued recording well into the 80's. Sve Ove Godine sums up their career nicely with selections from 1965 to 1986, ranging from beat, psychedelic, pop-rock, heavy-rock and even progressive rock.
| S1 | INDEXI | 1974 JUGOTON LSY 61096 |
| S2 | INDEXI 2 | 1976 DISKOTON LP 0270 |
| 1 | MOORA RIJEKA | 1978 JUGOTON LSY 68042 |
| S3 | SVE OVE GODINE (4LP) | 1986 DISKOTON LP 8180 |
| A1 | SVAKA LJUBAV JE ISTA | 1976 | DISKOTON LP 0050 |
This little known band from Ljubljana (Slovenia) made an eponymous record which is almost impossible to locate. Stylistically, it fits into the melodic progressive genre with slightly symphonic ornamentations by electric guitars and organ. This sounds more like 1972 than 1977 (if compared to the UK bands). Clearly it's among the best 20 (or so) LPs from Yugoslavia, although the vocals can be annoying at times. ALBUM:
| 1 | IZVIR | 1977 | RTV LD 0377 |
A singer with a repertoire of folk songs and chanson.
ALBUMS (UP TO 1980):
| 1 | IBRICA JUSIĆ | 1973 | JUGOTON LSY 61079 |
| 2 | SKALINE OD SUDBINE | 1975 | JUGOTON LSY 63030 |
| 3 | EMINA | 1977 | JUGOTON LSY 66033 |
| 4 | NE DAJTE DA VAS ZAVEDU | 1978 | JUGOTON LSY 66049 |
Jutro played mildly interesting, laid-back jazz rock reminiscent of Steely Dan (1971-72), although with much longer instrumental passages (and totally different vocals). This group has no connection to the Jutro who released a single in 1974 and eventually became Bijelo Dugme.
| 1 | DOBRO JOTRO | 1980 | RTV LD 0376 |
Kameloni were the only example of Yugoslavian psychedelic rock in the late sixties. They were surprisingly aware of the new San Franciscan sounds from Jefferson Airplane and Country Joe & The Fish on their best EP: "Dedicated To The One I Love".
Their other EPs weren't up to this standard and contained largely beat-pop material.
EPS:
| 1 | SEE SEE RIDER + 3 | 1967 | DISKOS EDK 3074 |
| 2 | DEDICATED TO THE ONE I LOVE | 1967 | JUGOTON EPY 3823 |
| 3 | I'M GONNA TELL YOU + 2 | 1967 | JUGOTON EPY 4060 |
| S1 | KAMELONI 1966/67 | 1982 | RTV LD 0775 |
This Belgrade group was named after its founder, the keyboard player Kornelije Kovač. For a short time he was a member of Indexi, but formed his own group in 1968. In their early years only singles and EPs were recorded, some of which later resurfaced on the posthumous Mrtvo More.
After two years of inactivity, Kovač started a new Korni Grupa formation in 1971.
Korni Grupa (1972) represented the first progressive rock album in Yugoslavia and, as such, remains a milestone. Its five tracks were dominated by Ković's piano and the distinctive voice of Zlatko Pejaković (who would eventually become a pop singer). The real highlight was the three-part composition "Put Za Istok".
Not An Ordinary Life (1974) was recorded in Italy with better sound equipment and more careful production. The material ranged from the complex jazzy progressive rock of the title track to the sentimental (but memorable} ballad "Generation 1942". "Fall Off The Land Of Woman" was a re-recording of "Bezglave Ja-Ha Horde" from their first album. This is one of the best Yugoslavian rock albums ever made, really a great achievement. The Italian edition had English lyrics, unlike the domestic release.
Regretably Korni Grupa disbanded in 1974, leaving behind them almost 20 singles and EPs. The double album Mrtvo More (1975) collected the worst of them (ie: the most commercial tracks), but also two sides of excellent live material recorded in 1974.
