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TOCAK, RADOMIR MIHAJLOVIC – Modifans vom Album R.M. Tocak
Radomir Mihajlovic Tocak biography
Radomir Mihajlovic "Tocak" is guitarist, composer and leader of the band SMAK. His playing style is characterised by mixture of emotional expression and unique technique. Among other things, his specific style includes skillful fingerpicking and vibrato techniques. In many compositions he uses non-standard string tunings along with natural effects obtained from the guitar amplifier. For a long time he's been running his own guitar school.
As a solo artist he took part in many recording sessions of other bands. Together with Slobodan Stojanovic on drums and Mikica Milosavljevic on bass, he is playing in a trio called TEK. He also composed soundtracks for film and theatre, and in 1994 he was awarded for the "Byzantine Blue" film score. Tocak is also engaged in experimenting with computers while composing. His nickname means "the wheel" because he got a tattooed wheel on his right hand as a memory of his father - a wheelmaker.
Adapted from SMAK official Web site, by Sead S. Fetahagic
Why this artist must be listed in
www.progarchives.com :
One of the most celebrated ex-Yugoslavian guitarists with unique and experimental playing technique.
Discography:
R.M. Tocak, studio album (1976)
Vizantijsko plavo, studio album (1993)
Ripaille - Le Sabbat Des Sorcieres vom Album La Vieille Que l' on Brula
Allgemeine Angaben
Erscheinungsjahr: 1977
Besonderheiten/Stil: Konzeptalbum; Folk; Klassischer Prog
Label: Musea
Durchschnittswertung: 12/15 (3 Rezensionen)
Besetzung
Patrick Audouin grand piano / fender rhodes / spinet / synthesizers / acoustic guitar / tubular bells / rattle / cymbals / vocals
Patrick Droguet acoustic and electric guitars / triangle
Michel Munoz drums / rototoms / cymbals / crotales
Gerard Duchemann lead vocals / synthesizers / string ensemble / spinet
Jacquy Thomas bass / string ensemble / vibes / tambourine / vocals
Michel Santangelli drums (tracks 10-12)
Gastmusiker
Hughes de Courson rototoms / crumhorn
Robert Le Gall violin
Alain Hergouarch tambourine
Emmanuelle Parrenin triangle / vocals
Jo Courtin accordion
Pierre Holassian alto saxophone
Bruno Menny sound effects
Tracklist
Disc 1
1. fils de la lune 4:26
2. le jardin des plaisirs 5:35
3. il n'y a plus rien 3:26
4. satane jardin 2:38
5. la veuve de Nicolas Kremer 5:05
6. le sabbat des sorcieres 3:52
7. les loups 2:37
8. la vieille que l'on brula 3:51
9. epilogue 4:15
10. ah, faut profiter (bonus) 5:07
11. gratis et en plein air (bonus) 4:10
12. les chameaux (bonus) 5:20
Gesamtlaufzeit 50:22
Rezensionen
Von: Jürgen Meurer @ (Rezension 1 von 3)
Ripaille war (leider) in der französischen Prog-Szene der 70er Jahre nie ein großer Name, daher hat die CD-Wiederveröffentlichung durch Musea kaum für viel Aufsehen gesorgt. Ich weiß zwar nicht, ob noch jemand meine Vorliebe für dieses Album teilt, aber ich halte dieses Werk für außergewöhnlich und es durchaus für angebracht, es an dieser Stelle vorzustellen.
Produziert wurde „Die Alte, die man verbrannte“ (meine Französischkenntnisse sind recht mickrig, aber etwas in der Art bedeutet dies wohl – falls nicht, bitte korrigieren) im Jahre 1977. Das Albumcover hatte mich damals neugierig gemacht, ein Blick auf die Besetzungsliste bestätigte mir, dass ich mal in das Album hineinhören sollte. Und die Musik, die mir dann entgegenkam, faszinierte mich sofort.
Die Vinylversion war seinerzeit bei Ballon Noir erschienen, das einen ersten Hinweis auf einen gewissen Folk-Anteil liefert. Die Coveraufmachung ist recht düster, dazu passend der Untertitel “une farce satanique“.
Und nicht nur das Cover strahlt eine eigenwillige Atmosphäre aus, die präsentierte Musik steht in nichts nach. Ripaille spielen einen eigenwilligen Mix aus Folk, Symphonik-Rock, Mittelalter-Sound und auch mal leichten Jazz-Schlenkern. Die düsteren Parts werden meist von den Keyboards dominiert, beschwingte Fröhlichkeit äußert sich eher in den folkigen Abschnitten. Primär stammen die Musiker aus dem Folk-Umfeld, sie waren in Bands wie Triskell, Ys, Dan Ar Bras etc. involviert.
