new wave – interstellar medium

Akina Nakamori – Fushigi (1986)

After a month laying low due to restrictions on some platforms, we’re back! You probably are seeing some reposts and more will come along the way, these are actually all-time bests of the ‘IM’ so don’t miss it, ok? Moving along our Top 5 entries since 2014, having Akiko’s and Slađana’s posts already listed, its time for our third entry, and it is a very singular one; a brief but dashing turning point that was not well comprehended by its main audience ergo the (almost) failure of the sales and single-digit weeks at the radio-charts.

Debuting on the production control, with only 21 years old, rising as the artist of the year and a complex idea in terms of sound, 不思議 remains one of the greatest albums of an era by an underestimated singer, performer, and actress. We’ll be only commencing on Akina’s bio, so please attend to the rest on future entries, though today’s are the REAL deal for us.

楽しんでください!

Let’s go to our artist:

Nakamori Akina (中森明菜), born July 13, 1965, in Kiyose, Tokyo, Japan, is a multiple award-winning Japanese pop singer and actress who debuted in early 1982. She is the face of the idol era of the 80s alongside Seiko Matsuda (her supposed rival) with hits such as the extraordinary “Kazari Janai No Yo Namida Wa” and world-wide hit “Desire”.

As a singer, Nakamori came to be known for her mature yet rebellious style and powerhouse vocals, but also for her ever-changing image both visually and musically as opposed to the (very) conservative J-Pop scene. She is also known as “tragedy queen” for most of her serious or sad tone songs unlike the happy and carefree sound of pop music.

She was highly successful from her debut to 1989 when she attempted suicide after a failed romance with Masahiko Kondo, with the scandalous involvement of Seiko Matsuda as the third part and mostly to stress induced by the tabloid media. Even though she has never regained the same success, she has still managed to carry on a steady career.

Today Nakamori has built her image more like a cover artist with her Utahime cover albums, also with the award-winning Enka one and recently a comeback with unedited studio material being Fixer (2015) and Cage (2017) her last cover one. With a career almost as long as 30 years, and millions of records sold she has explored many different music genres including pop, rock, R&B, jazz, folk, blues, enka, and Latin music. (!)

Let’s go to our album:

In 1986, at 21, Nakamori matured in her singing style, choice of songs and partnership over its musical arrangements. The first single of that year, “Desire (Jōnetsu)” proved to be one of the highlights in Nakamori’s career, this was awarded at the Record Taisho Grand Prize at the 28th Japan Record Awards, her second in a row, in an unprecedented achievement at the time, stating Akina’s as the #1 artist of Japan that year. (!)

Then she released Fushigi, an experimental album that is considered to be one of her most artistic works ever. Inspired by Mike Oldfield’s Tubular Bells, this conceptual album differed from her previous works with a more mysterious and eerie sound both music and vocal-wise. On the album, Nakamori sang more dramatically and her vocals were also mixed into the background. This unusual mixing caused some confusion among consumers and some actually contacted the retailers thinking the record was defective.

Despite the riskiness of trying something so avant-garde the album still reached #1 and sold over 464,000 copies. By the cover, you can tell something is darkling about everything and sure there is! After hearing it for the first time, I was sure there was something wrong with the files and had to download them again and again until I realize how magnificent the proposition was. The dark and gothic beauty of the entire project oddly caught me and how good it is to be able to feel this. Now the ‘IM’ is proudly presenting this to you all, come check this unique experience and also watch some terrific live renditions between 1986, 1987 and 2003, it is a joy to see her perform!

The ‘IM’ highlights are マリオネット (Marionette) and Teen-Age Blue.