Some years after, a more interesting postscript appeared. 1941 was a concept album recorded in 1971 for a Belgrade TV station, but not released until 1979. There was no track separation on the Album, just a continous flow of vocal and instrumental segments. The lyrics were written by Branko Ćopić, while the music, as usual, was written and arranged by Kovač. Featured vocalists were Dado Topić and Josipa Lisac. The album is quite "Italian" in spirit, but usually considered to be weaker than Korni Grupa's two first albums.
The solo albums of Kovač veered in the direction of jazz-rock.
| 1 | KORNI GRUPA | 1972 | RTB 5222 |
| 2 | NOT AN ORDINARY LIFE | 1974 | RICORDI SMRL 6130 (l) |
| 2 | NOT AN ORDINARY LIFE | 1974 | RTB 5842 |
| 3 | MRTVO MORE (2LP) | 1975 | RTB 5253/5254 |
| 4 | 1941 (1971) | 1979 | RTB 5374 |
| S1 | PRVO SVETLO NEOBICNOG ZIVOTA | 1995 | KOMUNA (CD) |
| A1 | IZMEDJU SVJETLOSTl I TAME | 1977 | RTB LP 55-5305 |
| A2 | K2-WHY | 1980 | RTB 2320029 |
This group from Skopje developed a very personal style based on jazzy progressive rock, folk music and even (from the early 80's and onwards) new wave. The first album had a nice balance between instrumental and vocal tracks, ranging from soft, pastoral mellotron rock to high flying fusion with guitar and keyboard duels. Most importantly, the tunes are memorable and engaging (some fusion groups sound like they're only performing a kind of technical exercise).
Their second album was more energetic, heading in a more definitive fusion direction.
Ručni Rad (1979) again contained some vocals and some elements of soft symphonic rock.
ALBUMS (UP TO 1980):
| 1 | LEB I SOL | 1978 | RTB 5319 |
| 2 | LEB I SOL 2 | 1978 | RTB 55-5335 |
| 3 | RUČNI RAD | 1979 | RTB 55-5372 |
| S1 | ANTHOLOGY (2CD) | 1994 | THIRD EAR |
The first album by this talented female vocalist may interest some readers, as most members of the group Time (first line-up) provided the backing (Vedran Bozić, Brane Zivković, Tihomir Asanović, Dado Topić and Ratko Divjak). The tracks have tasteful arrangements with careful additions of strings and occasionally brass. Elements of Yugoslavian folk and progressive rock arc evident on most tracks. Later albums are less than exciting, though.
| 1 | DNEVNIK JEDNE LJUBAVI | 1973 | JUGOTON LPYVS 60956 |
| S1 | NAJVECI USPJESI 68/73 | 1973 | JUGOTON LSY 61129 |
| 2 | JL BP CONVENTION | 1975 | JUGOTON LSY 63036 |
| 3 | MADE IN USA | 1979 | JUGOTON LSY 66077 |
| 4 | HIR, HIR, HIR | 1980 | JUGOTON LSY 68066 |
A singer who was assisted by the complete YU Grupa on his first album, which is worth a spin. His later albums contained little of special interest.
| 1 | SRDJAN | 1974 | RTB LPV 5237 |
| 2 | KOD MENE IMAŠ VELIKI PLUS | 1979 | RTV LD 0568 |
| 3 | UVEK IMA NEKI DJAVO | 1980 | RTV LD 0633 |
Drago was the leading force of Grupa 220, who released a legendary beat album in 1968. After completing his military service he started his solo career as a singer, guitarist and songwriter. These albums are made up of folk-rock and melodious rock, sometimes reminding one a Yugoslavian version of The Band (diving into domestic folklore rather than Anglo-American). Best was A Ti Se Ne Daj (1971), recorded with the second line-up of Grupa 220. These young Zagreb musicians later recorded Slike in 1975, without any involvement from Mlinarec. Pjesme S Planine (1973) and Rodjenje (1975) were Mlinarec at his closest to progressive rock. The latter had an interesting two-part 16-minute composition with natural sound effects and some extended instrumental parts. The late 70's albums were not up to the standard of the previous ones and will only be of interest to the pedantic collector. Sabrano (1980) consisted of re-recordings of favourite tracks from his earlier albums.
