IZVIR

Though it was called Yugoslavia, these musicians were from Slovenia and spoke (and sang in) Slovenian (among other Slavic languages [like Russian, Serbian, and Croatian]). The band apparently had some regional fame due to a couple minor hit singles and popular performances at outdoor concerts throughout Yugoslovia.

Side One: 1. "Sel je popotnik skozi atomski vek" (12:08) strings synth, waves of cymbal crashes and hand bell jingles while electric guitar warms up with some notes and small chords until the second minute when the bass and full band gel into a hypnotic CAMEL-esque groove. Electric keyboard takes the first lead before vocalist Marko Bitenc enters with a theatric performance: half speaking, half singing--with female background vocalists. Nice! The keys seem to have the leadership role among the musicians as Andrej Petkovic seems to take the opening opportunities to fill with a few flurries. At 4:15 there is a dramatic shift into a brand new motif--one that presents an entirely new and different kind of energy: blues rock with clavinet and blues lead guitar with more rock-oriented drums and bass. Instrumental "chorus" at 6:15 serves to bridge and reset before the band starts round two of this new motif--but then, just as suddenly, everything stops and we're left with the big Itallian operatic voice of Marko Bitenc with just a lone electric piano to accompany him with gentle chords. The wooden (or clay) flute of guest Mitja Bavcon takes us to the nine- minute mark where organ, guitars, and fast hi-hat play takes us into another motif, this one dynamic in a somewhat funky R&B rock style over which Marko continues singing in his theatric RPI lead voice. The background singers are present and forceful throughout this section, lending great emphasis to Marko's words and voice. Nice rock guitar solo in the 12th minute which eventually takes us into the song's long fadeout. Pretty good stuff! (22/25)

2. "Oblak" (5:07) using a palette and style that sounds like 1960s Surf Pop taken toward early Doors and Lynyrd Skynyrd blues rock. Enter Marko in the second minute with his strong RPI voice. After his first verse and chorus the band subtly launch into a jazzified instrumental section reminding me of the early days of both The Animals or Argent. Nice guitar and organ solos here as the tight rhythm section chugs along. It's the datedness of the instrumental sounds coupled with an older rock form that makes me think, "Man! These guys must have been playing this song since the 60s." (8.75/10)

2011 Bonus: 3. "Medtem" (2:47) one of the band's earlier radio hits, this one opens with a little more TEMPTATIONS-like Soul/R&B palette and style. Nice fast rolling bass and clavinet play. Marko's treated voice enters trying to be a white R&B voice like Gino Vannelli or something of the like. Both Davorin Petric and Franc Opeka take turns soloing on their respective electric guitars in the first instrumental passage. Too bad the sound recording (/10)

Side Two: 3. "Izvir" (5:40) disco! with a "Black Betty" form and pace! Great intricate instrumental play from drummer Andrej Petkovic, bassist Marhan Lebar, and clavinet player Andrej Konjajev. The two guitarists almost sound like some of King Sunny Adé's band members playing their Juju music guitars. Marko's vocal participation is rather secondary and more similar to the delivery of the vocal on Ram Jam's "Black Betty." Another song that the band had probably been developing and perfecting over the course of years. Well done! (9/10)

4. "Sareni pas" (2:52) though the instrumental performances on this funky tune are tight and nuanced the vocals render it more like a Slovenian version of some current or recent rock song from the West that I cannot place--Led Zeppelin's "Trampled Under Foot", I think. (8.75/10)

5. "Covjekov strah" (8:04) more ethnically-infused rock with some jazzy inflections and amplifications. A Southern California and Jamaican feel. I really like this rather loose vocal from Marko despite its poor effects and recording. Great guitar play that, again, feels as if came from an African or Caribbean musician and, once again, great keyboard play from Andrej Konjajev--he really gets the clavinet as well as the placement and appropriate usage of his other keys. Drummer Andrej Petkovic is also extremely talented: playing always what seem really appropriate for each moment and motif. Nice tune. (14/15)

6. "Vibrolux" (3:08) definitely the rock side of jazz-rock fusion; Herbie Hancock would be quite proud of this one. I am quite proud of drummer Andrej Petkovic for his tasteful solo to end the song (and album). (8.875/10)

Total time: 36:59

This album is not always (or, perhaps, ever) a truly jazz-rock fusion album but the eclectic mix of musical forms and styles are performed by musicians of such high skill and talent that it might as well be. Plus, by 1976 jazz rock was already beginning to unravel and take on a myriad of new directions. This may be one of them.

B+/4.5 stars; a near-masterpiece of eclectic jazz-rock-pop fusion that I highly recommend for if only for the fun of it.