BIJELO DUGME

Almost simultaneously with the album "Uspavanka za Radmilu M." Goran Bregovic backed by BIJELO DUGME composed and released this album which is usually not considered a proper DUGME LP, and hence was never included in any of the subsequent CD remasters releases. The reason is obvious - this is so-called "music for children", although its title in English roughly "And the Police Maintains Strictness" might suggest otherwise.

A collection of these songs was devised as a soundtrack for a popular children TV show "Nedjeljni zabavnik", and instead of singer Zeljko Bebek, who was in the process of quitting the band, features a boy named Raca as a main vocalist. This character of "applied music" notwithstanding, the title song still broke the charts and was a popular radio hit, and not only among the youngest audience. The reason was perhaps the quality of music.

In a way, musically this LP is best listened in pair with "Dozivjeti stotu". It is produced in a similar, new wave style with lots of ska references and power pop catchiness. Several songs also hint at the trendy synth-pop with loads of electronic keyboards, drum machines and occasional saxophone. There are brief references to country, Caribbean, rock and roll and polka sounds. The 13-year-old boy did his job decently. In a way, this LP can be considered even an educational effort to acquaint youngest listeners with joys of pop and rock sounds.

Several songs are quite good - "Pjesma o zivotinjama" (Song About Animals), "Pjesma o vozovima" (Train Song) or "Pjesma o basti, parku i cvijecu" (Song About the Garden, Park and Flowers) or "Divlji Zapad" (Wild West) - and with an adult singer they might have been rather successful in reaching wider audience. There is even a short nod to Mozart's "Eine Kleine Nachtmusik".

Totally unpretentious, this album is cheerful in its naivety and simplicity. I would go as far as to say that this was the last decent and sincere album that Bregović recorded with or without Dugme, prior to his increasing ambitions to politicize and folkloricize the once great and important rock band. The lyrics were provided by famous Sarajevo's poet Dusko Trifunovic, who was known as a lyricist of many artists from the so-called "Sarajevo pop school". Of course, in the context of PA this album is of minor interest, but outside of it...

PERSONAL RATING: 3/5

PA RATING: 2/5

This single contains a rare feat, two completely instrumental songs by Bijelo Dugme! I'm not sure if these were the only ones but it's a special thing indeed. Now I do think that it isn't the same thing to give 4 stars to an album and 4 stars to a single, so keep that in mind about the rating.

It was expected since the drummer Ipe Ivandić was the one who got into symphonic rock waters with Laza Ristovski on that one album. "Dzambo" has a bit of funky vibe to it, with nice keyboards by Laza which sound like they could have come from a more spacey album; there are a bit unnecessary vocals with just the song title in the chorus. "Vatra" is louder and starts more in a hard rock vein, but by the end it goes through a few interesting passages which I wouldn't associate with Bijelo Dugme immediately. All in all, recommended and not just for fans of the band.

Interesting compilation but not perfect. The songs included in this compilation are all good if you love Hard Rock, Classic Rock and some type of contamination between Rock and Progressive. Also if Goran Bregovicc is your type of musician certain songs are good for you. I prefer the songs with Zeljko Bebek also if some of my preferred song are not included here and for this fact this compilation is good but not very good, for me.

Certainly if the Rock of 1970's please you "Rock & Roll: Najveci hitovi '74-'88 is good. but it is not so representative of Bijelo Dugme music.

The seventh, eponymously titled, studio album marked a considerable change in the career of Bijelo Dugme. Having parted ways with lead singer ?eljko Bebek, the band leader Goran Bregović strived to find his replacement, which was not an easy task, and even contemplated disbanding the group altogether. Bebek was the most visually recognizable symbol of the band and his gritty "black" voice was a distinguishing feature of many of their classic songs. Instead of trying to find an established singer as a replacement, Bregović opted for a relatively unknown singer of the local Sarajevan hard rock band Top, Mladen Vojičić Tifa. Developed under the influence of the post-Purple heavy metal shouters (from Ian Gillan and David Coverdale to David Lee Roth and Steven Tyler) Tifa's voice was more throaty, seemingly unrefined and screechy in upper registers. However, he was able to prove his singing skills especially in ballads and slower tempo rockers, where his voice was more natural and less strained. Two best tracks from this album, "Jer kad ostari?" (When You Get Old) and "Da te bogdo ne volim" (I Wish I Didn't Love You), each ending the respective side of the vinyl, belong to the latter category.