ALBUMS (UP TO 1980):
| 1 | A TI SE NE DAJ | 1971 | JUGOTON LPYV-S 50926 |
| 2 | PJESME S PLANINE | 1972 | JUGOTON LPYV-S 60995 |
| 3 | RODJENJE | 1975 | JUGOTON LSY 63002 |
| 4 | NEGDJE POSTOJI NETKO | 1977 | JUGOTON LSY 68037 |
| 5 | SVE JE U REDU | 1979 | JUGOTON LSY 66057 |
| 6 | TAKO LAKO | 1979 | JUGOTON LSY 66079 |
| 7 | SABRANO | 1980 | JUGOTON LSY 66115 |
Kurtović and Mekić had previously recorded an album with Drugi Način and Nepočin continued their style of guitar-based, melodious heavy rock, though not quite as effectively. The tracks are not bad, but lacking in sparkling originality.
| 1 | SVIJET PO KOJEM GAZIM | 1977 | RTB LP 55-5312 |
An obscure heavy ruck group from Slovenia with a style comparable to Gordi and Teška Industrija. The album is very rare but contains nothing very special. Leave it to the hardcore collectors! The guest Zlatko Manojlović will be known to many as the guitar player of Dah and Gordi.
| 1 | RASKORAK | 1976 | JUGOTON LSY 61304 |
Dušan Prevelić had been the vocalist in Korni Grupa and Miodrag Okrugić the keyboard-player in YU Grupa. The line-up of Opus 1 changed a lot of times. On their album they played heavy, keyboard oriented progressive rock, vaguely comparable to early Atomic Rooster.
| 1 | OPUS 1 | 1975 | DISKOS LPD 708 |
This was one of the few albums at the time in Yugoslavia with English lyrics, but musically the heavy stadium rock on offer is of little interest.
| 1 | ORANGE | 1976 | RTB |
In English their name meant Steam Roller. Jurica Padjen formed the group in 1975, aiming to repeat the success of Bijelo Dugme. The first two albums might be of interest to some readers, but the Suzy albums contain unspectacular (and, honestly, quite banal) guitar-driven heavy rock.
ALBUMS (UP TO 1980):
| 1 | DODJITE NA SHOW | 1976 | RTB LP 55-5296 |
| 2 | GLAVOM KROZ ZID | 1977 | JUGOTON LSY 63070 |
| 3 | GRADSKE PRICE | 1979 | CBS SUZY 83894 |
| 4 | CITY KIDS | 1980 | CBS SUZY 84214 |
| 5 | VRUCE IGRE | 1980 | CBS SUZY 84814 |
A folk singer with a cairn style reminiscent of Leonard Cohen and Donovan.
| 1 | ODPOTOVANJA | 1974 | RTV |
This group from Belgrade was hardly a "pop machine", as they played intelligent heavy progressive music with some slightly psychedelic tendencies. The first album Kišelina (1973) is a minor classic with some really scorching guitar. Some tracks also briefly venture into keyboard-driven jazz-rock and there's even some rural flute. Later albums were more conventional heavy rock, but still quite good.
| 1 | KIŠELINA | 1973 | RTB LPV 5227 |
| 2 | NA IZVORU SVETLOSI | 1975 | RTV LP 1077 |
| 3 | PUT KA SUNCU (LIVE) | 1976 | RTV LP 1127 |
| 4 | ROK MAŠINA | 1981 | JUGODISK LPD 055 |
A pleasant folk-rock outfit from Belgrade whose style resembled S Vremena Na Vreme. Their album is extremely rare.