Nahe liegend ist jetzt, Ripaille mit Gryphon zu vergleichen. Und dies lasse ich als groben Anhaltspunkt auch durchgehen, wobei speziell die beiden letzten Gryphon-Alben eine Facette der Ripaille-Musik ganz gut trifft.
Andererseits wird gelegentlich sogar Gentle Giant-Ähnliches zu Gehör gebracht. Keyboards wie auch Gitarre liefern gute Arbeit ab, diverse Perkussionsinstrumente werden einfallsreich eingesetzt, und auch die durchaus variablen Gesangspassagen (natürlich in Französisch) passen hervorragend ins Gesamtkonzept.
Zum Keyboardsound sei noch angeführt, dass hier nicht die typische Version Marke Ange oder Mona Lisa gefahren wird – eher vielleicht vergleichbar mit der französischen Band Memoriance, deren zweites Album stilistisch ähnlich ausfällt (übrigens ohne Mellotron). Das Debütalbum von Memoriance wird übrigens demnächst bei Musea ebenfalls wieder veröffentlicht. Ich hoffe, sie legen dann auch deren (besseres) zweites Album nach, das stilistisch ähnlich ausfällt wie Ripaille.
Aber zurück zu Ripaille: 1980 hatten sie Material für ein zweites Album zusammengestellt, doch dummerweise gab es finanzielle Probleme, und schließlich löste die Band sich auf. Die Musea-Verantwortlichen haben sich natürlich mal wieder viel Mühe gemacht, und letztlich waren sie auch erfolgreich, denn sie konnten immerhin noch 3 Songs aus dieser Zeit als Bonus-Material sichern.
Musikalisch legen sie hier eine kleine Kurskorrektur vor, aber auch dieses Material weiß mich zu überzeugen. Jetzt geht es mehr in Richtung klassischer Prog, an manchen Stellen in der Tat an Ange erinnernd.
Ein wirklich sehr eigenwilliges Album. Nie wirklich schräg, aber auch nie glatt und eintönig.
Indexi – More vom Album Modra Reuka
Studio Album, released in 1978
Songs / Tracks Listing
1. Modra Rijeka (1:01)
2. Blago (4:05)
3. Brod (5:00)
4. More (11:19)
5. Zapis O Zemlji (0:38)
6. Slovo O Covjeku (5:52)
7. Pustinja (4:32)
8. More II (4:19)
9. Modra Rijeka II (6:51)
Total Time: 43:37
http://www.progarchives.com/pr…52009.jpeg
Indexi war eine jugoslawische Rockband, die 1962 in Sarajevo gegründet wurde.
Zunächst spielten die Indexi instrumentale Coverversionen westlicher Musik, begannen aber 1967, eigene Stücke zu komponieren. Zwischen 1964 und 1981 nahmen sie zahlreiche Schallplatten auf, danach folgten nur noch vereinzelte Auftritte.
Zu ihren bekanntesten Stücken gehört Bacila je sve niz rijeku (Sie hat alles in den Fluss geworfen), das von zahlreichen anderen jugoslawischen Bands (z. B. Crvena Jabuka) gecovert wurde.
Mitglieder der Band waren:
Davorin Popović (1946–2001), Sänger
Slobodan A. Kovačević, Gitarre
Fadil Redžić, Bass
sowie wechselnde Schlagzeuger (z. B. um 1974/75: Milić Vukašinović, * 1950) und Keyboarder (z. B. um 1964–1968: Kornelije Kovač, * 1942).
Nach dem Tod ihres Sängers löste sich die Band endgültig auf.
Indexi biography
INDEXI were one of the earliest and most enduring bands in ex-Yugoslavia that enjoyed popularity across generations of the followers of rock music. The band was founded in 1962 in Sarajevo, Bosnia, and soon became synonymous to the so-called "Sarajevo Pop School" scene. Since all the members were university students, they had easily chosen the name for the band - INDEXI (plural of "index", a student's blue book for writing exams and attendance). In the beginning they played mostly instrumental covers of popular hits, but around 1967 started composing their own songs. The core line-up consisted of Slobodan A. Kovacevic-guitar, Fadil Redzic-bass and Davorin POPOVIC-vocals, while they frequently changed drummers and keyboard players. Similar to KORNI GRUPA, INDEXI led two parallel careers: the one as a popular band recording numerous singles and EPS, and performing at the pop festivals of easy listening "schlager" music; and the other one as a pioneering progressive band, which had recorded allegedly the first song lasting over 10 minutes in former Yugoslavia, "Negdje na kraju u zatisju" in 1969.