Other things happening in 1984 also influenced Bregović to come up with a new artistic vision. Ostensibly unhappy with his long-time treatment by the recording business giant Jugoton, he tried to take full control over his band, its musical direction, production and marketing. In partnership with fellow Sarajevan pop star Zdravko Čolić, Bregović started a privately owned label "Kamarad" and signed a distribution deal with the locally based recording company Diskoton in Sarajevo. When trying to explain the idea behind this move, according to the band biographer Du?an Vesić, Bregović compared his artistic endeavor with a small business like a bakery, and only by having his own label he could be totally independent like any private business entrepreneur. This was followed by his increasing awareness of the potentials for political provocation.

According to rock critic Ivan Ivačković, Bregović was influenced by "protest songs" of Branimir ?tulić and his new wave band Azra, even back in 1983 when he composed "Kosovska" in Albanian language for Dugme's previous album, playing with controversies in the aftermath of 1981 student demonstrations in Kosovo. This time, the eponymous album was packed with the cover art depicting "The Maiden of Kosovo", a painting by Serbian artist Uro? Predić. Although at that time, prior to the Yugoslav wars of the 1990s, destructive potentials of Kosovo mythology were not so obvious, indeed the Kosovo myth was still a part of the overarching Yugoslav ideology, it was nevertheless something the authorities would certainly cringe about. Another influence on Bregović's new concept in visual terms was Slovene industrial group Laibach and their art movement Neue Slowenische Kunst. When on tour promoting the album, Bijelo Dugme played in black quasi-militaristic outfits complete with red armbands sporting a Kamarad logo, while the same artwork, a somewhat adapted version of the Soviet film studio Mosfilm logo, used to be projected on the screen behind the drum kit. Coupled with a dead-serious synth-heavy rendition of the Yugoslav anthem "Hej Slaveni" (Hey Slavs), which opens the album, one could claim (as did Vesić in his biography) that as if Bregović wanted in equally militaristic way to reply to the Slovene artists, who were then perceived as anti-Yugoslav secessionists: if you want to break apart Yugoslavia, I will defend it! Or to put it differently, as if every one of 420 000 buyers of this record (according to Vesić) were commanded: Dear Bijelo Dugme fan, first listen to your anthem, stand still, salute and sing along, and then you may play the rest of the album! And that was not a particularly rewarding listening experience.

The abysmal anthem was followed by a cheap attempt at arena rock pomposity "Padaju zvijezde" (Stars Are Falling Down), whose musical theme is apparently borrowed from Van Halen's huge hit "Jump". "Meni se ne spava" (I Can't Sleep) brings a strong dance-pop rhythm loaded with synths, yet the backing vocals of the female group Ladarice, specialized in folk music, just doesn't seem to fit well. Besides, the lyrics contain some of the worst wording and forced rhyming ever penned by Bregović, such as: "dođi mi doveče, ne budi goveče" (come to me tonight, don't be an ox) and "evo vri?taću noćas, abortiraću, ?to te nema" (I'm going to cry tonight, I'm going to abort, why are you not here). "Za Esmu" (For Esma) starts on a promising note, if you don't mind gated electronic drums so typical of 1984. Melodic parts of keyboards and guitar are fine and catchy until a terrible chorus comes in and ruins the songs completely. Again, the arrangement of Ladarice vocals is dubious. "Jer kad ostari?" closes the A side of the vinyl on a high note. As mentioned already, it is a powerful pop-rock ballad with some good guitar licks and excellent Tifa's singing.