ALBUM BY MAJA DE RADO & PORODIČNA MANUFAKTURA:
| 1 | CRNOG HLEBA | 1974 | RTB 5240 |
This group came from Ljubljana. They played instrumental jazz-rock with emphasis on rhythms, similar to the Italian fusion groups Nova and Napoli Centrale.
| 1 | BREZ NASLOVA | 1977 | RTB LP 5304 |
| 2 | DANES VCERAJ IN | 1978 | RTB LP 55-5337 |
| 3 | HAZARD | 1980 | RTB LP 2120321 |
It's doubtful whether you should bother to investigate this commercially oriented hard-rock combo from Beograd.
ALBUM (UP TO 1980):
| 1 | KOST U GRLJU | 1979 | RTV LP 55-5364 |
A Belgrade group who played melodic folk rock, sometimes bordering on conventional rock on their second and third albums. The first album is their best with beautiful folk songs wrapped in great arrangements (flutes, synthesizers, electric guitars, percussion, exotic string instrumenta and multi-vocals).
| 1 | S VREMENA NA VREME | 1975 | RTV LP 1083 |
| 2 | MOJ SVET | 1978 | RTB LP 55-5328 |
| 3 | PAVILJON G | 1979 | RTB LP 5363 |
September reputedly played jazz-rock similar to the least experimental end of the Canterbury sound.
ALBUM AS YU JAZZ ROCK SELEKCIJA:
| A1 | MAJKA ZEMLJA | 1974 | JUGOTON |
| 1 | ZADNJA AVANTURA | 1976 | RTB LP 55-5275 |
| 2 | DOMOVINO MOJA | 1979 | RTV LD 0465 |
This guy from Ljubljana (in Slovenia) recorded the album below in London with several sessionmen. His music comprised short tracks in a folk/ jazz style.
| 1 | OD SANKA DO SANKA | 1980 RTV LD 0551 |
Smak's eponymous first album is among the highlights of Yugoslavian rock, bridging the bold YU Grupa and Black Sabbath heavy-rock influences with a more elaborate progressive rock. The four tracks on side one are nice heavy progressive numbers filled with energetic guitar and organ, but even belter is the ambitious 20-minute "Put Od Balona" with multi-layered keyboards (organ and Roland synthesizer feature most frequently, but there are also pianos and mellotron). R. T. Tocak's solo album was similar to the heaviest parts of Smak's first album and is recommended to guitar lovers.
Crna Dama (1977) was a more polished effort and might be labelled "jazz-influenced, soft heavy-rock" (this is no contradiction, really!). Parts of it remind me of late 70's Foreigner (which is hopelessly unhip, but not as bad as later Foreigner-albums). Smak incorporated longer instrumental parts, though, and continued in this direction on their subsequent albums, Rock Circus included run-of-the-mill soft-rock with few inspiring moments. Smak were from Kragujevac.
| 1 | SMAK | 1975 | RTV LP 1079 |
| 2 | CRNA DAMA | 1977 | RTB LP 55-5307 |
| S1 | ULAZAK U HAREM | 1977 | RTV LD 0421 |
| 3 | STRACINE NESEG VREMENA | 1978 | RTB LP 55-5336 |
| 4 | ROCK CIRCUS | 1980 | RTB 2320010 |
| A1 | TOČAK & SMAK | 1976 | RTV LP 1152 |
| B1 | STIZEMO | 1978 | RTV LD 0475 |
This very obscure group recorded one rare album that should interest some readers. It contained long, largely improvised jazz-rock similar to the Canterbury sound and some krautrock. This is surprisingly different from other Yugoslavian releases I know and maintains a really good standard throughout. Recommended for the adventurous listener-.
| 1 | SONČNA POT | 1979 | RTV LD 0566 |
An obscure group from Zagreb who played organ-driven melodious rock similar to Opus 1, Sandy Coast and an imagined softer 1970 version of Atomic Rooster without lead guitars. A fair album but with little to retain one's interest after repeated listening.
| 1 | SPEKTAR | 1974 | SUZY LP 306 |
Dušan Ćućuz came from Opus, a band who merged jazz-rock and symphonic rock. These became key elements of the Tako-sound, highly reliant on Djordje Ilijin's instrumental talents on synthesizer, electric piano and flute. Combined with Dukić's guitars it's tempting to compare their sound to early Camel (or even Focus when stripped of their baroque classical doodlings) Tako's first album was hampered by a rather "flat" sound (when compared to expensive studio productions from the West) but is still worthy of your attention - particularly the ambitious, 16-minute track "Druga Strana Mene".
