DRAGO MLINAREC

Probably one of the significant albums of the Yugoslavian 70s' era. On his third album, Drago offers a medieval and classical sound inevitably similar to Jethro Tull. The flute melodies and his ethereal voice show off Drago's influences. "Helena Lijepa I Ja U Kisi" is clearly the highlight of the album and the one that surrounds the other songs, and it is also one of the best examples to represent folk rock not only from his nation but also from around the world due to its versatile and experimental structure that starts as a sort of Thick As A Brick and then takes different paths as the song goes on: a rain that accompanies the fading melodies; an improvisation rooted in jazz fusion; a definitive and fragile ending where the instruments calm down and all the energy is concentrated in the poetry of the lyrics and Drago's voice. One of the most beautiful suites of folk rock! After this song, the album maintains its level but everything is born with an atmosphere of peace where the instruments suffer less the prejudices of the listener and everything is left in the hands of a more relaxed and less frenetic semi-acoustic sound (although one could also say that the frenzy does not exist in this album). Definitely a natural and quality work!

I can barely describe this album. One of the first Yugoslavian (Yugoslavian? Is that right?) album I heard with intensity. After the more rock centred (and quite good) previous offerings, Drago Mlinarec offers a full folk-and-beyond album.

I said "and beyond" exactly because, after listening the two other albums we are lead to believe in something more closely to the early format. Fortunately, the initial sounds of rain already stop whatever though you have in the moment, allowing the melodie to unfold in a good trip. The melodies are developed slowly, mainly in acoustic guitar and later with keyboards. The music itself never sits quietly in any place - you do have the sensation of flowing through all of them.

A early Pink Floyd atmosphere follow the whole work, especially the last song, that reminds more a "Meddle" aproach. The acoustic guitar of Drago, the power house of the album, could be compare with Ian Anderson playing... but Drago really has different backgrouds and sound quite unique.

A musical voyage to figure among the best of Yugoslavian scene. 5 stars.

— First review of this album —

"Krhotine 2005" is a sort of refreshed issue of the previous, similarly titled CD "Krhotine", released in 2005 on the occasion of Mlinarec's awarding the "Porin" - Croatian music award - for life accomplishment in music. Regarding the collection of songs, it is similar to the previous one with few important differences.

Instead of 5 songs from 1996 issue (out of which prog aficionados should regret the absence of two tracks from debut album, "Pop pjevač" and "Srebri se mraz"), this collection is strengthened by addition of two excellent, progressive compositions: "Rođenje/Helena lijepa i ja u ki?i" in its integral almost 17-minutes form taken from "Rođenje" LP and a new track, 14-minutes electronic ambient instrumental "Drums In 3 Fun", which was composed in 2001 for the theatrical play "Christopher Columbus" by Michael de Ghelderode. In case you want a single-disc compilation of the songs representing the bulk of Mlinarec's solo career, let it be this one.

PERSONAL RATING: 3,5/5

P.A. RATING: 4/5

"Krhotine" (eng. Splinters) was the first CD issue by Drago Mlinarec. It contains a selection of songs taken from all of his eight solo albums, starting from debut "A ti se ne daj" (1971) through "Pomaknuto" (1983). It is a fair representation of his career although one could nag about certain key songs missing, especially those progressive ones from his acclaimed LPs, "Pjesme s planine" and "Rodjenje". Instead, the completists will hail the inclusion of the later, 1992 live version of "Kaj god Blues", known for its previous appearance at the Boom Pop Festival Ljubljana 1972. This time again it was Tomaz Domicelj, a renowned Slovene singer/songwriter, who provided lead vocals. An old GRUPA 220 song "Prolazi jesen" from 1968 is included here in its re-recorded version that appeared on Mlinarec's anthology "Sabrano" in 1980. This CD is recommended if you do not own any other Mlinarec album or would like to have an introduction to the music of this important rock author of ex-Yugoslav period.

