Katarina II – Katarina II (1984)

capaAfter the quintessential Belgrade new wave band of the early ’80s, Šarlo Akrobata, hit the rocks, the trio essentially splintered in two directions. Bass player Dušan Kojić went on to form Disciplina Kičme, where he continued to experiment with various musical influences, while the more lyrical, poetic of the two, vocalist/guitar player Milan Mladenović, opted to form Katarina II. Named as such, the band which later reached starry (in local terms) heights under Ekatarina Velika moniker released only this album, which quickly became a cult favorite in old Yugoslavia.

The New Wave music scene emerged at the end of the ’70s, it was especially advocated by the music magazines Polet from Zagreb and Džuboks from Belgrade, and by the TV show Rokenroler, which was famous for its artistic music videos.

Šarlo Akrobata
Šarlo Akrobata

Important bands of the Yugoslav new wave are Šarlo Akrobata, Idoli, Prljavo Kazalište, Azra, Električni Orgazam, Aerodrom, Atomsko Skoloniste, Laboratorija Zvuka, Lačni Franz, Gu Gu, Hazard, Moulin Rouge, and many others. (!)

Let’s go to our artist:

Ekatarina Velika (Catherine the Great, also called EKV) was a rock group from Belgrade, Serbia. During its existence, EKV built up a devoted following that greatly intensified and expanded after the death of its frontman Milan Mladenović in 1994, which caused the band to dissolve. The group’s core consisted of singer and guitarist Milan Mladenović, keyboardist Margita Stefanović and bassist Bojan Pečar.

Initially named Katarina II, was formed in February 1982 following the breakup of Šarlo Akrobata, Katarina II’s self-titled debut album finally came out in 1984.

Magazine Issue
Magazine Issue

After the release the group fell apart due to artistic differences, guitarist Gagi Mihajlović claimed rights to the Katarina II name, then, the remaining members settled on Ekatarina Velika. In 1985, EKV released their debut album, Ekatarina Velika, the Lp is characterized by an energetic sound and Milan’s hermetic, introspective, and metaphorical lyrics. 1986 follow up album S Vetrom Uz Lice proved to be the breakthrough album that turned them into bona fide stars!

The hits included ‘Budi Sam Na Ulici’ and ‘Ti Si Sav Moj Bol’, in addition to wider mainstream acceptance, S Vetrom Uz Lice also got some lukewarm reviews from critics complaining it sounded too much like Simple Minds and The Mission (sic).

80's Promo
80’s Promo

In 1987 the band recorded and released Ljubav, it displayed a more guitar-oriented, polished sound, partly because of new producer Theodore Yanni. It also showed the first signs of Milan’s depressive lyrics, as exemplified by song ‘Tonemo’; the band confirmed their newfound star status with two consecutive sold-out shows at Belgrade’s Hala Pionir sports arena. The 1989 album Samo Par Godina Za Nas wasn’t received well by the critics, though it does feature the song Par Godina Za Nas which was voted the best (ex) Yugoslavian rock song in 2006 by Serbian Radios!

In the ’90s the band released albums irregularly due to band changes and the political situation in Yugoslavia. Dum Dum (1991) and Neko Nas Posmatra (1993) were released but the band slowly fell apart. Milan Mladenović was diagnosed with pancreatic cancer in August and died on November 5, 1994, at the age of 36.

Margita Stefanović (RIP)
Margita Stefanović

Bassist Bojan Pečar died in London on October 13, 1998, aged 37, as a result of a heart attack. Early drummers Ivan ‘Vd’ Vdović passed away in 1992 and Dušan Dejanović died from AIDS on November 16, 2000. Keyboard player and vocalist Margita Stefanović died on September 18, 2002, drug abuse was rumored (never confirmed) to be the cause, she was 43 and the last of the original line up left. (RIP all of them)

Let’s go to our album:

The band had started the recording of the album in Beograd but due to various problems, it was finally recorded for the Slovenian label ZKP RTLJ (RTV Ljubljana). The album producer was Đorđe Petrović, and guest stars were Mario Čelik (congas) and Jurij Novoselić (saxophone) from the (famous) Croatian new wave band Film.