At the beginning of the 70s INDEXI toured extensively and played at many pop festivals, making plans at the same time for recording their first LP album. Producers in the phonographic companies, however, insisted on their making hit-singles only. In this period they played in Soviet Union, Poland and Bulgaria in addition to frequent concert performances across Yugoslavia. This period saw the release of the legendary "Plima" single in 1972, a composition that had been recorded back in 1968 and featured one of the most memorable guitar solos in the Yugoslavian rock-scene, courtesy of Kovacevic. The rest of their career from mid-70s through 90s they occasionally recorded singles and appeared in concerts at random, deliberately avoiding temptations of a typical rock and roll life-style. Having their regular jobs apart from the band, they never bothered to pursue a commercial career unless they felt ready to perform and record together. This is why perhaps they maintained their longevity for 35+ years. Their music is characterized by a dominant organ sound with distinguished guitar, mirroring influences from PROCOL HARUM, THE BEATLES, or early DEEP PURPLE.
Oddly enough, during almost four decades of the music career, INDEXI have managed to record only two prop...INDEXI were one of the earliest and most enduring bands in ex-Yugoslavia that enjoyed popularity across generations of the followers of rock music. The band was founded in 1962 in Sarajevo, Bosnia, and soon became synonymous to the so-called "Sarajevo Pop School" scene. Since all the members were university students, they had easily chosen the name for the band - INDEXI (plural of "index", a student's blue book for writing exams and attendance). In the beginning they played mostly instrumental covers of popular hits, but around 1967 started composing their own songs. The core line-up consisted of Slobodan A. Kovacevic-guitar, Fadil Redzic-bass and Davorin POPOVIC-vocals, while they frequently changed drummers and keyboard players. Similar to KORNI GRUPA, INDEXI led two parallel careers: the one as a popular band recording numerous singles and EPS, and performing at the pop festivals of easy listening "schlager" music; and the other one as a pioneering progressive band, which had recorded allegedly the first song lasting over 10 minutes in former Yugoslavia, "Negdje na kraju u zatisju" in 1969.
At the beginning of the 70s INDEXI toured extensively and played at many pop festivals, making plans at the same time for recording their first LP album. Producers in the phonographic companies, however, insisted on their making hit-singles only. In this period they played in Soviet Union, Poland and Bulgaria in addition to frequent concert performances across Yugoslavia. This period saw the release of the legendary "Plima" single in 1972, a composition that had been recorded back in 1968 and featured one of the most memorable guitar solos in the Yugoslavian rock-scene, courtesy of Kovacevic. The rest of their career from mid-70s through 90s they occasionally recorded singles and appeared in concerts at random, deliberately avoiding temptations of a typical rock and roll life-style. Having their regular jobs apart from the band, they never bothered to pursue a commercial career unless they felt ready to perform and record together. This is why perhaps they maintained their longevity for 35+ years. Their music is characterized by a dominant organ sound with distinguished guitar, mirroring influences from PROCOL HARUM, THE BEATLES, or early DEEP PURPLE.
Oddly enough, during almost four decades of the music career, INDEXI have managed to record only two proper studio albums. "Modra rijeka" from 1978 is nevertheless a pinnacle of the Yugoslavian progressive rock. A highly elaborated concept album based on the lyrics of the one of best-known Bosnian poets, Mak Dizdar, offers great musicianship in the manner of symphonic-style prog similar to YES for example. The second album, "Kameni cvjetovi" was released 1999 and is more mainstream rock oriented. In 2001 a trademark vocalist of INDEXI, Davorin Popovic died so the story of the band thus ended. The final posthumous release was a double live CD "Poslednji koncert u Sarajevu".
Recommended for listening is the first album "Modra rijeka", which is an essential work, as well as any of countless legal or semi-legal CD compilations with some famous hit-singles.
: : : Sead S. Fetahagic, BOSNIA: : :
DISCOGRAPHY:
1. "Indexi" (Jugoton 1974) compilation
2. "Indexi" (Diskoton 1977) compilation
3. "Modra rijeka" (Jugoton 1978) CD
4. "Sve ove godine" (Diskoton 1986) 4LP box-set
5. "Indexi" (Diskoton 1991) CD compilation
6. "Kameni cvjetovi" (Halix 1999) CD
7. "Best of Indexi: Sve ove godine 1962-2001" (Komuna 2001) 2CD compilation
8. "Posljednji koncert u Sarajevu" (Komuna 2002) 2CD liveread more
Indexi