Side B opens with a new version of the old Bregović composition "?ta ću nano, dragi mi je ljut", which had been sung by Bisera Veletanlić and released on his debut solo album in 1976. This time the song, re-titled as "Lipe cvatu" (Lime-Trees Blossom), is rearranged as a pure folk song with traditional instruments like bagpipes, tapan drums and ?argija (long-necked lute). Had it not contained rather banal lyrics, the song would actually be one of the strongest on the album. Then, there is a somewhat humoristic treatment of a sexually-transmitted disease topic in "Pediculis pubis", which is an up-tempo track with danceable bass beats, sung by Bregović and guest vocalist Bora Đorđević of Riblja Čorba (another popular songwriter whose social commentaries possibly also influenced Bregović). It's nothing to write home about, except that it was perhaps one of the pioneering rap songs in Yugoslavia, at least among the mainstream pop and rock. Rapping is present also in the following track "Aiaio radi radio" (Aiaio Plays Radio). However, you can guess even by the title that it is one of the dumbest songs ever recorded by Dugme. Horrible vocals and bad melody prevents me from listening through the whole damn thing, so I usually skip it. The listening torture continues through "La?e?" (You're a Liar), a ballad that could be blamed for inspiring a legions of Sarajevo-based "pop-rock" wannabees who were to play a sort of "sevdah-rock" (which really is based on neither true sevdah nor true rock) in the following years (the best known examples would be Merlin and Plavi Orkestar) - an unholy communion of the cheapest, massively produced versions of folk music (singing style and excessively sentimental topics) and rock instrumentation (drums and electric guitars). Tifa's vocals, especially during a chorus, are simply abysmal; something that could not be redeemed even by relatively well performed piano and guitar. Finally, as mentioned, the album ends with another highlight, the ballad "Da te bogdo ne volim". It has a very nice and memorable piano theme backed with slightly bluesy acoustic guitar. Tifa is here in top singing form and it is obvious that this style of rock balladry suits him well.

Overall the album is a kind of postmodernist mess - a commercially successful product that exploited moderate political provocation, somewhat conservative treatment of Titoist ideology, (quasi) patriotic populism, musical trends of folklorization (some elements of which would later escalate into a bastard genre "turbo folk") and a cold-sounding synth-heavy production so typical of the mid-1980s. Yet, this album was not the worst one in Bijelo Dugme catalogue. Two stars for two very good tracks, and I am being generous.

An absolutely fantastic and congenical record. For me, as a Czech person having had the rare opportunity to hear this LP in the 80´s because it was the only Biolo Dugme LP released in the socialist Czechoslovakia, this collection of songs represents an amazing synthesis of specific rock , jazz and slavonic/balkan folklore . When I first heard it I was hit by the incredible drive, emotionality, playfullness, and musical virtuosity contained in the music. Also, it´s just the variety of the songs , paradoxicallly criticized by some here on the forum (´mixed bag´???), is what makes listening to this record an forever fresh and inspiring exprience, which can only be matched by some of the best recordings within the world context. I´m sorry to say that when I got the chance , much later, to get to hear some other Bijelo Dugme music, I was disappointed. So much for an outsider´s point of view.

Extreme interesting compilation focused on 1974/ 1975 recordings.

I think that Bijelo Dugme is a great Heavy Prog band and this compilation is extremely god in this sense. I bought this compilation in Mercator (Nova Goriza) for ? 4,17 and in my car (during my jouney returning home (with an intermediate step to lengthen the journey) I think that this CD has melted! Because yes, Bijelo Dugme in 1974/ 1975 was one of the best European bands and songs as 'Top', 'Tako ti je, mala moja, kad ljubi bosanac', 'Ne spavaj, mala moja, muzika dok svira', 'Dosao sam da ti kazem da odlazim', 'Da sam pekar', 'Ne gledaj me tako i ne ljubi me vise', 'Hop-cup' and 'Selma' are between my all time 100 top songs! The style is basically Rock, Hard Rock with great twin guitar and organ (or moog) with great vocal parts.

'Iz sve snage' is not a perfect compilation. But for me 'Iz sve snage' is magical as compilation.

Wow, another classic by the balkan legend from Sarajevo.

I don't understand, frankly, the low ratings of the other colleagues. Even if not at the same level of the terrific previous album Sta Bi Dao Da Si Na Mom Mjestu (1975), a masterpiece, IMHO, Etò, Bas Hocu has similar elements of and the memorable "pastirski rock" sound.