Initially pressed in mere 3,000 copies, Katarina II is a spirited debut effort, torn somewhere between the new wave aesthetic and polished rock sound which became the hallmark of Ekatarina Velika. Essentially, there are two main vibes to discern on this album, Milan Mladenović’s songs are more progressive in its approach, like ‘Jesen’, ‘Geto’ and ‘Aut’, contrasting with the songs written by Dragan Mihajlović, ‘Vrt’, ‘Platforme’ and ‘Treba Da Se Čisti’, which retain the structure and faux-mysticism of the previous movement (Idoli and Šarlo Akrobata).

Back Cover
Back Cover

Slotted in between is a beautiful little ballad ‘Kad Krenem Ka’, written and sang by Margita, as well as a cheery pop number ‘Radostan Dan’. Overall, it all makes for a well-rounded package, with a couple of classics (Geto and Jesen) and eclipsed influences such as Talking Heads. An absolutely essential listen, Sretan Put!

The ‘IM’ highlights are Radostan Dan and Ja Znam.

Tracks Include:

A1 Aut

A2 Vrt

A3 Platforme

A4 Radostan Dan

A5 Geto

B1 Treba da Se Čisti 1

B2 Ja Znam

B3 Kad Krenem Ka

B4 Treba da Se Čisti 2

B5 Jesen

Credits

  • Bass: Bojan Pečar
  • Drums, Percussion: Ivan Vdović
  • Guitar: Dragomir Mihailović
  • Guitar, Vocals: Milan Mladenović
  • Keyboards, Vocals: Margita Stefanović
  • Congas (Featuring): Mario Čelik
  • Music, Arranged: Katarina II
  • Photography: Aleksandar Knežević, Ivan Pešić, Srđan Vejvoda
  • Design: Margita
  • Producer, Recorded: Đorđe Petrović

Recorded at studio Akvarius, Beograd, end of December, 1983.

ZKP RTVL ‎– LD 0954

Uvac Canyon
Uvac Canyon

Bebi Dol – Mustafa Single (1981)

capa cópiaSerbian culture refers to the culture of Serbia and ethnic Serbs. For centuries straddling the boundaries between East and West, Serbia had been divided among the Eastern and Western halves of the Roman Empire; then between the Kingdom of Hungary, the Frankish Kingdom and Byzantium; and then between the Ottoman Empire and the Habsburg Empire, as well the Republic of Venice in the south. (!)

These overlapping influences have resulted in cultural varieties throughout Serbia: its north leans to the profile of Central Europe, while the south is characteristic of the wider Balkans and even the Mediterranean. Serbs were initially governing the Byzantine frontiers and were later through their sworn alliance gave independence, baptized by Greek missionaries and adopted the Cyrillic script.

Migration of the Serbs, 1896 (Paja Jovanovic)
Migration of the Serbs, 1896 (Paja Jovanovic)

The Byzantine influence on Serbia was profound, firstly through the introduction of Eastern Christianity (Orthodoxy) in the Early Middle Ages. The Serbian Orthodox Church has had an enduring status with the many Serbian monasteries constituting the most valuable cultural monuments left from Serbia in the Middle Ages.

Following Serbia‘s autonomy after the Serbian revolution and eventual independence, the culture of Serbia was restrengthened within its people!

Studenica Monastery
Studenica Monastery

Let’s go to our artist:

Born as Dragana Šarić on 2nd October 1962, Belgrade. Singer and composer Šarić had contact with music since her early years, as her father, Milenko Šarić, was a jazz musician. She started in the late ’70s in the band Tarkus, in 1979 her first studio recordings: as a guest (backing) vocalist on the Igra Staklenih Perli album Vrt VetlostiYU Grupa album Samo Napred..! and also KIM Band’s 1981 release.

