pop – 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

Martha Elefteriadu ‎– Kresby Tuší (1980)

Welcome back to you all! Needless to say, how thrill I am today with this spectacular album, a real kaleidoscope of genres brought you by one of the greatest artists in former Czechoslovakia. Getting to know her better, unfortunately, I noticed that this album was an odd point of alternation in its career, founded basically on Soul Beat and then Pop Folk.

Always side by side with her beloved sister, this unique solo entry has brought us so many colors that I wonder why she gave up on this very bold path. Anyhow, we present this one that should be revered as one of the milestone records from former Czechoslovakia and as if an entire constellation of musicians was not enough, its richness is present, in the arrangements, special participations, multiple orchestras, and lush atmosphere!

Does it look good to you? Because it is much more than you can imagine. Připravit Se!

Let’s go to our artist:

Martha Elefteriadu (September 12, 1946 Bulkes, Yugoslavia) is a Czech singer of Greek origin, half of the duo Martha a Tena, together with her sister Tena. Their family emigrated from Greece because of the Greek Civil War and settled in 1950 in former Czechoslovakia. Their mother died while they were children, so they grew up in orphanages, she spent her childhood with her sister, in many children‘s homes (more than five, actually), which were reserved for Greek refugees, including one in Ivančice.

At the end of the 1960s, the sisters met a guitarist Aleš Sigmund from band Vulkán, who helped them create strong creative and musical foundations. They worked in Vulkán between 1966 and 1970, partly with another sibling couple, Hana and Petr Ulrych.

Their first records are from 1968, in 1970 they released their first LP record with Panton Records Dál Než Slunce Vstává. They quickly established themselves in Czech Pop music also collaborating with many notable artists such as Skupina Aleše Sigmunda, Bob Frídl, Gustav Brom Orchestra, Pavel Novák, and Jiří Suchý. The gals managed to continuously be active reaching stardom throughout the 1970s with countless participations and prizes at festivals, musicals, plays, TV shows, and tours not only within Czechoslovakia. (!)

By the end of the decade, they had already released more than 30 albums and compacts! Ranging between pop-folk and Greek music. Martha later studied psychology, while at the same time devoted yourself professionally to music, since then, both sisters have been the stars of Czech popular music. Martha and Tena enriched Czech culture with their southern temperament and Greek spontaneity. At present, they focus mainly on the interpretation of Greek folk songs, the teaching of Greek dances, cuisine, books and occasionally performing, their latest album came out in 2005, besides greatest hits records and such.

Let’s go to our album:

How to understand a record that did not have a tour, who faced major problems with the censorship, and with modest participation in sales charts could bear the 1981 album of the year by Melodia magazine? Despite all these, (at least the critics seem to get it by the time) Kresby Tuší (Ink Drawings) remains intact by the passage of time thanks to its multiple composers, lyricists, orchestras (!) and gala participation of musicians like Michael Kocáb (arranger), but also by Dežo Ursiny, Vladimír Mišík, Vladimír Merta and Oskar Petr.

Martha delivers us a fabulous variation of art-rock, jazz, fusion, bossa nova, funk and more. It feels lush, dark and dense all over, but it also has its (brief) sunny moments.

The ‘IM’ highlights are Hrál Sis Hrál and Vítám Slunce Ranní.

Tracks Include:

A1 Dvě Kresby Tuší I.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A2 Měla Jsem Vždycky Smůlu
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

A3 Proměna
Lyrics By: Pavel Kopta
Music By: Vladimír Mišík

A4 Hrál Sis Hrál
Lyrics By: Pavel Fiala
Music By: Pavel Větrovec

A5 Výlet Po Řece
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

A6 Kde? Kdy? Já A Ty
Written By: Vladimír Merta

B1 Mám Ráda Běh
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

B2 Melancholická Noc
Lyrics By: Jiří Dědeček
Music By: Michael Kocáb

B3 Vítám Slunce Ranní
Lyrics By: Pavel Kopta
Music By: Dežo Ursiny

B4 Podzimní Odpoledne
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B5 Tohle Že Máš Být Ty?
Lyrics By: Martha Elefteriadu
Music By: Michael Kocáb