Tracks Include:

A1 Back Door Night

A2 ニュー·ジェネレーション (New Generation)

Lyrics By: 竹花いち子

A3 Labyrinth

Chorus: Katsumi Fujikura

A4 マリオネット (Marionette)

Lyrics By, Music By: 安岡孝章

A5 幻惑されて (Genwaku Sarete)

Chorus: Minako Yoshida

B1 ガラスの心 (Glass No Kokoro)

Arranged By: 井上鑑

Bass: Chiharu Mikuzuki

Drums: Hideo Yamaki

Guitar: Tsuyoshi Kon

Keyboards: Akira Inoue

B2 Teen-Age Blue

Chorus: Etsuko Yamakawa, Kiyoshi Hiyama

Keyboards: Satoshi Nakamura

Keyboards, Chorus: Kazuo Shiina

B3 燠火 (Okibi)

Arranged By (Brass): 椎名和夫

Drums: Anton Fier

Keyboards: Haruo Togashi, Minako Yoshida

Saxophone: Jake H. Concepcion

B4 Wait For Me

Lyrics By: Show

B5 Mushroom Dance

Chorus: Keiko Aso

Music By: 井上ケン一

Musicians

Arranged By: Eurox (tracks: A1 to A5, B4, B5), Kazuo Shiina (tracks: B2, B3)

Bass: Haruo Okano (tracks: A1 to A5, B4, B5)

Chorus: Anri Sekine, Eve, Haruo Okano, Isamu Hasegawa, Yoshimi Niikura

Guitar: Tsutomu Kurihara (tracks: A1 to A5, B4, B5)

Keyboards: Anri Sekine (tracks: A1 to A5, B4, B5)

Lyrics By: 麻生圭子 (tracks: A1, A3), 吉田美奈子 (tracks: A5, B2, B3),

Sandii (tracks: B1, B5)

Music By: Eurox (tracks: A1 to A3, A5), 久保田真箏 (tracks: B1, B5),

吉田美奈子 (tracks: B2, B3)

Trumpet: Shin Kuzuhara (tracks: B3, B4)

Violin: Anri Sekine (tracks: A1, A2, A4, A5, B4)

Credits

Design (Cover): Yasuo Mochida

Directed By: Katsumi Fujikura

Engineer: Hiroyuki Satoh, Motonari Matsumoto, Yasu Itohbrass, Mr. Kenmochi

Photography By: Kazunori Tsukada

Producer: Akina Nakamori

Remix, Mastered By: Nobuo Ishizaki

Management: Fusanori Nakoh, Hiroyasu Chinone

Companies

Phonographic Copyright: Warner-Pioneer Corporation

Made By: Warner-Pioneer Corporation

Recorded At: Sedic Studio, Sound Inn Studio, Freedom Studio, Sound Atelier,

Cherry Island Studio and Music Inn Studio

Mixed At: Sedic Studio and Warner-Pioneer Studio

Mastered At: Warner-Pioneer Studio

Reprise Records ‎– L-12595 – 1986.08.11

Slađana Milošević and Neutral Design – Neutralni Design (1983)

All right, continuing with the aforementioned Top 5 records (since our departure) this one also fits in this relation, a very very sick New Wave entry with a talented and flamboyant artist who broke all standards back in the day and still are, either performing, writing, modeling or producing she maintains herself as one of the greatest personas of former SFR Yugoslavia, Serbia and even expanding her horizons all over Europe and America.

This is a killer LP, and we will only start off with, so more will come eventually, shall we?

Let’s go to our artist:

Aleksandra “Slađana” Milošević Hagadone (born 1955 October 3 in Belgrade, PR Serbia, FPR Yugoslavia), better known as Slađana Milošević. Her talent for music became very apparent at an early age, so she started education in classical music at the age of five, playing the piano. A few years later, her interest turned to study the violin. Eventually, she embraced rock and the bass guitar performing in school and recording at the age of 15. (!)

From then on, her interests had shifted towards various artistic expressions such as acting, playing music and dancing in the fringe theatres and experimental movies. She acted in Belgrade’s Ex Art Theatre, Atelje 212 Theatre and in Academic Kino Club Krsmanović. In 1976, she toured the Soviet Union as a soloist in the Sasha Subota Orchestra, where she had recorded a compilation of World Hits and a single Mikado for Soviet label Melodiya.