In 1981, with the guitarist Goran Vejvoda and the bass guitarist Ivan Vdović, she formed the short-lasting band Annoda Rouge. Soon after, Šarić under the (worldwide known) name Bebi Dol, released her (brilliant) solo debut, Oriental music-inspired single ‘Mustafa’, which she composed together with Saša Habić.

1981
1981

The song featured the recording of Slobodan Konjović‘s voice, he was at the time, Studio B musical editor, and participated the whole production. Mustafa was voted the best pop song in Yugoslavia in 1981 and was re-released, two years later, on her debut album, Ruže I Krv, to great critical acclaim and popular success!

Her next album, Ritam Srca, was released more than a decade later, in 1995, even though she regularly performed as a pop and jazz singer (for three years she lived in Cairo, singing in Sheraton hotels), recording and appearing as a guest artist on the albums of other artists. The second pause in her work came in the late ’90s and her album, Ljuta Sam, was released only in 2002 (with electronic tinges).

Early Promo
Early Promo

Her last releases, Čovek Rado Izvan Sebe Živi, in 2006 and Veče U Pozorištu in 2007, were mainly based on American covers, the last a live album. She also made a famous presentation on Eurovision 1991, with one of its mega-hits, Brazil.

Let’s go to our album:

An excellent vocalist gifted with a soaring voice, ultra-eccentric musical talent and altogether this young lady comes in some adorable, nutty package that we had not seen before or since. Here she was catapulted into the national scene, if not exactly to the stars because this single was way too underground for the mainstream audience.

Mustafa sounds one of those rare songs that simply stand the test of time and it has an original message to the protagonist: forget all those European ladies with flower pots on their heads, who make love shamelessly (!). Na Planeti Uzdaha is her own take on famous Edvard Grieg piece where the chorus of vailing and out-of-this-world voices (multi-recorded Bebi Dol herself) sing her atmospheric siren song!

Bebi Dol, Lately
Bebi Dol, Lately

Thanks to our friends from Jugo Rock Fever and many others through the net, we’re able to discover and admire this fabulous music scene developed since communist times. Here are some fine acts, from the 70’sSmak, YU Grupa, Galija and Korni Grupa (hard and prog). And incredible acts from the ’80sIdoli, Šarlo Akrobata, Električni Orgazam and Disciplina Kičme (new wave and synth-pop).

I cannot stop listening to this obscure little gem, Bebi Doll’s performance is quite something, all abroad the Trans-European rail network and Бон Воиаге!

Tracks Include:

A Mustafa

B Na Planeti Uzdaha

Credits

Arranged: A. Habić

Music, Lyrics: D. Šarić

Companies

Printed: GIP ‘Beograd’

PGP RTB ‎– 1120999

Danube, Belgrade
Danube, Belgrade

Agentss – Compactos (1982 – 83)

coverThe Brazilian music scene from the 70s was not very favorable to Rock, much seen with reservations by the Generals of the time; Brazil was still a country devoted entirely to the MPB (phonographically speaking), even with names like Rita Lee and Raul Seixas, rock did not have a dedicated ground for the public, marginalized, without many projections in the mass media and also without a show-business structure that favored them. But with the turn of the decade, it began to assert itself and during 1981/82, the beginning of a new generation no longer restricted to the MPB arose. More open to the world musical context, as the ideal of the punk movement (do-it-yourself) and the colorful entertaining bands from the New Wave.

Youngsters who were born under the years of lead, dreamed of a freer style of music, by the time psychedelia and progressive rock with their remote themes and 15 minutes trips, little or nothing dialogue with the backdrop of the beach, sun, and Rio’s sea. Note that in São Paulo (concrete jungle) those same longings became the Vanguarda Paulista and the birth of the punk movement, not as accessible as their brothers in Rio (these and other developments will be addressed in future posts).

Começo do Fim do Mundo
Começo do Fim do Mundo

The precursors of so-called BRock were the Cariocas from Gang 90, and his debut at the MPB-Shell festival in August 1981 with the song Perdidos na Selva. From there, three factors contributed to the formation and dissemination of a new musical explosion with its apex culminating in the realization of the first Rock in Rio in January 1985.