B6 Dvě Kresby Tuší II.
Lyrics By: Pavel Kopta
Music By: Michael Kocáb

Musicians

Acoustic Guitar, Harmonica, Vocals: Vladimír Merta (tracks: A6)
Bass Guitar, Contrabass: Ondřej Soukup
Drums: Ladislav Malina, Vratislav Placheta
Electric Piano, Piano, Synthesizer: Michael Kocáb
Guitar: Jiří Špidra, Martin Koubek
Percussion: Jiří Tomek
Harmonica: Ondřej Konrád

Backing Band (Studiová Skupina): Studiová Skupina Michaela Kocába

Oboe: Jiří Kaniak
Flute: Jiří Stivín
Clarinet: František Pušman
Alto Saxophone: Antonín Nachtman, Miroslav Krýsl
Baritone Saxophone: František Kryka
Clarinet, Tenor Saxophone: Jan Kubík
Tenor Saxophone: Bedřich Kuník, Milan Ulrich
Trombone: Jiří Doubrava, Josef Pavelka, Mirko Koželuh, Svatopluk Košvanec
Trumpet: Jiří Hlava, Laco Deczi, Vlastimil Voňavka, Zdeněk Šedivý

Strings: Jan Mráček, Jiří Fišer, Jiří Rajniš, Květomír Řezníček
Strings, Orchestra: Smyčcový Orchestr Oliver Dohnányi
Violin: Jan Hrubý

Vocals: Dežo Ursiny (tracks: B3),
Hana Hostková-Löfflerová (tracks: A2),
Helena Viktorinová (tracks: B5),
Lída Nopová (tracks: A2), Marie Jakoubková (tracks: A2, B5),
Michael Kocáb (tracks: B1), Tena Elefteriadu (tracks: B3)

Conductor (Smyčcový Orchestr Řídí): Oliver Dohnányi

Arranged By: Michael Kocáb

Credits

Cover: Václav Šimice
Engineer: Jan Štěpánek, Petr Podlešák
Photography By: Taras Kuščynskyj
Producer: Ondřej Konrád
Recording Supervisor: Pavel Kühn, Svatoslav Rychlý

Notes

Panton ‎– 8113 0039

Record Company: Panton, Vydavatelství Českého Hudebního Fondu
Recorded At: Studio Smetanova Divadla
Pressed By: Gramofonové Závody

Nahráno ve studiu Smetanova divadla v Praze, 1979—1980

Shahram and Shohreh ‎– Telésm (1984)

Okay, let’s go back in time a little bit and recall one of the all-time favs of the ‘IM’, the stunning Ramesh. We’re proud to visit Iran again, but first off, let me remember you to always check the COMMENTS section at every entry to listen to what is referred, in the end, all that matters is the music my dearest matelots stellaires, so do not miss.

This fantastic treasury includes two of one of the mighty artists Iran has ever brought to us, to be sincere, there’s a TON of talent that flourished throughout the country before the 1979 Revolution. Gradually we will enclose most of them and for that, we will stick only with the girl today, the all-time legend Shohreh Solati. Her partner Shahram Shabpareh, simply regarded as the father of pop music in Iran, soon will also be here.

Before we start one last thing, today’s album is exclusive, so please enjoy (only) with us!

Let’s go to our artist:

**Shohreh & Shahram Solati (her brother) – 70s**

Shohreh Solati (Persian: شهره صولتی) (born Fatemah Solati on January 4, 1957, in Sar-Cheshmeh) in Tehran to a well-to-do family of artists and entertainers, she developed an interest in music early on, singing at seven years of age. She later went on to study at the Tehran Conservatory of Music, where she received training in singing and the clarinet.