Being in constant discordance with the restrictive regime and the media, despite all the efforts, she could not release a solo record in her homeland for many years. Thus, she invests her funds and finally manages to produce and release the first single in 1977.

Unexpectedly, it had achieved immediate success hitting No. 1 on the charts. Milošević’s provocative first song “Au, Au” caused many controversial reactions inside the regime. However, her creative potential, persistence, and consistency of ideas had won over. She influenced younger musicians and other less courageous, to follow her bold path.

From then on, every song she had released hit the top of the charts: “Au, Au” (1977), “Simpatija” (1978), “Sexy Dama”(1978), then “Amsterdam”, and “Očigledno Nije Mi Svejedno”, off her first and highly-rated LP Gorim Od Želje Da Ubijem Noć from 1979. Milošević’s fame spread throughout the entire region and the surrounding countries. For instance, at midnight, the Hungarian audience celebrated with Alexandra an arrival of the New Year 1979, through her one-hour performance on National TV, Budapest.

In 1982, she embarked with her band on a national Yugoslav tour with English rockabilly legends Matchbox. In 1983, she started a band “Neutral Design” in Munich, Germany and released a self-titled album. Musicians in this project collaborated with bands known worldwide such as Santana and Nina Hagen Band. Songs off of this LP were broadcast and sold in West Germany, Sweden, Yugoslavia, and other European countries.

A single “Das Licht von Kairo / Miki, Miki” released in Yugoslavia, became a mega-hit.

Therefore she would only ascend with a myriad of prizes, world tours, and a 1988 LP. Slađana eventually moves on to different countries, expands her professional acting, waning her solo acts in the 90s releasing her last album in 2000, Animal Tested.

Let’s go to our album:

With an incredible variation of rhythms and influences, this is her most mature and lasting album, for a certain period I heard it repeatedly for months, something that grows inside you, a perfect photograph of what was the effervescent beginning of the ’80s.

Being the chameleon she always was, soon Slađana would follow a more Pop direction in ’84 and walk the paths of Jazz on her subsequent album.

Contemporary of Nina Hagen and Bebi Doll in the exotic, provocative and singular aesthetics senses she remains one of the greatest stars of her country and beyond!

The ‘IM’ highlights are Klown I Smrt, a dark-reggae with a wall of synths and Nad Tobom Anđeli Imaju Moć a soothing cyclotomic ballad.

Tracks Include:

A1 Das Licht Von Kairo (Svletla Kaira)
Lyrics By M. Bajagić
Music By, Arranged By P. Labontie

A2 New York
Arranged By S. Milošević
Guitar (Solo) Rudolf Gast
Lyrics By D. Đurić
Music By B. Werber

A3 Hey, Little Boy
Written-By Slađana Milošević

A4 Klovn I Smrt
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B1 Miki, Miki
Saxophone (Solo) Mića Marković
Written-By Slađana Milošević

B2 Neko Je Tu (Sa Mnom U Sobi)
Arranged By S. Milošević
Lyrics By M. Bajagić
Music By B. Werber

B3 Nad Tobom Anđeli Imaju Moć
Written By Slađana Milošević

B4 Ja Sam Neka Čudna Vrsta
Lyrics By M. Tadić
Music By, Lyrics By, Arranged By S. Milošević

Musicians

Bass: Pit Zaepernick
Drum Programming, Synthesizer (Prophet 5), Organ (Hammond B3): Attila Terry
Guitar, Drum Programming, Effects: Bruce Werber
Producer, Vocals, Guitar, Drum Programming, Effects: Alexandra Sladjana M.
Synthesizer (Roland V, Yamaha): Alex Grunwald
Synthesizer (Roland, Korg), Programmed By (Synthesizer): Florian Anwander

Credits

Design: Gordan Škondrić
Mixed By: Uli Rudolf
Photography: Ljubo Trifunović
Recorded By: Cristian Leibi

Notes

Jugoton ‎– LSY-63185

Recorded at Western Studio, Munich, Germany.
Mixed at Aquarius Studio, Belgrade, Yugoslavia.