The structure of all the classic repertoire of Bijelo Dugme is here: zenith is touched at the bottom of the tracking list. "Sanjao Sam Nocas da te Nemam" has a very haunting melodic appeal and pompous arrengements, a very distictive sound. Don't understand the lyrics but it seems something sad. The singer Bebek is a pure pleasure to listen to and did a hell of a work along as all the other members.

I find something italian in it (also in other albums)... maybe it is due to the long stay of Goran Bregovic in Neaples in the early seventies, just before the foundation of the band.

The general mood of the music is near the previous work but somehow less aggressive and more gentle in touch. Not less fresh, tough, and that's why I love this album wholeheartedly.

Left wanting more, and not just from the cover. Kad bi' bio bijelo dugme and Selma are the highlights here, they are accompanied by three decent rock songs, and an abysmal cover of the song Rock 'n' Roll Music; which isn't a very good song to begin with (not one of Chuck Berry's best to be sure). What lifted the first two songs mentioned above the rest of the album was the excellent organ work. The reason I opened with "left wanting more" is actually because the organ play on this album was so extremely satisfying that the songs forgoing heavy organ influence dissappointed and deflated. I fear this album falls closer to standard rock and, but for a few tracks, will leave the progheads hunger unfed. Good rock, non-essential prog.

This is a terrific record, in my humble opinion. I have the recent remastered cd issued by Croatia Record and I have to say the audio quality is really superb. The album is made of seven tracks, between 2 and 7 minutes, curiously with longest titles each as it's common in the first part of the band's discography.

Sta Bi Dao... is the second record of the yugoslavian glory Bijelo Dugme, a band that justly can be considered at the top of the rock classic experience in that area. One of the members is also well known in the western countries: it's a certain Goran Bregović who was then at electric guitar.

Musically, the album deserves its own place in this site. It's a sort of mix between heavy prog and balkanic rythms thanks also to the wonderful vocals of the singer Zeljko Bebek.

The opener is particularly strong and it's a short but intense ride toward a pompous majestic crescendo thanks to heavy guitar and moog synthesizer. Wonderful and exciting the final part. The keyboards element is not dominant and it's based, for the most part, on hammond organ. Fortunately, moog appears here and there giving tinges that only a heavy prog band knows how to do.

Balkanik roots are also quite evident in the track Hop-Cup which is built upon a folkish rythm even if not too far from the general mood of the album. This is probably the most interesting quality of the record (rectius of the band) and it shows its apotheosis in the self titled closer which features all the best: choral, pompous and majestic heavy prog alternating with softer parts with some sparse mediterranean flavours (the keyboards-flute-effect reminds me of traditional arias from Neaples). Marvellous and sad vocals for the band's high manifesto. Acoustic guitars in the opening and final sections give the sense of that pastirski rok (sheperd rock), expression used to describe their music during the seventies.

The middle part of the album continues the similar formula of the explosive opener: Ne Gledaj Me Tako... and, above all, Pozurite Konji Moji are simply superb and very well performed. Great heavy guitar riffs helped by fabulous moog impulses. Bekrija Si, Cijelo Selo Viče is perhaps the less original of the album due to its rock-and-roll clear inspiration. Another excellent number, though.

My final evaluation is justly high. When you listen to such a thing you cannot really deny it has to be called a classic. In my opinion it's even better than the acclaimed (and excellent too) Bitanga i Princeza. That's for its more refined heavy prog sound which is far from coming close to a true prog related item.

The band is still active but I think Bregovic is out. Some weeks ago I saw in Histria posters of their actual tour in Croatia... the tour is titled... Sta Bi dao...haven't got the opportunity to see them performing live. What a pity. These guys really rock!

This is remaster edition of both previous Singl ploce two volumes from 1982. It is now issued as a double- CD including bonus two tracks taken from solo single of drummer Ipe Ivandic, Vatra and Dzambo, otherwise not available on any earlier compilation. This is now very good and comprehensive singles collection of BIJELO DUGME, which is perhaps not good enough for prog rock collections but is good enough for serious collector of classic 1970s rock in Yugoslavia. Thumbs up!

PERSONAL RATING: 3,5/5

P.A. RATING: 3/5