Her first album titled Dokhtar-e-Mashreghi (Persian for “Eastern Girl”) was successfully released in 1976 (even before she already had released a couple of singles), garnering a lot of notability, also, magazines directed toward the youth of Iran in the 1970s gave a ton of exposure to the singer. In a short period, she entered the hall of the Iranian celebs.

Shortly before the Revolution, Shohreh left Iran to perform in a series of concerts in the US and, due to restrictions imposed on entertainers by the new leadership, she wasn’t able to return. She moved to Los Angeles in 1982, settling with the exiled Iranian music industry performers of the 70s. Working with songwriters, composers, and arrangers such as Mohammed Moqadam, Jaklin, Siavash Ghomeishi, and Shubert Avakian, she produced, performed and released several new albums in an almost four-decade span.

**Zan-e Rooz Magazine – Dream Team Singers**

At the turn of the millennium, Shohreh continued releasing more albums outreaching her popularity beyond the borders of Iran. She has been credited to have given sold-out performances in the US, Canada, Norway, Denmark, Netherlands, Italy, Britain, Sweden, France, Switzerland, Germany, Cyprus, Turkey, Israel and beyond. (!)

She has had one of the most consistently active and prolific careers among contemporary, women Iranian singers who still remain. Having received recognition for her ability to continuously reinvent herself as well. Sometimes called the Iranian Madonna, Shohreh also has been referred to as the Queen of Scene, for her attention-grabbing music videos and stage presence, as well as the (majestic) Queen of Iranian Pop آیا کافی است؟

Let’s go to our album:

This second album of her career, in addition to being divided side by side with Shahram, has the special collaboration of Manuchehr Cheshmazer in the arrangements, it also has plenty of excellent American musicians in the backing band, giving a unique touch.

Tehran’s feast winds blow here with an unusual eastern feel between folklore, disco, rock and more. Manoochehr’s keys are truly hypnotic, allow yourself to get into that!

The ‘IM’ highlights are Telésm and Gomshodeh.

Tracks Include:

A1 Telésm
A2 Boro
A3 Rosva
A4 Mitoony
B1 Ghesmat
B2 Chera Rafti
B3 Adat (New Version of Hamvatan)
B4 Gomshodeh

Musicians

Keyboards: Manoochehr Cheshmazar
Guitar: Ardeshir Farah
Bass: Jerry Wats
Drums: Alfredo Reyes, Evan Caplan
Percussion: Shahram Shabpareh, Al Chak, Manouchehr Lashkari
Tonbak: Majeed Ghorbanian
Trumpets: Howie Shear, Rick Page
Tenor Sax: Bob Shepard
Trombone: Doug Wintz, David Stout
Viola: George Hunt, Nina Roma
Violins: Rony Barg, Mihel Moro, Tom Shanon, Edward B. Bone

Arranged By: Manoochehr Cheshmazar

Credits

Recorded & Mixed: Hit City West, LA, CA
Engineered By: Jason Bell
Photo: Orad Azarbeygui
Producers: Djahanguir Tabariai, Vartan Avanessian

Notes

Taraneh ‎– 125
Taraneh Enterprises INC. 1984 U.S.A.

Black Sugar – Black Sugar (1971)

Hello to all, we already covered a little bit of the Inca Rock scene in previous posts, so today we’re going straight to it. A band that is no surprise to all who enjoys Latin Rock, already discovered and re-released for the past decade Black Sugar feels closer to Malo than your correlated Peruvian brothers from the ’70. They’ve returned to play since the mid ’10, in spite of not having all its original members, so let’s attend to them and begin.

Let’s go to our artist:

Peru, Lima. An era marked by a military government that, after assuming power in 1968, brought, among many other consequences, the debacle of the first generation of Peruvian rock, discouraging everything that leaned towards the foreign, more precisely to the gringo. Black Sugar’s Latin touch was the safe-conduct for their survival within that hostile and repressive context of those harsh days (the entirety of Latin America).

