1.    "Doživjeti stotu" (Bregović) – 3:12
2.   "Lova" (Duško Trifunović, Bregović) – 2:49
3.    "Tramvaj kreće (ili Kako biti heroj u ova šugava vremena)" (Bregović) – 3:14
4.   "Hotel, motel" (Bregović) – 3:33				play
5.   "Pjesma mom mlađem bratu (iz Niša u proljeće '78)" (Bregović) – 4:14
6.    "Čudesno jutro u krevetu gđe. Petrović" (Bregović) – 2:29
7.    "Mogla je biti prosta priča" (Bregović) – 2:47
8.    "Ha, ha, ha" (Bregović) – 3:10				play
9.    "Zažmiri i broj" (Bregović) – 3:45
10.    "Pristao sam biću sve što hoće" (Trifunović, Bregović) – 3:01	

Musicians:
Goran Bregovic - guitar
Zeljko Bebek - vocals
Zoran Redzić - bass
Didi Jankelic - drums
Vlado Pravdic – keyboard
+
Paul Pignon - saxophone
Jovan Maljoković - saxophone
Predrag Kostić - trumpet
Jelenko Milaković - percussion    

The fifth studio album of BIJELO DUGME was very different from its predecessors. Goran Bregović wanted to make a decisive shift after the success of the previous album and what a change it was...

Inspired by the burgeoning New Wave sounds and the Ska revival that just splashed the Yugoslav music scene in 1980, he decided to make an album of concise, energetic, power pop and basic rock'n'roll songs. Production is stripped-down to basic rock song format stressing the beat, crisp guitar riffs almost without any solo parts and trendy synths.

Most of the songs are catchy and danceable tunes with post-punk energy and Ska/reggae elements, except the introspective ballad "Pjesma mom mlađem bratu" (En. "A Song To My Brother") having a slight prog touch and being the longest track at 4:14! The title track (En. "To Live One Hundred Years") reflects the topic of fear from getting old and how to live a healthy life, with ironic distance. It is a fiery ska'n'roll with excellent Jankelić's percussion, scoring a great hit. "Tramvaj kreće" (En. "The Tram Moves On") has a Bo Diddley-like guitar riff, saxophone and a slight blues hint, while "Ha, ha, ha" was another big hit with crazy punk/Ska rhythm and dance-invoking phrase "everybody now let's dance". Ever-growing Bregović's quasi-political references are most evident in the satiric portrait of the Yugoslav everyman character called Petar Petrović (something like English equivalent John Bull), to whom Bregović conveys a message that "everything has gone to hell/your dream is full of [&*!#]" in the track titled "Čudesno jutro u krevetu gđe Petrović" (En. "An Amazing Morning In The Bed of Mrs. Petrović")! Again, there were certain reactions in the media against the cursing words, but since the Yugoslav leader Tito had died a few months earlier, the situation was less serious than during "Bitanga i princeza" release. Other songs on this album are less important to mention.

This album also marks the end of the cover design cycle "female body parts" that started from their debut in 1974. After the breasts, the arse, the lips and the blue eye, now we got a real novelty in LP records graphic design in Yugoslavia: "Dozivjeti stotu" was printed in three different cover graphics - all depicting the female body before and after the plastic surgery in line with the title track theme - of the forehead, the chin and the breasts! I personally never liked the bloody images of actual surgery on the back covers, but the idea was probably to offer something curious to DUGME fans or collectors and force them to buy the same album three times if they wish to have all 3 images. The audience, however, did not buy this catch, so the initial print sold less than 100 thousand copies, which was the poorest of all previous albums.