They are: the foundation of Circo Voador (a playhouse) in January 82 in Ipanema, the premiere of Fluminense FM (Maldita), first radio to play (solely) rock in national territory, and the organization of the first punk festival, Começo do Fim do Mundo on November 82, at the newly inaugurated SESC Pompeia.

Some BRock bands: Gang 90, Blitz, Paralamas do Sucesso, Barão Vermelho, Kid Abelha, Lobão, Lulu Santos, Legião Urbana, Ira!…

Circo Voador
Circo Voador

Let’s go to our history:

The political opening exhaustively repeated by the militaries as slow, gradual and safe, began at the end of the 70s, under strong repression of the right sectors that were contrary to the process initiated by the Amnesty Law in 1979. Numerous bombings throughout 1980 and 1981 attempted to cause a climate of political and social instability, culminating with the Rio Centro case: a bomb exploded in a parking lot inside a Puma car, killing the sergeant Guilherme Ferreira do Rosario and seriously injuring the captain Wilson Luís Chaves Machado, both linked to DOI-CODI (sic).

The bomb exploded while being handled, and prepared to be detonated near the Rio Centro lightbox in order to cut power and generate panic among the regulars of the show which was held in celebration of Labor Day, more than 20,000 people participating along with numerous music artists!

Riocentro Bombings
Riocentro Bombings

On occasion, the government blamed the radical left for the attacks. This hypothesis had no support at the time and has been debunked, including a confession, proved that the attack was an attempt of more radical sectors of government (the CIE and SNI) to convince more moderate sectors that were required a new wave of repression in order to paralyze the slow political openness that was in progress. (!)

Let’s go to our album:

After a trip to the U.S. in the early 80s, Kodiak Bachine decides to start a band inspired by punk and new waves groups that had watched and heard. With a new look, Kodiak has teamed up with guitarists Miguel Barella (Voluntários da Pátria) and Eduardo Amarante (Zero). Beyond them were part Lyses Pupo (bass) and drummer Elias Glik. The quintet had a strong line with the Talking Heads, B-52’s, Kraftwerk, Blondie, Devo, Gary Numan, and Brian Eno. The seminal group pioneer in Brazil’s new-wave movement incorporated elements of electronic music and minimalist, making extensive use of icons and scenery that aided in the spread of brand new musical ideas and concepts in the emerging Electro-Pop of the 80s.

Agentss
Agentss

Kodiak sang, he said, in eletrotranzlyric, a dialect of his own invention that mixed Portuguese, English, German, and extraterrestrial languages​​. (!) After the release of the first single, the band performed three shows in 1982, the first on 25 September at Ilhas do Sul theater. Soon it became a cult among youngsters in São Paulo, taking a loyal following of admirers who filled the places where the band performed. With only five shows in one year, they left a lasting impression on the scene. With no label support or sponsorship, the band was hampered and cannot make more shows.

Kodiak, Live
Kodiak, Live

The Agentss recorded only two compacts being the first, in 1981, an independent production, released in 1982. The second was released by WEA label with musical production by Pena Schmidt in 1983. The group broke up amicably at the end of 1983 for philosophical reasons, Miguel Barella formed Voluntários da PátriaEduardo Amarante and Thomas Susemihl formed Azul 29 (also a pioneer in Electro-Pop). Later, Eduardo joined Guilherme Isnard and formed Zero, while Kodiak went solo.

This is one of those bands where you wonder why you haven’t known them before (?!), their leader Kodiak Bachine, is one of the most underrated keyboardists, a specialist in short bands but with great importance in the Brazilian context. With its futuristic synths and a vanguard proposal for the time, the band, unfortunately, did not achieve much publicity, being limited to São Paulo. A curious fact from the second compact is its cover, the first produced entirely on a computer, being photographed and reproduced because there was no way to print the same!