U Vreci Za Spavanje (1980) was a much improved effort with regard to the technical quality, but also featured stronger material. Djordje Ilijin's solo album is quite close to the Tako-sound.
| 1 | TAKO | 1978 | RTV LD 0495 |
| 2 | U VRECI ZA SPAVANJE | 1980 | RTB 2120305 |
| 1 | ZABRANJENO PRISLUSKlVANJE | 1983 | SUZY LP 408 |
A Bosnian progressive heavy rock group and among the better of this genre. Their first single "Šta Je Rekla Ana" was published in the Autumn of 1975, paving the way for Ho-Ruk (1976), their best album by far. Influences from Uriah Heep and Deep Purple are present (as with other heavy Yugoslavian rock groups such as Bijelo Dugme on their early albums, Smak and Drugi Načim). Teška Industrija's strength was a kind of finesse, shared with certain Italian heavy progressive groups, regarding the rich vocals {no heavy metal screaming) and elaborate use of multi-tracked electric guitar melody lines, supplemented by string synthesizers and a distant organ.
Their eponymous second album contained many of the same features, but had a notably weaker melodic content. Zasviraj I Za Pojas Zadjeni (1977) was in some respects their most powerful album, with good tracks such as "Grijeh". The standard was variable, though, sometimes sinking down to bland pop-rock.
I have also listed the solo albums of Seid Vajta Memić, the first vocalist of Teška Industrija. His albums contained soft folk-rock.
ALBUMS (UP TO 1980):
| 1 | HO-RUK | 1976 | JUGOTON LSY 63052 |
| 2 | TEŠKA INDUSTRIJA | 1976 | JUGOTON LSY 66009 |
| 3 | ZASVIRAJ I ZA POJAS ZADJENI | 1977 | JUGOTON LSY 63071 |
| S1 | SEID MEMIĆ - VAJTA & T.I. | 1981 | JUGOTON LSY 61578 |
| S2 | TEŠKA INDUSTRIJA | 1994 | KRIN MUSIC (CD) |
| 1 | ZLATNA RIBICA | 1979 | DISKOTON LP 0416 |
| 2 | VAJTA 2 - PONOČNI VALCER | 1980 | DISKOTON LP 8001 |
This Croatian group (from Zagreb) was founded by Dado Topic after he had left Korni Grupa in 1972. Time's first album was quite similar stylistically to Korni Grupa's first album, containing a mixture of jazzy heavy rock ("Istina Mašina") and thoughtful ballads ("Pjesma No. 3"). The most progressive track was the 10 minute "Za Koji Život Treba Da Se Rodim", displaying virtuoso Hammond organ from Asanović and electric guitar from Božić. This is one of the earliest and best Yugoslavian rock albums.
This chasm between soft rock ballads and hard rock widened on Time II (1975), which was split between one side of each. "Da Li Znas Da Te Volim" belongs to the first category and remains one of Time's most famous and finest songs. The album didn't list any personnel.
Their final album was much more consistent in sound, but sadly focused on Topic's funky pop-rock aspirations (at times even reminding me of the 70's Stevie Wonder). Still the eight songs attained quite a good standard. Time finally stopped in 1978 after six years and more than 30 line-up changes.