The roots of this band are in a group called Los Far-Fen (in allusion to the musical communion between the Farfisa organ and the Fender guitar), formed at the end of the sixties by the guitarist Víctor “Coco” Salazar, to solely animate parties. The breakpoint of this stage as party entertainers occurred when his music reached the ears of Jaime Delgado Aparicio, one of the most transcendental musicians in contemporary Peruvian history of which very little is known, and who sadly died at age 40 in 1983 (RIP).

At that time, in the early ’70, the then young but already renowned Peruvian musician who graduated from the Berklee School in Boston had arrived in Lima after a season of musicalizing films in Italy and held the position of manager of Sono Radio, one of the most important record companies in the country. It is Delgado Aparicio who proposes to abandon the repertoire of parties and record an LP with (all) original material.

There the sound of the group was born.

As trumpeter Antonio Ginocchio recalls:

“The studio was gigantic, the size of a soccer field (laughs). I was prepared to record a big band, with modular rails, a 36-channel console… and since Jaime was the manager, we had all the hours we wanted. We never got tired, we were around 20 years old.”

Re-baptized as Black Sugar and sponsored by Jaime Delgado Aparicio, they endorsed for a season the modern recording studio owned by the label at the capital Lima. Songs like Too Late (who even hit the seventh place in the charts in Miami), Viajecito, The Looser and Funky Man made this album an immediate success throughout Peru back in 1971/72.

The group toured extensively over these years and around 1974 they released a (still successful) second entry at Sono Radio once more. By 1976 the group began to show an inclination towards the disco sound and this led to the departure of vocalist Carlos “Pacho” Mejía and Hermes Landa who was his manager since its beginnings. In addition to this, the curfew imposed by the military regime caused the contracts to begin to decrease substantially, hence this the original members began to abandon the ship.

Muevete, Muevete / La Camita 78 is their latest singles on 7-inch vinyl records by Corona Records, sadly it marks the departure release by the band in 1978-79.

Let’s go to our album:

With first-class musicians, superb arrangements and a passionate vocalist, the band owes nothing to the great Latin combos of its generation, in addition to compositions that overcame the question of time, their style is rather unique, with influences from Tower of Power, Blood Sweat and Tears and Chicago mixed with a Latin Funk flavor.

In the end, Black Sugar was a world-class Latin funk institution! And you can watch here as the band’s activities have resumed this past decade. Gracias Chicos!

The ‘IM’ highlights are The Looser and When You’re Walking.

Tracks Include:

A1 Too Late
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

A2 Viajecito
Arranged By: J.D.A. (Jaime Delgado Aparicio)
Written By: J.D.A., M.C. (Miguel “Chino” Figueroa)

A3 The Looser
Arranged By: M. Figueroa
Written By: Black Sugar, C. Mejía, M. Figueroa

A4 This Time
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

A5 Funky Man
Arranged By: J.D.A.
Written By: Black Sugar, J.D.A., V. Salazar

B1 Understanding
Arranged By: V. Salazar

B2 When You’re Walking
Arranged By: V. Salazar
Written By: Black Sugar, C. Mejía

B3 When I Needed Someone
Arranged By: J.D.A.
Written By: Black Sugar, C. Mejía

B4 Pussy Cat
Arranged By: J.D.A.
Written By: G. Halligan

Musicians

Acoustic Guitar, Guitar, Tambourine: Victor “Coco” Salazar
Alto Saxophone, Flute: Jorge Chávez
Bongos, Percussion (Tumbas): Coco Lagos, Miguel Salazar
Electric Bass: Roberto Valdez
Organ, Piano: Miguel “Chino” Figueroa
Percussion: José “Arroz” Cruz
Trumpet, Valve Trombone (Valve Bone): Antonio Ginocchio
Vocals: Carlos Mejía

Credits

Photography: Carlos Aramburú
Recorded By: Luis Temple, Manuel Bellido
Recorded By (Assistant): Willy Castro

Management: H. Landa
Mixed By, Producer: J.D.A.

Notes

Sono Radio ‎– S.E. 9432

Recorded and Mixed for P.M.I. at Industrial Sono Radio S.A. – Lima – Perú – Studio I.

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.