Overall, "Dozivjeti stotu" is not a bad record and was actually the last album of DUGME that I bought and bothered to actively listen more than a few times. And it was the last work of Bregović containing the genuine urban rock and dance aesthetics before diving ever deeper into the cheap pop folk and mass manipulation and politicisation of the 1980s... However, it is also not entirely good, having too few original musical or even lyrical statements or instrumental elements. For the purpose of progressive rock community I would not call it even remotely interesting. ---Seyo, progarchives.com

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1.    "Kad bi' bio bijelo dugme" (If I were a white button) – 10:23
2.    "Blues za moju bivšu dragu" (Blues for my former dear) – 6:23
3.    "Ne spavaj mala moja muzika dok svira" (Don't sleep, my baby, while the music is  
         playing) – 2:30
4.     "Sve ću da ti dam samo da zaigram" (I'll give you everything just to dance) – 4:04 play
5.    "Selma" (Bregović/Vlado Dijak) - 6:09
6.    "Patim evo deset dana" (Here, I'm blue for ten days) – 4:51		play

Personnel:
    Goran Bregović - guitar, harmonica
    Željko Bebek - vocals
    Zoran Redžić - bass guitar
    Ipe Ivandić - drums
    Vlado Pravdić - Hammond organ, Moog synthesizer, electric piano, piano

BIJELO DUGME (The White Button) was the most popular and most commercial rock'n'roll band in the history of the music scene of the former Yugoslavia that helped establish rock music as a serious show-business. In a way, they did to Yugoslav popular music scene what THE BEATLES and THE ROLLING STONES did together in the Western rock world: providing both mass popularity and hysteria reminiscent of the Beatlemania (locally dubbed "Dugmemanija"), and the first true rock stardom depicting rock musicians as naughty wild boys capable to do anything they like on the Stones model. More than that, they offered to the domestic audience a genuine local version of rock music, blending it with Balkan folklore themes. This is their debut album ("If I Were A White Button") that was recorded and released in late 1974. The opening sounds of sheep (3 years before the FLOYD's "Animals"!) and shepherd's singing along with lyrics exploring the erotic stories of the rural hinterland of the Dynaride mountains immediately attracted attention of music journalists who labeled this style of music "pastirski rok" ("shepherds rock"). Although DUGME were not the first rock band in Yugoslavia who used folk and ethnic elements in the rock song format, they were usually blamed to have degraded the alleged urban "art" rock sensitivity and traded it with cheap, kitsch/thrash rural or suburban folk scene that was to reach its peak in the late 1980s with so-called "turbo-folk" or pop folk garbage mass-sellers. But let's leave that for some other topics... Musically speaking, this album is not very cohesive effort. It sounds a bit dated today but keeping in mind the time and place of its release, it must be recommended. Technically speaking, this is one of the first professionally recorded, produced and mixed rock albums in Yugoslavia. Vladimir Mihaljek (former TIME manager) did a good job as producer, while "Akademik" studio in Ljubljana with 16-channels mixer provided top-notch technical conditions. Basic rock'n'roll and boogie format with powerful guitar riffs, strong rhythm sections and soulful Bebek's vocals were married with folksy "pastirski rok" lyrics, providing catchy and danceable songs like "Ne spavaj mala moja muzika dok svira" ("Don't Sleep My Darling While The Music Is Playing" - its Chuck Berry-borrowed chords from "Rock'n'Roll Music" launched an instant hit!), "Sve cu da ti dam samo da zaigram" ("I'll Give You Anything For a Dance") and the weakest moment on the album, an obvious filler "Patim evo deset dana" ("I've Been Suffering Ten Days"). Other three tracks are however worthwhile contribution to the prog rock, especially to its "heavy" side. "Blues za moju bivsu dragu" ("My ex-Darling's Blues") is a very good blues rock modeled on the LED ZEPPELIN's "Since I've Been Loving You" style, with excellent Bebek's singing, Bregovic's guitar soloing and Pravdic's Hammond. "Selma" is a notable Hammond organ-laden prog ballad and the only track where the lyricist is not Goran Bregovic. Finally, the opening title track is a powerful heavy progressive composition with changes in structure and rhythms, displaying full prog rock capabilities of the band, which alas they were to employ rather sparsely throughout their career. This song was first released as 7" single under the band name JUTRO (not to be confused with Ljubljana's band of the same name). After the founder of JUTRO, Ismet Arnautalic (ex-INDEXI) left the group he banned the use of the name. Since the Bregovic-led line-up were already known for this song, they decided to adopt the name BIJELO DUGME on the New Year's Day 1974. The album was also notable for its cover image of a girl's breasts with a blue jeans shirt equipped with a "white button" badge. Graphic designer Dragan S. Stefanovic was to continue working for the future BIJELO DUGME album designs, while this one was allegedly included in a UK catalogue of 500 most beautiful rock covers, although I personally have not yet checked this info! Another curiosity surrounding this release has almost a myth-like proportion and it again astonishingly resembles THE BEATLES case of denial by a major music company. Six months prior to recording an album, DUGME wanted to sign a record contract with their hometown Diskoton label in Sarajevo in order to release a few singles. The manager turned them down explaining "not now, guys, but please come to see me again in six months..." Bregovic allegedly replied "in six months we will be the stars..." And he was no wrong. They were signed for Zagreb's Jugoton label. ---Seyo, progarchives.com