Computer Cover
Computer Cover

As it is only 4 songs, let’s give a chance to all of them, but let me advance you something, the title track Agentss is something beyond the expectations, being modern and exciting even to this day. With satyrical and humorous lyrics about radiation, robots, and computers this domestically unknown band goes way off our traditional psychedelia so far, get ready for AGENTSS. நல்லபயணம்!

Some more BRock bands: Inocentes, Capital Inicial, Titãs, RPM, Violeta de Outono, Plebe Rube, Camisa de Vênus, Ultraje A Rigor, Cólera…

Tracks Include:

1982

A Angra (Orion)

B Agentss (Duo, Kodiak)

Scorpius 22.101.003

Guitar – Orion Mike (Miguel Barella)

Guitar – Duo Enkanativa (Eduardo Amarante)

Voice, Synths & Keyboards – Kodiak Bachine

Drums – Roberto L. Antônio

Bass – Luiz F. Portela

Drums on AngraArmando Tibério Júnior

Credits

Engineered by – Pedro Franck Nemeth

Assisted by – Dom Elder

Mixed by – Pedro Franck Nemeth + Duo + Kodiak

Photo – Fritz Nagib

Recorded in São Paulo, August, 1981

Flyer, Logo
Flyer, Logo

1983

A Professor Digital

B Cidade Industrial

Elektra ‎BR.12.123

  • Bass, Backing Vocals – Thomas Susemihl
  • Drums – Elias Glik
  • Guitar – Miguel Barella
  • Guitar, Bass, Synthesizer – Eduardo Amarante
  • Voice, Synthesizers – Kodiak Bachine
  • Engineer – Ivo Barreto
  • Art Direction – Guti
  • Producer – Pena Schmidt

Recorded At – Estúdio Áudio Patrulha

Computer Vax 11/700

Rock In Rio, 1985
Rock In Rio, 1985

Sarolta Zalatnay – Tükörkép (1980)

cover

Hungary. Following periods of successive habitation by Celts, Romans, Huns, Slavs, Gepids, and Avars, the foundation of Magyarország was laid in the late 9th century by the Hungarian grand prince Árpád. His great-grandson Stephen I ascended to the throne in 1000 AD, converting the country to a Christian kingdom. Hungary became a middle power and part of the Western world by the 12th century. After the Battle of Mohács and about 150 years of partial Ottoman occupation, Hungary became part of the Habsburg, and later formed part of the Austro–Hungarian Empire.

Hungary’s current borders were first established by the Treaty of Trianon (1920) after WWI. The country lost 71% of its territory, 58% of its population, and 32% of ethnic Hungarians. (!) On the side of the Axis Powers, Hungary also suffered great damages in WWII, during its four decades-long communist dictatorships (1947–1989), the country gained widespread international attention regarding the Revolution of 1956 and the seminal opening of its border with Austria in 1989, previously restricted by the Iron Curtain, which accelerated the collapse of the Eastern Bloc.

Traditional Dance and Costumes
Traditional Dance and Costumes

On 23 October 1989, Hungary again became a democratic parliamentary republic, and now it is a developed country, only standing behind Austria and Slovenia (its bordered countries) in HDI indices. Nowadays, Hungary is a very popular tourist destination attracting 10.2 million tourists a year!

Let’s go to our history:

The Hungarian Revolution of 1956 was a spontaneous nationwide revolt against the government of the People’s Republic of Hungary and its Soviet-imposed policies, lasting from 23 October until 10 November 1956. It was the first major threat to Soviet control since the USSR’s forces drove out the Nazis at the end of WWII and occupied Eastern Europe. Despite the failure of the uprising, it was highly influential and came to play a role in the downfall of the Soviet Union decades later.

Public Demonstrations
Public Demonstrations

The revolt began as a student demonstration, which attracted thousands as they marched through central Budapest to the Parliament building, calling out on the streets using a van with loudspeakers via Radio Free Europe. A student delegation entering the radio building to try to broadcast the students’ demands was detained. When the delegation’s release was demanded by the demonstrators outside, they were fired upon by the State Security Police (ÁVH) from within the building. As the news spread, disorder and violence erupted throughout the capital.