Akiko Yano (矢野顕子) ‎– There Must Be Love (愛がなくちゃね。) [1982]

Simple and direct this is one of the Top 5 albums that I’ve been listening to nonstop since our departure in 2014, a wild collaboration between Akiko, YMO and David Sylvian’s Japan. East + West = Gemstone! There will be more Akiko’s albums throughout our trip, she is a VERY special composer, singer, and performer that is still rocking on so this is just the beginning. This LP is a fav of the Blog so get ready…

Let’s go to our artist:

Akiko Yano (3 February 1955) was born in Tokyo and raised in Aomori, Japan. She began playing piano at the young age of three (!) and demonstrated promising talent. When she was only fifteen, Akiko moved to Tokyo on her own and entered into Aoyama Gakuin High School where she pursued her musical career. She later began performing in jazz clubs where her masterful skill at the piano brought her popularity among other musicians. Akiko joined a band with roots in Tin Pan Alley.

Akiko recorded her debut album, Japanese Girl, primarily in Los Angeles with Lowell George and Little Feat. When it was released in 1976 many reputed her to be a “girl with a musical wonder.” She then began collaborating with Yellow Magic Orchestra (YMO).
They continued to play on her next recording projects and invited Akiko to join them on two of their worldwide tours. Akiko expanded her musical collaborations with YMO on her subsequent LP releases, she continued to release LPs joined by Japan and Pat Metheny and has performed on albums by Thomas Dolby and other artists.

In 1990 Akiko relocated to New York where she collaborated and toured with some of the world’s most renowned musicians including The Chieftains, Toninho Horta and Jeff Bova on his project The Hammonds. August 2007 marked her second debut as yanokami a pop unit with Rei Harakami, an electronic musician and sought-after producer.

To date, Akiko has released more than 30 (!) original albums, being Welcome to Jupiter her last in 2015, latter ones such Soft Landing are reissues or even Live records.

Let’s go to our album:

The following text is taken from Jansen Photography Blog, so I will take a short extract from it, thank you for the Infos and photos!

‘In 1978 YMO performed as Yano’s back-up band for a Japanese tour, and at this time she became romantically involved with Sakamoto, following the breakup of her marriage. Although at the time this wasn’t noted in the press, once YMO became famous the story was spread across the papers, something that Akiko further highlighted herself by including clippings from the tabloid reports in a tour program. In 1979 Akiko became a support member of YMO; taking a break in early 1980 when she gave birth to daughter Miu Sakamoto, before returning for the second YMO world tour.

Japan the band first became aware of Akiko Yano because Japanese fans gave the group mixtapes of music they thought they would like. At that time, they did not know that there was a connection between YMO and Akiko. This soon changed when Japan attended a YMO concert and was introduced backstage. David Sylvian, Sakamoto and Yano started to exchange letters, something referred to in the song “David” released later in the 80s.

For her 1981 tour, Akiko recruited Masami Tsuchiya as a guitar player, and he went on to play on her album “Tadaima”. Both artists came to London in early 1982 and booked time at Air Studios, Masami to record “Rice Music” and Akiko “Ai Ga Nakucha Ne”.

Akiko specifically chose to work with Japan members and to record at Air because of “Tin Drum”; she liked the clarity of sound and the feel of the album, and wanted that for her own recording. To that end, not only did Akiko recruit the Japan members, but she employed Steve Nye and David Rhodes for the duration of the recording.

The producing role would be performed by fiancé Ryuichi as the couple would marry before the album was released in 1982.06.25.’