Bijelo dugme, Бијело дугме (serb., chor. i bosn. Biały guzik) - legendarny, jugosłowiański zespół rockowy z Sarajewa. Działał w latach 1974-1989. Uznawany jest za najpopularniejszy zespół muzyczny w historii Jugosławii.

Zespół Bijelo Dugme został założony przez Gorana Bregovicia, który uczęszczał do szkoły muzycznej, w klasie skrzypiec, lecz został usunięty za brak talentu. Wkrótce po tym matka kupiła mu gitarę i od tego czasu rozpoczęła się historia zespołu. W wywiadach Goran Bregović często twierdził, że głównym powodem powstania zespołu był fakt, że muzykowi łatwiej było poderwać dziewczyny. Liderem, autorem muzyki i tekstów Bijelo Dugme był Goran Bregović z nielicznymi wyjątkami jak np.: Ima neka tajna veza, Glavni junak jedne knjige, A milicija trenira strogoċu, Šta bi dao da si na mom mjestu, Pristao sam biću sve što hoće (Duško Trifunović), Da sam pekar, Selma (Vlado Dijak), Loše vino (Arsen Dedić).

Po skompletowaniu pierwszego składu zespołu, wtedy pod nazwą Jutro (Poranek), muzycy chcieli nagrywać dla sarajewskiej wytwórni płytowej Diskoton, lecz nie zyskali jej aprobaty. Inna wytwórnia - Jugoton zaproponowała im nagranie singla pt. Kad bi' bio bijelo dugme (Gdybym był białym guzikiem). Po wydaniu singla menadżer zespołu przekonał Bregovicia do zmiany nazwy zespołu na Bijelo Dugme. Z wokalistą Željko Bebekiem Bijelo Dugme wkrótce stał się gwiazdą muzyki rockowej w całej Jugosławii. Szczytowy okres ich kariery przpadał na 1979 rok - wydanie albumu Bitanga i Princeza. Album ten uznany został za najbardziej dojrzały w okresie współpracy z pierwszym wokalistą grupy - Željko Bebekiem.

Na przełomie lat 70. i 80., wraz z pojawieniem się licznych zespołów nowofalowych, popularność Bijelo zaczęła spadać, na co zareagowali wydając w 1980 roku album Doživjeti Stotu (Dożyć setki).

W 1984 roku Željko Bebek opuścił zespół i rozpoczął karierę solową, a zastąpił go Mladen "Tifa" Vojičić i w tymże roku został wydany następny album pt. Bijelo dugme (potocznie nazywany "Kosovka djevojka" od obrazu na okładce płyty). Ze względu na konflikty personalne Vojičić został zastąpiony przez Alena Islamovicia, który poprzednio był wokalistą grupy heavymetalowej Divlje Jagode. Z Islamoviciem grupa nagrała kolejne trzy inspirowane folkiem płyty.