PERSONAL RATING: 3/5

PA RATING: 3/5

— First review of this album —

Having the last studio album "Pomaknuto" (1983) showed serious signs of creative crisis, Mlinarec retired from music business. After the 20th anniversary reunion concert of his old-time beatsters GRUPA 220 in 1987, he also retired from public life and moved to live in the peaceful countryside near the Slovene-Croatian border, surrounded by stray dogs and cats (he developed a sort of animal refuge centre at his house) and computers.

In 1994 the Slovene underground label FV issued a tape called "Analog", which presented Mlinarec as an author of music largely unrelated to his known career of an acoustic laid-back singer/songwriter - the electronica! However, he was anything but a novice to digital equipment. Even on "Pomaknuto" one could hear certain studio manipulations with electronic sounds, while in a recent interview he explained his passion for electronics had dated back to early 1970s when he acquired his first 16 KB memory computer!

Sidelong "Well You Know... Okee" will surely remind you of some FLOYD/TANGERINE DREAM aspects, starting from introductory natural sounds of birds and roosters to mixing of voice hums and radio speech to later rhythmic sequencers of trance-like sensation. Of course, the minimalist ambient aspect of Brian Eno also comes to mind, which is particularly evident in the closer "C'est" with its sea waves emulation, gentle percussions and electronic bass.

Mlinarec as a singer can be heard in two remaining tracks, "Predvecerje puno skepse" (eng. An Evening Full of Scepticism) and "Dijana u gradu" (eng. Diana in Town), recalling his best-known period. This time, however, he used lyrics written by Miroslav Krleza, a famous Croatian author from the Yugoslav era. Both songs are very nice and can match some of his earlier and most popular works from the past.

Since the sound of this tape is largely digital (including the electronic drums and percussions), the cassette title may be read as a paradoxical twist, but is nevertheless an interesting issue that should be listened to, not only by Drago's fans.

PERSONAL RATING: 3,5/5

P.A. RATING: 3/5

Debut album of Zagreb-based GRUPA 220 "Nasi dani" (eng. Our Days) belongs to the category of records about which one could say: "Even if it were released as an empty piece of vinyl without a sound, it would have still been historically important"! It was the first LP record released in Yugoslavia (late 1968) by a domestic label (Jugoton) and by a Yugoslav rock band (GRUPA 220), which at the time were called "vocal-instrumental combos" (local abbr. "VIS") or "beat ensembles" playing music influenced by the British invasion/rock'n'roll sound of the mid-1960s.

But "Nasi dani" was and still remains more than that. Unlike the fashion of the day when Yugoslav bands mostly played covers of international hits (in broken English or in translated versions) or instrumental surf rock of the Shadows, Drago Mlinarec and his group engaged in writing their own songs and thus manufacturing the first authentic, domestic rock hits in the local language like "Osmijeh" (eng. Smile) from 1967. This practice was groundbreaking and pioneering effort in ex-Yugoslavia and perhaps only INDEXI could match GRUPA 220 in that manner. Even politically significant for the period of Titoist "real socialism", this action showed to the Yugoslav establishment that "pop music" (as it was called those days) was not only an "American imperialist import" but also a global musical expression that could nicely fit into local cultures and produce quality.

Musically, this album sounds little bit like famous transitional albums of the BEATLES ("Rubber Soul", "Revolver") or Bob Dylan ("Highway 61", "Blonde on Blonde") with tiny elements of psychedelia impregnated in the songs, particularly the eerie Alan Price- like organ and wah-wahed guitar licks. The title track bookending the album invokes the quasi-classical organ melodies of PROCOL HARUM, while the most "progressive" is certainly 6-minute "Negdje postoji netko" (eng. There is Someone Somewhere) with a loose, hypnotic and jazzy arrangement. Strong eastern-tinged percussions and recorder solo played by Branimir Zivković reminded rock critic Zlatko Gall of some early TRAFFIC works when he wrote liner notes for 2000 CD reissue. This song would re-surface later on the namesake solo album by Mlinarec in 1977. The second songwriter in the band, guitarist/vocalist Vojko Sabolović, was more inclined towards straight pop melodies and danceable hits so three of his tracks somehow do not seem to merge well with Mlinarec's cynical and introspective "lonesome wolf" Dylanesque lyrics such as "Starac" (eng. The Old Man) and "Besciljni dani" (eng. Aimless Days).