| 1 | TIME | 1972 | JUGOTON LPY 60978 |
| 2 | TIME II | 1975 | RTB 55-5251 |
| 3 | ŽIVOT U ČIZMAMA S VISOKOM PETOM | 1976 | RTB 55-5292 |
| A1 | NEOSEDLANI (2LP) | 1979 | RTB LP 5352/53 |
| A2 | SAPUTANJE NA JASTUKU | 1980 | RTB 2120410 |
| B1 | MAJKO ZEMLJO | 1974 | JUGOTON LSY 63003 |
| B2 | TIHOMIR POP ASANOVlĆ | 1976 | JUGOTON LSY 63055 |
| B3 | LOLA | 1975 | CBS 80643 |
If in the mid-seventies, Bijelo Dugme might be said to be the Yugoslavian equivalent to Uriah Heep or Deep Purple. YU Grupa from Zemun (near Belgrade) were the Black Sabbath of the region, but thankfully omitted Ozzy's fake occultism. "War Pigs" would prove to have a devastating signification for Yugoslavia in the future, but way back in 1973 the Black Sabbath vibes only brought good fortune to YU Grupa's first album - excellent hard rock filled with aggressive guitar riffs and unpretentious songs.
Kako To Da Svaki Dun (1974) saw the addition of a second guitarist. The prevailing twin lead guitar interplay brought a more melodic approach, vaguely similar to early Wishbone Ash at times.
YU Grupa's third album was again a power trio effort which returned to the "no frills" hard rock, Yo Zlato (1976) was a purposeful collection of singles from 1971-75 and two album tracks from their debut.
Medju Zvevdama (1977) involved three lead guitarists but drifted towards conventional rock and marked a qualitative downward trend. The same can also be said of Samo Napred...! (1979), the last album until they reformed in 1986.
ALBUMS (UP TO 1980):
| 1 | YU GRUPA | 1973 | JUGOTON LPYS 61028 |
| 2 | KAKO TO DA SVAKI DAN? | 1974 | JUGOTON LPY 63010 |
| 3 | YU GRUPA (75) | 1975 | JUGOTON LSY 63048 |
| S1 | YO ZLATO | 1976 | JUGOTON LSY 68009 |
| 4 | MEDJU ZVEZDAMA | 1977 | JUGOTON LSY 68034 |
| 5 | SAMO NAPRED...! | 1979 | RTB LP 55-5373 |
| A1 | SRDJAN | 1974 | RTB LPV 5237 |
| B1 | KAZU DA TAKAV JE RED | 1979 | RTB LP 55-5347 |
This band's style was straight guitar-based rock. Nokaut also exhibited some slight new wave influences. Nothing special to comment on here.
| 1 | ZLATNI PRSTI | 1976 | RTB LP 55-5278 |
| 2 | NOKAUT | 1979 | RTB LP 55-5377 |
| . | 20 GODINA FESTIVALA "OMLADINA" | 1980 | RTB 312015 |
| . | POP FESTIVAL 72 - BOOM (2LP) | 1972 | HELIDON UFLP-003 |
| . | BOOM POP FESTIVAL LJUBLJANA '73 (2LP) | 1973 | JUGOTON LPYS-61035/36 |
| . | BOOM POP FESTIVAL LJUBLJANA '74 (2LP) | 1974 | JUGOTON LSY 65003/04 |
| . | BOOM FESTIVAL '76 | 1976 | RTB LP 5284 |
| . | BOOM '77 (2LP) | 1977 | SUZY LP 328 |
| . | KONGRES ROCK MAJSTORA (2LP) | 1975 | JUGOTON LSY 65011/12 |
| . | GUBEC-BEG ROCK OPERA | 1975 | JUGOTON LSY 63037 |
| . | KISAČ '75 | 1975 | RTB 5256 |
| . | LETEČA DISKOTEKA | 1977 | RTB 5297 |
| . | POP PARADA 1 (2LP) | 1977 | RTB 5299/5300 |
| . | POP START | 1975 | RTB LP 5258 |
| . | RANDEVU S MUZIKOM (2LP) | 1977 | JUGOTON LSY 65019/20 |
| . | VEČE RADIA | 1975 | RTB 5255 |
| . | VEČE ROK MUZIKE JRT OPATUA '78 | 1978 | RTB 5324 |