W 1989 roku, oficjalnie w związku z chorobą Alena Islamovicia, zespół uległ rozwiązaniu. Jednak przypuszcza się, że u podłoża rozpadu grupy legł fakt, iż Bijelo Dugme był symbolem jedności Jugosławii i jej narodów.

Najpopularniejsze przeboje zepołu to m.in.: "Kad bi' bio bijelo dugme", "Selma", "Tako ti je mala moja kad ljubi bosanac", "Eto! Baš hoċu", "Top", "Ne spavaj mala moja muzika dok svira", "Hop-cup", "Lipe cvatu", "Đurđevdan", "Ima neka tajna veza", "Loše vino", "Kad zaboraviš juli", "Hajdemo u planine", "Bitanga i princeza", "Napile se ulice", "Pljuni i zapjevaj moja Jugoslavijo", "Ružica si bila", "Sanjao sam noćas da te nemam", "Te noći kad umrem", "Nakon svih ovih godina" i wiele innych ...

Członkowie Bijelo Dugme ponownie się połączyli w 2005 roku dla trasy 3 koncertów pożegnalnych, które odbyły się w Sarajewie, Zagrzebiu i Belgradzie. Wzięli w nich udział wszyscy trzej wokaliści, ale zabrakło perkusisty Gorana "Ipe" Ivandicia, który zmarł tragicznie w 1994 r.

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1.    "Tako ti je mala moja kad ljubi Bosanac" – 3:52	play
2.   "Hop-cup" – 2:18						play
3.    "Došao sam da ti kažem da odlazim" – 3:36
4.    "Ne gledaj me tako i ne ljubi me više" – 6:46
5.    "Požurite konji moji" – 7:17
6.    "Bekrija si cijelo selo viče e pa jesam, šta se koga tiče" – 2:47
7.    "Šta bi dao da si na mom mjestu" – 7:42

Personnel
    Goran Bregović - guitar, harmonica
    Željko Bebek - vocals
    Zoran Redžić - bass guitar
    Ipe Ivandić - drums
    Vlado Pravdić - Hammond organ, Moog synthesizer, electric piano, piano

"What Would You Give To Be In My Place" is the title of the second BIJELO DUGME album, which was released in late 1975. In the course of that year the band already reached stardom, so Bregović decided to invest a lot in the new studio album. The record was devised and the songs were written in a small village Borike, up the country in Eastern Bosnia, known for a horse-breeding ranch. The environment was influential to the overall, almost concept-like idea of the album, starting from the cover image, inside photographs and lyrics, thus making a highlight of the so-called "pastirski rok" (Shepherd's Rock) style.

Recording and mixing was done at London's Air Recording studios with the assistance of sound engineer Peter Handerson (later to produce SUPERTRAMP's "Breakfast in America") and producer Neil Harrison (also worked with British art/glam rock outfit COCKNEY REBEL). At the same time the contemporary stars like ROXY MUSIC and T. REX used the studio. The music production was unprecedented within the currently established musical business in Yugoslavia and the sales were enormous. During the first year upon its release, the album sold in almost 245 000 copies, forcing their label Jugoton to introduce the "Diamond Record" award. It was the first LP record in any music genre that was sold in more than 100 thousand copies in Yugoslavia. This period saw the mass popularity and teenage hysteria that media dubbed "Dugmemanija", mirroring the similar happenings a decade earlier in England. Even the Communist-led establishment now began to wonder if this all was a real cultural threat from the "Capitalist West" ready to corrupt the "healthy socialist youth"! What the hell happened?

Simply, in order to survive and to enable musicians to make a living out of rock music, Yugoslavian rock scene had to be "domesticated". Prior to DUGME, the rock bands from the 1960s and early 1970s (for example, INDEXI, KORNI GRUPA) were forced to play by the easy-listening pop music (Schlager) rules if they wanted to sell their music. Now, DUGME came and showed that true r'n'r standard template could provide the same success but only if topically informed with the local, rural, Balkans, peasant, highlander folklore themes.