Overall, do not expect much in terms of production, instrumental prowess or mammoth and complex song structures - it is too early for that! Remember, we are talking about 1968 and the closest we can relate this LP to prog rock is to say it might fit into the proto-prog category. But, the progress here lies in the form and in the historical/regional context, not in the vinyl grooves. This album represents the birthplace of Yugoslav (and hence Bosnian/Croatian/Macedonian/Montenegrin/Serbian/Slovene) long- playing discography of rock music and of many of its later subdivisions including progressive rock.

PERSONAL RATING: 3/5

P.A. RATING: 4/5

"2 u 8" (2 in 8) is the expression from central Croatia and Croatian Hinterlands (Zagorje) for the mix of (usually bad) white wine and mineral water; 2/10 of water and 8/10 of wine. "5 do 8" is similar expression for cognac.

Much of Mlinarec's consequent work after this album was experimental music which usually surfaced at the various exhibtions openings or as the part of the artistic installations, also as the ambient music for radio or TV. No matter how bad it may sound as the LP, it indicated the direction of the Mlinarec's music to come.

Album was made during the expansion of Varga's studio, so the temptation to experiment was obviously much too strong.

During 90s Mlinarec issued 2 cassettes of experimental music for a Slovenian label. Apart from the experimetal tracks, the first cassette comprised also 2 songs composed on poems by the great Croatian writer Miroslav Krleza.

"Pomaknuto" (Set Off) is the final in the trilogy of albums recorded with producer Tinnie Varga in his studio in Sweden. Moreover, it is the final Drago Mlinarec's album in his career and it remains so in the years to come.

Maybe it is unfair to pronounce it his worst album, but really so much dependence on drum machines and synths, vocal synthetic treatments, totally unnecessary sampling of odd sounds (baby cry, football game commentators...) and overall production done in this way, cannot rely on more understanding and sympathy. The worst thing is, the very songs seem not too bad at all and one wish that they be undone and re-recorded with more humane and natural production.

There are a few good moments, though. "Volim ih" (I Love Them) and "Urlik Skrutten" (Swedish translation needed...?) contain some very good guitar solos, augmented by certain psychedelic techno effects. The closing track with nonsense title "2 u 8,5 do 8" brings back acoustic folksy sound with Neil Youngish harmonica and a brewpub atmosphere. Speaking of Mr. Young I still remember my horror when hearing his notorious 1982 "Trans" album where he experimented with synths and computers, but over the years I learnt to treat it as such - a failed but sincere experiment.

Unfortunately, "Pomaknuto" is not experimental at all, rather it shows a period of letargy and creative down of a great songwriter. For collectors only...

After successful collaboration with producer Tinnie Varga on his previous album "Tako lako", Drago Mlinarec logically decided not to change his winning team.

Backed by a group of local session musicians and under the studio direction of Varga, he chose to collect a handful of his earlier songs and to re-record them in Varga's studio in Sweden. Therefore, the album title "Sabrano" (Collected Works), although suggests a compilation release, actually contains new studio recording of these tracks.

Mlinarec combined both his solo tracks and those he did with GRUPA 220 in late 1960 in order to present a refreshed version of his entire career up to this point. Music style is similar to that of the previous album "Tako lako" - a more or less straightforward "mainstream" rock, with hints of British pub rock, American "heartland" folk rock and a crisp "new wave" production, which is especially evident in rhythm section treatment.

This is a very accessible and easy-going rock music, but not an "easy listening" pop, which is quite a different thing. Highlights include a reggae re-work of evergreen GRUPA 220 hit of 1967, "Osmijeh" (The Smile), "Trkaliste" (The Racing Field) and a slightly condensed prog masterpiece "Pjesme s planine" (Songs From the Mountain) from the namesake album of 1972 - for this occassion slightly harder and with more compact arrangement. "Trkaliste" was previously released only as single in 1974, and Mlinarec performed it as a representative of TV Zagreb during the then federal all-Yugoslavian contest for Eurovision competition.