So finally let us drink the waters from a synth-pop masterpiece with multiple touches you will hardly find it in any Western release!

The ‘IM’ highlights are Onnatachiyo Otokotachiyo and Donnatokimo Donnatokimo Donnatokimo.

Tracks Include:

Side A うし (Ushi – Cattle)

A1 愛がなくちゃね (Ai Ga Nakucha Ne – There Must be Love)

A2 悲しくてやりきれない (Kanashikute Yarikirenai – Unbearable Sadness)

A3 What’s Got In Your Eyes?

A4 おいしい生活 (Oishii Seikatsu – Small Time Crooks)

A5 みちでバッタリ (Michi De Battari – I Ran Straight on the Road)

Side B ぞう (Zō – Elephant)

B1 女たちよ　男たちよ (Onnatachiyo Otokotachiyo – About Women and Men)

B2 あいするひとよ (Aisuru Hitoyo – Overnight Love)

B3 Sleep On My Baby

B4 Another Wedding Song

B5 どんなときも　どんなときも　どんなときも (Donnatokimo Donnatokimo Donnatokimo – Anytime, Anytime, Anytime)

B6 Good Night

All songs and lyrics by Akiko Yano

Except for A2 by Kazuhiko Kato & Hachiro Sato / A5 by Yuji Takahashi & Masafumi Oka.

Credits

Arranged By: Akiko Yano, Ryuichi Sakamoto
Bass: Haruomi Hosono, Mick Karn
Drums: Steve Jansen, Yukihiro Takahashi
Guitar: David Rhodes, Kenji Omura, Robbie Mackintosh
Keyboards: Akiko Yano, Ryuichi Sakamoto

Engineer: Shinichi Tanaka, Steve Nye

Mixed By – Steve Nye

Co-producer: Ryuichi Sakamoto

Producer – Akiko Yano

This album was recorded in London with members of Yellow Magic Orchestra and Japan.

Šarlo Akrobata – Bistriji Ili Tuplji Čovek Biva Kad… (1981)

Šarlo Akrobata (Charlot the Acrobat, a Serbo-Croatian version of Charlie Chaplin‘s name) was a seminal Yugoslav post-punk band from Belgrade. Short-lived but extremely influential, being one of the most important acts of the Yugoslav new wave movement (Novi Talas). The power-trio left an indelible mark on the entire music scene, playing skeletal, energetic ska-core with a post-punk sound reminding of Gang of Four, XTC, The Stranglers, Public Image Limited, and Frank Zappa!

If you want to know a little more about the rock development in Serbia and former Yugoslavia, pay a visit on our last entries, Katarina II and Discipline Kičme.

Let’s go to our artist:

The origin of the new wave scene in Serbia can be found in Belgrade late-70’s bands Zvuk Ulice, Limunovo Drvo, and Hipnotisano Pile. These three featured the future members of milestone groups Idoli, Šarlo Akrobata, and Električni Orgazam.

Guitarists Milan Mladenović and Dragomir Mihajlović performed hard rock for two years in Limunovo Drvo, before adopting the punk rock on the arrival of the bassist Dušan Kojić ‘Koja’ and drummer Ivan Vdović ‘VD’. After the departure of Mihajlović (who would play on Katarina II), they finally renamed to Šarlo Akrobata!

Over 1980-81, its first recordings were released on the compilation Paket Aranžman, today considered one of the most prominent Serbian/Yugoslav rock releases. After a second prize on Subotica Youth Fest and performance on Zagreb Bienalle, they recorded their only album, Bistriji Ili Tuplji Covek Biva Kad… (Brighter or Dumber a Man Gets When…) in April 1981, combining punkish energy with dissonant, avant-garde, and a daring approach both to the playing, recording, and performance.