The four songs on this album explore the "pastirski rok" themes of rural eroticism, the male-dominant macho figure of a simple, primitive, jovial and essentially naive but good-hearted youngster from the countryside, always prone to excessive partying, sex, alcohol and carefree lifestyle. "Tako ti je mala moja kad ljubi Bosanac" ("That's The Way, My Baby, When a Bosnian Man Makes Love") was a smash hit abusing the myth of Bosnians as unprecedented lovers, "Hop-cup" ("Hanky-Panky") was a simple and silly cow-bell spiced pop dance song that Bregović admitted to have publicly renounced its authorship, while a ridiculously long-titled "Bekrija si cijelo selo viče, e pa jesam, sta se koga tiče" ("The Whole Village Cries Gambler, So I Am, That's None Of Your Business") celebrates "ćeif", an easy-going lifestyle without sense of duty or obligation whatsoever, all for the sake of pure pleasure. "Pozurite konji moji" ("Rush, My Horses") has the lyrics evoking the pseudo-historical epic of a young man waiting for his horses in the middle of the night to take him to his darling. The lyrics of all these are written in the style of Balkan folk epic tales and of extremely popular contemporary (so-called "newly composed") folk music.

Bregović was once quoted to have said: "Our reason for success is a genuine Yugoslav one - we cannot neglect the fact that our fathers and grandfathers lived in the rural countryside and worked with horses or toiled on the land; that's why I always say that we are the children of the peasants.... However, we don't look like the ones - we are the Europeans with peasant genes..." It is remarkably similar to the characterization of the music of CREEDENCE CLEARWATER REVIVAL as "the amalgam of rock technique and folk spirit; the music of the country has been urbanized, while the music of the city evokes the country life with nostalgia" (see Torgue, Henry. "La Pop-Music et les Musiques Rock". Originally published 1975 in France)

On the musical side, the production is very good, crystal clear, with assortment of instruments usually found in prog rock. Pravdić is brilliant on Hammond organ, Moog synth, Mellotron, Clavinet and piano. Bregović plays both acoustic and electric guitars with several excellent solo slide moments. The whole album sounds very "heavy progressive", and influence from the major hard rock acts like DEEP PURPLE, LED ZEPPELIN or URIAH HEEP are obvious. Even physically, Bregović in this period looked like Jimmy Page with Gibson Les Paul and Bebek sported an "afro" hairstyle with tiny mustaches like David Byron.

"Dosao sam da ti kazem da odlazim" ("I've Come To Tell You I Am Leaving") is a blues ballad with nice organ, piano and effective guitar solo. "Ne gledaj me tako i ne ljubi me vise" ("Don't Look At Me Now and Stop Kissing Me") is driven by a dark and heavy bass and organ riff accompanied by Mellotron. Surely this is one of the best and most powerful DUGME songs. The flipside of the LP continues with aforementioned "Horses", which starts with strong rhythm section resembling GOLDEN EARRING in their most popular tracks "Radar Love" and "Are You Receiving Me". Despite its folksy lyrics, the composition is rather symphonic in arrangement. Samples of rainstorm, horse-running and echoed/reverbed Bebek's vocals provide rich ambient for further atmospheric touches of Mellotron and Moog. "Bekrija" is a simple rock'n'roll song with somewhat glam rock sensation, the lead-in drums pattern sounding like SWEET in "Ballroom Blitz". Finally, the title track is another prog rock gem. It starts with acoustic guitars and Mellotron providing nice melodic intro in the vein of FOCUS ("Le Clochard"). The following section is a heavy organ- laden blues, which kicked start the rolling ball of urban myths that Bregović was simply a plagiator. This main theme is oddly similar to ARGENT's "I Am a Dance of Ages" from the album "All Together Now" from 1972! Nevertheless, it is an awsome composition with many changes of tempo and themes where Bebek provides one of his best vocal performances. The coda is again an acoustic piece with guitars and Mellotron with slight MAGNA CARTA hints.