Although with very little progressive rock elements, "Sabrano" is good album in its own right. It can serve as a decent introduction to Mlinarec's classic period, however, listeners who don't like the "synthesized" production of early 1980s may opt for later, more comprehensive CD compilations.

Mlinarec's previous album "Sve je u redu" failed to hit the charts and was also dismissed by the press. Therefore, Mlinarec decided to change direction a bit. Instead of Neven Franges and his group, for the new album he established collaboration with Croatian- born Swedish resident, Tihomir Tinnie Varga, who was a musician himself and owner of a recording studio in Sweden. This new collaboration was to last until the final studio album "Pomaknuto" in 1983, when Mlinarec decided to retire from the music scene. During this period, a legion of Yugoslavian and Swedish studio musicians participated on his albums.

The sixth studio album, recorded and released in 1979, was titled "Tako lako" (So Easy). It marked stylistic change from largely acoustic, laid-back, spacey folk-rock ballads towards straightforward, electrified and energetic rock'n'roll. It is obvious that the then New Wave sounds brought "fresh blood" and new ideas to the legions of classic (prog) rockers, and Mlinarec was clever enough to take it as a challenge. And he succeeded! Influences on "Tako lako" are varied - American folk-rock and southern rock, British roots revival and pub-rock, and psychedelic folk ballads.

The title track is a hot-blooded rocker, filled with guitar riffs and strong rhythm sections, much in the style of American southern rock a la ALLMAN BROS or LYNYRD SKYNYRD. "Stranac" (The Stranger) was a big hit with extremely nice and catchy chorus, semi-acoustic and semi-electric mainstream rock piece. The word "mainstream" here denotes that it is not "prog", not that it's too AOR. There are slices of "Caribbean" percussion. Instrumental "Jezera" (The Lakes) brings back the acoustic side of Mlinarec, with nice duet of 12-strings and Dobro guitars (and sort of what sounds like mandolins) which invoke Ry Cooder's soundtracks a little bit (however, this is 1979!). Harmonica adds a bit of "Western movies" atmosphere.

Then a storm comes in - a menacing and stomping bass rhythm and guitars, with high pitch percussion effects - "Ovce" (Sheep)! "The sheep don't care about wolves and winter problems as long as there is enough long grass to eat..." I am not saying this was a deliberate allegory on the peak moment of the Yugoslavian "the most humane" and most developed self-governing socialist system in the world under Tito leadership (he died the following year), but one wonders... It is definitely a cynical commentary on the society. And given the furious electric guitar solo, it is not the only connection with PINK FLOYD's "Animals"! "Ovce" is definite masterpiece of this album and one of the strongest musical and lyrical works of Drago Mlinarec. Unfortunately, or maybe just because of that fact, it remained obscure and unknown in the Yugo scene.

"Prijatelj" (My Friend) mixes THE ROLLING STONES guitar riffs with New Wave/Ska rhythm guitar chords, with additional 1950s style rockabilly backing vocals and more Caribbean percussion. A song made perfect for the parties, but pales with repeated listening. "Vjetar s juga" (Southern Wind) is a slower track with acoustic guitars, melodic bass and drums hit with brushes. Again we feel typical American sound of folk/country/rock - I can sense the presence of GRATEFUL DEAD's "American Beauty" sound, which is great.

"San" (The Dream) is another "progressive" highlight of the album. It is a slow ballad in a familiar Mlinarec style, including synthesisers, wonderful electric guitar solo moments and changes of tempo. The chorus is very atmospheric and gives a wide-space sensation with some folksy melodic solos. This song was composed back in 1969 when Mlinarec served the army in Rijeka. For this occasion a female friend spoke a part of the lyrics in Swedish. "Nostalgija" (Nostalgia) has a sort of honky-tonk jazz/blues rhythm performed mainly with acoustic instruments. Check excellent solo on acoustic guitar!

Now, on the strict prog side only two or three songs fit into that category. But don't be so narrow-minded; "Tako lako" is excellent rock album first and foremost. It is diverse in style and all the tracks (well, except maybe "Prijatelj") are very well crafted and performed. "Ovce" alone would qualify this album for a highly recommended listening.