The band disbanded in the winter of 1981 after a tour in Poland; Milan Mladenovic started a successful and prolific group Ekatarina Velika, and Dusan Kojic formed the progressive punk act Discipline Kičme. The alleged reason was different views on how to continue their musical expression; around 1982, the New Wave scene started to decline, as a large number of acts moved towards a more commercial sound.

During the ’80s, Đorđe Balašević, for instance, dominated the mainstream pop scene, but various other rock genres also emerged, such as Jakarta, Oktobar 1864, Beograd, La Strada, Zana, and Rambo Amadeus, starting to develop and gain mainstream popularity, not only in Yugoslavia but all around Eastern Europe!

Pekinška Patkathe, the first Orthodox punk rock band, 1978! — **Pekinška Patkathe**, ***the first Orthodox punk rock band, 1978!***

Let’s go to our album:

A unique punk record, full of furious guitar riffs, raw bass sound, and wild shouting! Lyrics are either nonsensical, randomly recited, either rebellious, a true example of punk angst, either minimalistic representing an auditive graffiti painting. (!)

This is a record full of studio tricks that are deconstructing a classical approach to the songwriting, gradually (or abruptly) adding/subtracting instrumental layers in the songs, repeating simple one-two-three-four chorus ad nauseam, making at mantra at first, and then deconstructing it by simply adding polyrhythmical pattern on bass, while drums get heavily processed with an echo effect and other modulations.

Lastly, this record is a lot different from everything that we used to hear so far, Avant punk is the perfect title to add to these crazy geniuses, forget about Ekatarina Velika (my personal favorite) and other Serbian entries, this is where it all began, observe closely and plunge forward into it, the one and only Šarlo Akrobata!

The ‘IM’ highlights are Rano Izjutra and O, O, O…

Trip Da!

Tracks Include:

A1 Šarlo Je Nežan

A2 Pazite Na Decu (I)

A3 Fenomen

A4 Sad Se Jasno Vidi

A5 Rano Izjutra

A6 Ljubavna Priča

A7 Samo Ponekad

B1 Čovek

B2 Bes

B3 O, O, O …

B4 Problem

B5 Ja Želim Jako

B6 Pazite Na Decu (II)

Credits

Bass, Vocals: Koja
Drums, Vocals: Ivan Vdović
Guitar, Vocals: Milan Mladenović
Design, Photography: Goran Vejvoda
Photography: Danko Đurić
Artwork (Design): Šarlo
Producer, Music, Arranged, Lyrics: Šarlo Akrobata
Producer: Toni Jurij, Mile Miletić
Producer, Recorded: Đorđe Petrović

Notes

Recorded in Studio 5, Beograd, April-May 1981.

Recorded: Studio V PGP RTB
Printed: GIP Beograd

Jugoton ‎– LSY 66145

Nikola Tesla and its Magnifying Transmitter — **Nikola Tesla** **and its Magnifying Transmitter**

Disciplina Kičme – Ja Imam Šarene Oči (1985)

The Socialist Federal Republic of Yugoslavia was the Yugoslav state that existed from the end of WWII (1945) until it was formally dissolved in 1992 amid the Yugoslav wars. It was a socialist state that comprised the area of the present-day independent states of Bosnia and Herzegovina, Croatia, Republic of Macedonia, Montenegro, Serbia, Slovenia, and Kosovo. Outside the Eastern Bloc, but a founding member of the Non-Aligned Movement and as such, it was far more opened and tolerant to western influences comparing to the (many) other socialist states.

Unlike the citizens of other Socialist countries, Yugoslavs enjoyed the freedom of travel and had easy access to Western popular culture. The Yugoslav pop and rock music scene was well developed and covered in the media including numerous magazines, radio and (pioneering) TV shows. SFR Yugoslavia was also the only Socialist country which was taking part in the Eurovision Song Contest, it joined in 1961 even before Western nations such as Portugal, Ireland, Greece and Turkey. (!)

