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.

This is an interesting album that came out of Yugoslavia back in 1977. I'm impressed with the compositions and instrumental work but I'm not a big fan of most of the album. I was surprised at the Disco flavour considering this was released when Disco was popular among the masses. Surprised because a lot of these countries were generally behind the times when it came to what was popular in the West. The Disco influence is a problem for me since I was in my mid-teens when Disco was on the radio causing yours truly to feel sick every time I heard this stuff. And no I don't like bands who have that Disco flavour these days either. They were a six piece band with lots of clavinet and three guests helping out as well. There are vocals in their own language and they are quite well done. While the first two tracks impress me the rest is too Disco or Funk driven for my tastes.

"Sel Je/ Pepetnik Skozi/ Atmomski Vek" is obviously divided into three sections and is the longest tune at over 12 minutes. Synths, cymbals, guitar and more as it sounds like they are warming up here. Bass to the fore as it picks up around a minute to this catchy groove. I like the picked guitar over top as the vocals arrive. There's a strong psychedelic flavour here as the organ floats in the background. This reminds me of AGITATION FREE when the vocals stop believe it or not as it feels like they are jamming here. A change before 4 1/2 minutes as the drums and guitar lead, clavinet as well. Another change 7 minutes in as the vocals become the focus for a minute. When they stop we get some guest flute that is quite solemn along with keys playing slowly. A change before 9 minutes as we get a full sound. The guitar leads before 10 minutes then the vocals return but not for long as the guitar solos. A great sounding track.

"Oblak" is the other tune I like. It's relaxed to start out as the drums and organ stand out. Vocals after a minute and we get a feel-good vibe here. The vocals then stop as we get this great sounding jam with the organ and drums being the focus. The guitar will replace the organ after 4 minutes but not for long as the organ and vocals lead after 4 1/2 minutes. "Izvir" is uptempo with pulsating sounds and plenty of drums and clavinet, the guitar joins in as well. Passionate vocals after 2 1/2 minutes. Not a fan of this one and that Disco smell. "Sareni Pas" is a catchy uptempo clavinet driven track. Vocals kick in quickly and the Disco vibe is strong. "Covekov Strah" is again uptempo with lots going on. Vocals a minute in, organ as well. There's that Disco flavour rearing it's ugly head. Nice bass before 6 minutes as it settles back and the organ and vocals continue. It's picking up before 7 minutes. "Vibrolux" sound like it could be the name of a vacuum. Bass and guitar to start out as the drums and clavinet join in. Funky stuff. High pitched synths after a minute. A drum solo ends it which is so appropriate(haha).

This just isn't my thing overall. I can understand the hype especially since it wasn't released on cd until something like 2014 but in my opinion the hype isn't warranted at all.

The self-titled debut of IZVIR, their only LP to date, is quite a phenomenon of the Yugoslavian/Slovenian 1970s jazz-rock. It is one of the rarest albums to find on the market. If you happen to trace it at some Web music online sellers, it is likely that the price will be extremely high. www.gemm.com for instance, offers this vinyl record for a mere 440 USD, while www.kalemegdan-disk.de used to have it in their 2001 catalogue priced - 400 EUR! Is "Izvir" worth it? - a logical question arises.

According to very few information I gathered, the band that would soon be called IZVIR (En. "Source", "Spring" of water) was formed around 1971 in Ljubljana, Slovenia, at that time part of Yugoslavia. They appeared at several minor rock festivals in Ljubljana, Sarajevo, Subotica... in the period from 1972-76. They managed to record two singles prior to this LP album in 1977, which seemed to have been circulated in a limited number of copies. Therefore, a rarity nature and the enormous prices mentioned above.

The music is excellent and wonderfully performed jazz-rock with strong funk and progressive rock influences. Dual electric guitars, effective Andrej Konjajev's use of various keyboards like clavinet, organ, el. piano and strong tenor of vocalist Marko Bitenc are main ingredients of this music. Lyrics are mixed in Slovene and Serbo- Croatian languages (a typical combination of many Slovene artists of the time). The sound is fairly similar to some other Yugoslavian bands of the same era like SEPTEMBER or SMAK, who on the other hand were informed by American jazz-funk and improvisational jam bands, from Herbie Hancock to ALLMAN BROTHERS to hard rock. But in "Izvir" in addition one can also hear several interesting spacey moments which reminds of Krautrock treatments of the fusion, like the post-1974 phase of GURU GURU, or KRAAN. This is especially evident in 12-minutes opening "Sel je popotnik skozi atomski vek" which contains several parts of different tempo and arrangement, and in the closing "Vibrolux". This is extremely listenable but also very rewarding music for genre-oriented fans. Bitenc is excellent singer although at certain moments he cannot keep from crossing to high-pitched falsetto range, which can be annoying. The same objection I have for SMAK's singer Boris Arandjelovic. On the other hand, since all songs are with vocals (except instrumental "Vibrolux"), this album is not meant only for die-hard jazz elite who enjoy instrumental improvisations. It could have probably match other Yugoslavian commercially successful albums of the era, like SMAK's "Crna dama" or SEPTEMBER's "Domovina moja", had it only been released for wider public. Since until now this album has not been re-issued on CD (at least to my knowledge), it seems doomed for devoted collectors who can afford to pay its value. The mp3 version ripped from vinyl can be occasionally found at some blogs, but its sound is fairly poor. Better anything than nothing.

Upon releasing this album IZVIR broke-up in 1977, never to be assembled again. However, four members that played on "Izvir" joined another jazz-rock band of the Ljubljana scene, PREDMESTJE, for their third album "Hazard" released in 1980.