DIVLJE JAGODE (CRO) - Stakleni Hotel (LP, Diskoton, 1981)

RATING: 6/10

It was somewhat unfortunate that, after cementing their reputation as spearheads of Balkanic hard/heavy music with their self-titled debut LP from 1978, Divlje Jagode were forced to wait a long while before making their next step towards world domination (or solid local stardom, to put it on more realistic terms). From 1979 to 1980, some members of the original line-up had to fulfill their army obligations, and some (as bassist Nihad Jusufhodžić) would never resurface in other bands of note. During the hiatus, axeman 'Zele' Lipovača collaborated with Mirzino Jato, a local disco/pop act fronted by Mirza Alijagić to which Zele contributed both as a musician and songwriter for their successful Šećer I Med (1979) LP. Keyboardist 'Muc' Ismailovski also enjoyed some moonlighting in the meantime, joining pop-rockers Srebrna Krila - a commitment he opted to keep when Divlje Jagode decided to regroup in 1980, soldiering on until his untimely demise in New Year's Eve 1999. Drummer Adonis Dokuzović also wasn't available - not exactly sure why, I must admit, though he would later help his wife Carmen in a solo pop/rock project as well as establishing his own Katedrala studio facilities. In the latter half of 1980, a new Divlje Jagode was born, with Zele originally keeping the services of singer Ante Janković and adding Alen Islamović (B) and Nasko Budimlić (D) to the picture. This 4-piece would move to record label Diskoton, as Zele was dissatisfied with the way Jugodisk promoted their first LP, and finally unleashed "Stakleni Hotel" in the latter half of 1981. 

Now readers take note, this is quite clearly a transitional album, as opening track "Autostop" demonstrates without much room for a doubt. The riffs are full-blown metal, and Janković puts some real effort into delivering a stronger, more powerful vocal performance than what is heard on the group's first LP - but the chorus comes with soft female voices singing the name of the track, no less, adding some pop-rockish element to the song in a pretty abrupt manner. The result is mostly enjoyable (and the track became a strong radio hit in Yugoslavia), but it's clear for all to hear that Divlje Jagode, though already a heavy metal band at heart, were still struggling to find the best way to express it into their music. My strong impression is that, when they crank up the volume and devote themselves to play loud and heavy, it's like the road to take is opening right in front of them - but, unfortunately, they still take too much detours along the way, wasting time with some pretty pointless exercises instead of making the heavy-rocking statement they seem eager to deliver.

Once again, I'd say that the excessive balladry is the band's undoing, even more around here than it was the case in Divlje Jagode's debut. "Kako Si Topla i Mila" is almost insufferable to be honest, with tepid, tedious vocal lines and folky acoustic guitars that simply never go anywhere, the track as a whole being instantly (and mercifully) forgettable as soon as it's over. I'd say "Dodirni Me, Skloni Bol" fares perceivably better, with the intrusive acoustic guitars being restricted to the background and making room for more lively, definitely power-metal-ballad driven arrangements. Still, its position in the running order is far from adequate, slowing things down even further and giving the listener the uncanny feeling that the whole album is not going anywhere, like a dog trying to bite its own tail. With that said, "Potraži Put" is by far the best ballad on the album, closing proceedings with a melancholic, contemplative vibe not too far removed from the excellent "Jedina Moya" from their previous record. It's a pretty good one, and I can't help but thinking how nice it would be if it was the only ballad on display here, leaving room for other hard-hitting rockers to shine and wrapping the LP with a more thoughtful, bittersweet tone. Though not a tearjerker at all, I'm afraid "Ulica Na Lošem Glasu" must also be added to the record's misfires, this being a slightly bluesy hard-rocking tune that, despite its good intentions, lacks the bite and charm to stand beyond semi-heavy mediocrity.

But not all is lost, mind you. The title-track hits the nail right on the head, with some strong rifferama and a general feeling not at all dissimilar to Judas Priest in their "Hell Bent for Leather" or "British Steel" days. "Mrak Za Dvoje" is perhaps even better, even hinting to some dynamic twin-guitar work in places (which is actually quite curious, as the band had only one guitarist, but let's cut them some slack) and presenting a forceful, uncompromising drive that really succeeds into putting some metal-loving necks in motion. If this was a 5-track mini-LP, with this particular pair alongside "Autostop", "Potraži Put" and "Za One Do Tebe" (a least accomplished heavy number, but still serviceable enough to make the grade), maybe we would be lauding an undisputed underground classic, instead of describing a record that, although decent as a whole, demands a fair bit of patience to be listened to in one sitting. Whatever the story, "Stakleni Hotel" served its purpose, helping Divlje Jagode to rebrand themselves as a heavy metal proposition and paving the way for some very interesting developments to come. The production values are pretty respectable, all instruments are played with undeniable competence (no virtuosos showing themselves off really, but rather a nice and healthy display of teamwork), and there's definitely a lot worse you can do with your evening than giving this one a spin or two. Just don't go for it waiting for a something out of the ordinary and you'll be fine, I guess.

After over a hundred shows to promote "Stakleni Hotel", and with tracks like "Autostop" and "Dodirni Me, Skloni Bol" marking a strong presence on Balkan's radio stations, Toni Janković started to feel it would be a good move to invest into a solo career - a split that seem to have been pretty amicable, as the singer would frequently appear as a guest in Divlje Jagode's concerts, and his former colleagues would also lend a hand as backing musicians and/or songwriters on his solo albums. The departure of Janković opened way for bassist Alen Islamović to also relinquish the mike stand, and his powerful, surprisingly versatile vocals proved to be exactly what the band needed to finally find their footing as a metal band. More on that very soon...

Toni Janković (V), Sead 'Zele' Lipovača (G), Alen Islamović (B), Nasko Budimlić (D).

01. Autostop (Lipovača, G. Petranović) 03:41
02. Mrak Za Dvoje (Lipovača, Islamović) 03:41
03. Kako Si Topla i Mila (Lipovača, G. Petranović) 05:03
04. Stakleni Hotel (Lipovača, S. Nakić) 03:39
05. Ulica Na Lošem Glasu (Lipovača, G. Petranović) 04:15
06. Dodirni Me, Skloni Bol (Lipovača, M. Tucaković) 04:01
07. Za One Do Tebe (Lipovača, Islamović) 04:00
08. Potraži Put (Islamović) 04:30

Have you been involved with any of the bands mentioned here? Have any extra info and/or corrections? Please e-mail me at drequon@gmail.com and let me know!