What to say - this is one of the key rock albums in the history of Yugo music and its importance is hard to overestimate. DUGME would make more popular and commercial albums in the future, but it would hardly produce a more cohesive rock statement. If you ever come across this album, and it has been reissued several times on CD, just grab it like that nasty macho hand grabs the female behind on the sleeve cover! ---Seyo, progarchives.com

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1 	Izgledala Je Malo Čudno U Kaputu Žutom Krojenom Bez Veze 	
2 	Loše Vino 	
3 	Eto! Baš Hoću! 	
4 	Dede Bona, Sjeti Se, De, Tako Ti Svega 	
5 	Slatko Li Je Ljubit Tajno 	
6 	Ništa Mudro 	
7 	Ne Dese Se Takve Stvari Pravome Muškarcu 	
8 	Sanjao Sam Noćas Da Te Nemam

Alto Saxophone – Benjamin Newson
Backing Vocals – Joy Yates, Stevie Lange, Val Stokes
Drums – Milić Vukašinović - Mića
Guitar, Harmonica, Music By – Goran Bregović
Keyboards – Lazo Ristovski
Tenor Saxophone, Baritone Saxophone, Alto Saxophone – Raphael Ravencroft
Trombone – Alf Waite Jr.
Trumpet – David Defries
Vocals, Bass – Željko Bebek

Although, having in mind Goran Bregović's habit and nerve for trends and currents in popular music business, it is hard not to notice obvious influences from the Glimmer Twins on this album. "It's Only Rock'n'Roll But I Like It" slogan had its Yugoslavian appearance in BIJELO DUGME's "Nista mudro" on this album. - "It's only rock'n'roll/Nothing wise/And nothing else/But I just like it" - sings Zeljko Bebek. A powerful statement that might be justified by the circumstances in which the band was frequently getting accused of alleged "westernisation" of Yugoslavian "Socialist Youth" by the establishment and of "ruralisation" of alleged urban rock aesthetics by some rock journalists. Bregović replied to both: "Give me a break, this is all just a joke, a fun, a rock'n'roll". Of course, Bregović was more clever than that - in later career he knew how to use politics and mass manipulation to his interest, which coincided with ever poorer musical works. But, let's get back to "Eto! Bas hoću!" (En. "So! I Want!").

Ironically, the mentioned "Nista mudro" (En. "Nothing Wise") is among the weakest moments on the album, with unconvincing, largely worn-out boogie format that even the horn section could not amend. Still, it spawned a huge hit and lent its title to the first serious rock biography of BIJELO DUGME written by esteemed rock journalists Darko Glavan and Drazen Vrdoljak.

In this period Bregović liked to give long titles to the songs, thus the opener is named "Izgledala je malo čudno u kaputu zutom krojenom bez veze" (En. "She Looked Somewhat Strange In That Badly Designed Yellow Coat"). Silliness aside, this is excellent, powerfull track with strong and heavy bass rhythm resembling a bit "Gamma Ray" by BIRTH CONTROL and featuring a wonderful Bregović's solo on the largely forgotten vintage 70s device - a "Talkbox" with guitar! Guest keyboardist Laza Ristovski (ex-SMAK, replaced Vlado Pravdić who served the Army) provides nice Hammond organ chords.

"Lose vino" ("Bad Wine") is piano-led ballad written by chansonier Arsen Dedić and here it refreshes the band's romantic and slightly symphonic manner, which is assisted by strings and choir arrangements. There's also a short but memorable solo on electric guitar. The title track is another big hit with silly lyrics, heavy rock structure, excellent drumming by another new mamber Milić Vukasinović (replaced another unvoluntary soldier Ipe Ivandić) and a sort of reverb effect sounding like a vacuum cleaner or rocket launcher.