Stjepan Filipović / 'Death to fascism, freedom to the people!' — **Stjepan Filipović** / ***‘Death to fascism, freedom to the people!’***

Let’s go to our music:

The new wave music scene emerged in the late ’70s worldwide and had a significant impact on Yugoslav culture. Like its counterparts, the British and the US movement, the Yugoslav new wave was also closely related to Punk Rock, Ska, Reggae, 2 Tone, Mod Revival, etc. The period around 1982 is considered especially crucial concerning the decline of the scene in Yugoslavia, and around the globe.

Zoran Kostić-Cane, the former vocalist of Radnička Kontrola, formed the furious garage punk group Partibrejkers and achieved huge success. Idoli, Prljavo Kazalište, and Film became pop-rock and all of them respectively achieved great mainstream success. The cult band Azra gradually moved on to a more conventional folk-rock sound and Električni Orgazam went through a psychedelic phase.

Symbols of the Yugoslav new wave era are the compilation albums Paket Aranžman, Novi Punk Val, Artistička Radna Akcija and especially movies Davitelj Protiv Davitelja (starring Idoli member Srđan Šaper) and Dečko Koji Obećava (featuring appearances by Šarlo Akrobata and Idoli). Also, an important rockumentary covering this effervescent period is Sretno Dijete, check it out! Lastly, Dušan Kojić-Koja, the former bass player of Šarlo Akrobata formed the legendary group Disciplina Kičme.

This period in the former Yugoslav music is considered a Golden Age Era!

Let’s go to our artist:

Disciplina Kičme (Spinal Discipline), currently working under the slightly altered name of Disciplin A Kitschme, was one of two spin-offs of the seminal Belgrade post-punk/new-wave band Šarlo Akrobata, the other being Ekatarina Velika.

Founded in 1982 by Dušan Kojić-Koja (bass and vocals), Disciplina Kičme was characterized by unconventional line-ups: bass + one or two drummers, sometimes with and without a brass line. Musically, they are best described as an aggressive and artistic rhythmic explosion, experimenting and seeking out new expressiveness while finding (plenty) inspiration in the traditions of punk rock, funk, jazz fusion, noise, drum n’ bass and even the works of Jimi Hendrix. (!)

Disciplina Kičme (Koja & Zica), 1982 — **Disciplina Kičme (Zica & Koja), 1982**

Let’s go to our album:

After the first independent album release Sviđa Mi Se Da Ti Ne Bude Prijatno (1983), the band continued performing in major Yugoslav cities, mainly in small clubs, and in 1985, they released an EP Ja Imam Šarene Oči (I Have Colorful Eyes), with the single ‘Novac Neće Doći’, released by Slovenian label Dokumentarna.

Todorović did the drums and Krasavac appeared only on the intro for the track ‘Sviđa Mi Se…’ and on ’28. jun 1984′ recorded live at Belgrade’s SKC on the same date. Kojić produced the EP and for the first time included a trumpet played by Jugoslav Muškinja. Along the decades they passed through many different line-ups and styles, with a (very) active career, being internationally recognized.

Nowadays, the band enjoys a solid cult status and the last album from 2011!

Disciplina Kičme also held three albums in the YU 100: The Best albums of Yugoslav Pop and Rock music book: Sviđa Mi Se Da Ti Ne Bude Prijatno (No. 52), Zeleni Zub Na Planeti Dosade (No. 32) and Svi Za Mnom! (No. 65) (!)

The ‘IM’ highlights are Veruj Meni! and Vaspitanje.

Góða Ferð!

Tracks Include:

A1 Doboš 7 Puta (Snare Drum 7 Times)

A2 Novac Neće Doći! (Money Won’t Come)

A3 Veruj Meni! (Trust Me!)

A4 Pristanište (Pier)

B1 Sviđa Mi Se… (I Like…)

B2 Pregršt Novca (Plenty of Money)

B3 Vaspitanje (Manners)

B4 28. Jun 84!

Credits