The revolt spread quickly across Hungary and the government collapsed. Thousands organized into militias, battling the ÁVH and Soviet troops. Pro-Soviet communists and ÁVH members were often executed or imprisoned and former prisoners were released and armed. Radical impromptu workers’ councils wrested municipal control from the ruling Hungarian Working People’s Party and demanded political changes. A new government formally disbanded the ÁVH, declared its intention to withdraw from the Warsaw Pact and pledged to re-establish free elections. By the end of October, fighting had almost stopped and a sense of normality began to return.

Women's Militia
Women’s Militia

After announcing a willingness to negotiate a withdrawal of Soviet forces, the Politburo (Central Committee of the Communist Party) changed its mind and moved to crush the revolution. On 4 November, a large Soviet force invaded Budapest and other regions of the country. The Hungarian resistance continued until 10 November. Over 2,500 Hungarians and 700 Soviet troops were killed in the conflict, and 200,000 Hungarians fled as refugees. (!) Mass arrests and denunciations continued for months thereafter, by January 1957, the new Soviet-installed government had suppressed all public opposition. These Soviet actions, while strengthening control over Eastern Europe, alienated many Western Marxists.

Stalin's Head
Stalin’s Head

But how music has been influenced over the years that followed? Let us understand a little that other context.

Hungarian popular music in the early 20th century consisted of light operettas and the Roma music of various styles. Nagymező Utca, the Broadway of Budapest, was a major center for popular music and boasted enough nightclubs and theaters. In 1945, however, this era abruptly ended and popular music was mostly synonymous with the patriotic songs imposed by the Russian Communists.

In 1956, however, liberalization began with the three Ts (tűrés, tiltás, támogatás, meaning toleration, prohibition, support), and a long period of cultural struggle began, starting with a battle over African-American jazz. Jazz became a part of Hungarian music in the early 20th century but did not achieve widespread renown until the 1970s, when Hungary began producing internationally known performers like the Benko Dixieland Band (below) and Bela Szakcsi Lakatos.

BDB
BDB

In the early 60s, Hungarian youths began listening to rock in droves, in spite of condemnation from the authorities. Three bands dominated the scene by the beginning of the 70s, Illés, Metró, and Omega, all three of which had released at least one Lp. A few other bands recorded singles, but the Record-Producing Company, a state-run record label, did not promote these bands, which quickly disappeared.

In 1968, the New Economic Mechanism was introduced, intending on revitalizing the Hungarian economy; in the 70s, however, the Russians cracked down on subversives in Hungary, and rock was a major target. (!) Illés was banned from performing and recording, while Metró and Omega left for exile. Some of the members of these bands formed a supergroup, Locomotiv GT, that quickly became very famous. Bands like Piramis and Skorpio kept the underground prog-rock scene alive. These bands also succeeded to get more in the mainstream by supporting female singers like Kati KovácsZsuzsa Koncz and Sarolta Zalatnay on their albums.

Locomotiv GT, 74
Locomotiv GT, 74′

But further, rock bands in the late 70s mostly had to conform to the Record Company’s demands and ensure that all songs passed the inspection of the Song Committee, who scoured looking for ideological disobedience (sic). Locomotiv GT was the most prominent band of a classic rock style, along with Bergendy. Meanwhile, the disco style of electronic music produced such performers as the officially-sanctioned and praised Neoton Familia and Judith Szűcs.

The following decades saw the entrance and growth of punk, new wave, clubbing, electronic dance, as well as the end of the (infamous) Record Production Company and with the fall of the wall greater freedom of expression and paths.

Let’s go to our album:

Sarolta Zalatnay born on December 14, 1947, as Charlotte Sacher, grew up in Budapest. At the age of 16 she auditions as a singer with the folk/jazz band Bergendy. They started recording old fashioned melodies but soon changed into more modern material. With the band she appeared in the Hungarian Television’s song contest named Táncdalfesztivál in 1963 with the song Hol Jár Az Eszem?