The legacy of "pastirski rok" is still present in the following two songs - strong and uptempo "Dede bona sjeti se de tako ti svega" ("Please Baby, Try To Remeber") with folky guitar licks and fiery organ solo, and a less convincing "Slatko li je ljubit tajno" ("Oh How Sweet It Is To Love") with its folkish/reggaeish rhythm section. After the negligable "Ne dese se takve stvari pravome muskarcu" (En. "It Doesn't Happen to a Real Man"), the album is brought to an end by the powerful symphonic ballad and one of the best and most popular DUGME songs, "Sanjao sam noćas da te nemam" (En. "I Have Dreamed Last Night That I Lost You"). Although largely taken as a love song, it is in fact a song about death and musically it is indeed eerie and dark sounding with somewhat pompose arrangement featuring Mellotron, choir and brass sections.

Production is again very professionally done at London with the same producer from the previous album, Neil Harrison. "Eto! Bas hoću!" is very good album, one of DUGME's best, and if it's slightly less convincing than its predeccessor, it is because it repeats certain elements from "Sta bi dao...". However, it is still very good heavy rock album, one of the best in that genre in Yugoslavian music scene. ---Seyo, progarchives.com

„Biały guzik” to już zespół legendarny, rockowa wizytówka Jugosławii i dowód na to, że za żelazną kurtyną też potrafili grać z czadem. Gitarzysta i założyciel Goran Bregović (autor słynnego „Prawy do lewego”!) oraz wokalista Željko Bebek byli siłą napędową zespołu w pierwszych latach działalności. Wtedy to kapela nagrała płyty, które stały się kamieniami milowymi jugosłowiańskiego rocka. Dzisiaj przypomnę trzecie studyjne dzieło grupy, wydany w 1976 roku album „Eto! Baš hoću!”.

Otwierający album hard-rockowy „Izgledala je malo čudno u kaputu žutom krojenom bez veze” kołysze ciekawym rytmem, wielogłosowe zaśpiewy dodają folkowego uroku, a Goran popisuje się używając „zachodnich” zabawek (talk-box). Balladka „Loše vino” studzi atmosferę, +10 za oddanie nastroju przez wokal Bebeka i łkającą gitarę Bregovicia! I ruszamy znowu! Utwór tytułowy powala współpracą Hammondów i gitary. Panowie chyba kierowali się Page’owską zasadą „światło i cień”;). „Dede bona…” z nietypowymi brzmieniami syntezatorów i rytmem jest chyba najbliższe rodzimym brzmieniom. Jeszcze ciekawiej robi się, kiedy dwie nałożone na siebie gitary grają „ludowy” motyw unisono. O „Slatko li je ljubit' tajno” ktoś kiedyś powiedział, że to najsłabszy utwór na płycie. Według mnie wręcz przeciwnie! To solidny, mocny rocker z obowiązkową nutką folku. Mało interesujący jest natomiast „Nista Mudro”, taki typowy rock ‘n’ roll, jakich Bijelo miało w repertuarze kilka (niestety). „Ne dese se takve stvari pravome muškarcu” nawiązuje do funkowo-soulowych grup amerykańskich, które w latach 70. wyrosły jak grzyby po deszczu. I na koniec prawdziwy killer! „Sanjao sam noćas da te nemam" – ARCYDZIEŁO! Rośnie i rośnie aż do wielkiego finału (polecam wersję koncertową), gdzie dołączają wielogłosy i instrumenty dęte (mamy wrażenie, jakby grała cała orkiestra). Utwór na miarę brytyjskich progresywnych tuzów.

Bijelo Dugme rocka nie zmieniło, ale czy to ważne? Najważniejsze, że ta muzyka porusza. Goran i spółka udowodnili, że można śpiewać w rodzimym języku oraz czerpać z ojczystego folku i wcale nie będą to ludowe przyśpiewki. Do dzisiaj są uwielbiani w Jugosławii, świadczą o tym choćby reaktywacyjne koncerty z 2005 roku, na które bilety zostały wyprzedane w ciągu kilku godzin, a występy obejrzało ponad 180 tys. widzów. POLECAM – szczególnie pierwsze pięć albumów! ---Patryk "Ernie" Skorupski, artrock.pl

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