Mid 60s
Mid 60s

The band developed a style that would be known as Beat Ablak and Zalatnay was pushed forward as lead singer. In 1967 under her nickname Cini she won the contest with the song Nem Várok Holnapig, which was accompanied by the Hungarian rock group Omega. It gave her a chance for a study/trip to Paris and London in 1968-69 during which she got acquainted with the members of the Bee Gees group.

Back in Hungary in 1969 the musical climate already changed and with Metro, she records some singles before state label Qualitation releases her debut album Ha Fiú Lehetnék in 1970. Her breakthrough came when she performed in the alternative musical movie Szép Lányock, Ne Sírjatok. In 1971 she wins first prize in the Dance Song Contest with Fák, Virágok, Fény. With Locomotiv GT she started recording two follow up albums. Hitherto, her albums sold over 400.000 copies. (!)

70s Look
The 70s Look

In 1973 she broke with the LGT team to switch to Skorpio with whom she recorded the album Hadd Mondjam El including elements of funk, beat and synthesizer experiments. Responsible for this was pianist Gyula Papp. LGT meanwhile started to record with singer Kati Kovacs which turned competitive with Zalatnay. In 1974 she got married to Sándor Révész (singer of Piramis), but they divorced later on.

At the start of the eighties Zalatnay’s star started to fade next to a whole new musical scene, she turned to write an autobiography called New Vagyok En Apaca. In 1987 she married László Benedek and got a daughter in 1989. Since 1995 she also became active as chairman of the Hungarian Animal Protection and Nature Federation.

In 1995 she married her third husband Márton Csaba, a porn director. Although not a very faithful husband he swept Sarolta into a TV-production venture called CiNN TV, he also persuaded her to pose for Playboy! In 2004 she appeared in the Hungarian Big Brother days before she had to sit out a three-year prison sentence for tax fraud. This also was the end of her marriage. In prison she worked in a new book and in 2009 she performed again for a documentary about her life. In February 2009 she released a second biography with a new album Magadat Vállalni Kell.

After this little lesson, we will stick to the album, perhaps her last great commercial success from the 70s, again she is accompanied by a great band: Karthago. Headlong into the Disco wave his romantic side also emerges in certain moments, in whole this is a bit different from Hadd Mondjam El but still deserves your care.

Lately
Lately Portrait

Sarolta has the voice of Janis Joplin with a Hungarian temper, a nose for good bands and a lascivious body. She was there at the forefront in the sixties and seventies with bands like Omega, Locomotiv GT and Skorpio. A phenomenon in Hungary and hardly known outside. Her career after 1990 has been laced with dodgy marriages, uncontrolled TV appearances and being prey for the paparazzi. Lately, she gets some recognition abroad due to a finders-keepers re-press released in 2009.

The ‘IM’ highlights are: Add Vissza a Babaruhát, a heavy clavinet funky-disco with Sarolta’s harsh voice, boogie chorus, synth-strings, light percussion and an invitation to not leave the dance floor, get down! And Karnevál a Hungarian attempt to portray the carnival, this stimulant song brings us a little of folklore guitars, woodwinds and a great performance from the diva by the end. Jó Utat!

Tracks Include:

A1 Széttört Tükörkép

A2 Mondd Nekem

A3 Életképek

A4 Add Vissza A Babaruhát

A5 Mindig Kell Egy Barát

B1 R’ And R’

B2 Százszor Visszaadok Mindent

B3 Karnevál

B4 Hozzám Tartozol (feat. Máté Péter)

B5 Tükörkép

Credits

  • Backing Band – Karthago
  • Conductor (Orchestra) – Bolba Lajos
  • Directed by (Musical Director) – Kószás László
  • Engineer – Szita István
  • Written by – S. Nagy István, Máté Péter (A1 to A3, B1, B2, B5)
  • A4, A5, B3 and B4 by – Zalatnay Sarolta

Pepita ‎– SLPX 17612

Released in December, 1979

Budapest, Look On
Budapest, Look On