Opis
Porinom nagrađen album!
1. IŠEL BUDEM V KLETICU 2:44
2. PREKO PLOTA 3:32
3. OJ MLADOSTI MOJA 6:21
4. BRZI VLAK 3:10
5. LIBERTIN 5:14
6. BLUES LOJZOVIH DIONICA 3:48
7. VIDIMO SE (I PČELE) 2:35
8. PURA Z MLINCI 2:33
9. KAJ GOD BLUES 3:56
10. CVITARA BLUES 3:22
11. GOLUB V RUKI 3:13
12. ŠERIF MIRKO 4:04
13. ŠERIFOV OBRAČUN 1:42
14. VINSKI VRH 7:09
Total 53:22
Blues za Zagorske brege
Tomislav «Little Pigeon» Goluban svojim trećim studijskim albumom Zagorje Blues definitivno postaje glazbeni ambasador Hrvatskog Zagorja u punom smislu te riječi. Vještina kojom je američku korijensku glazbu prilagodio zagorskim bregima i pripadajućoj životnoj filozofiji te još više kako je tradicionalne zagorske popevke i cjelokupnu zagorsku ikonografiju transponirao u blues – upravo je nevjerojatna. Pod parolom „Misli globalno – djeluj lokalno“, Goluban je u delta blues autorskih pjesmama izvrsno uklopio „puru z mlinci“, „na ščapu gače“, „guske i sijeno“, „goluba v ruki“ i „nedeljni ancug“, dok je s druge strane tradicionale „Išel budem v kleticu“ i „Oj, mladosti moja“ te nadinsko cvitaranje nevjerojatno uspješno prelio u vode Mississippija bez da bi se s originala ispralo imalo emocija, snage i uvjerljivosti. Plus – tu je i nadahnuta obrada „Kaj god blues“ iz 1971. godine, prve hrvatske pjesme na kajkavskom narječju u kojoj je upotrijebljena riječ blues. Spajajući naizgled nespojivo; trudeći se da Krapinica postane pritoka Mississippija odnosno da pamuk postane općeprihvaćena biljna kultura od Hraščine na istoku do Sutle na zapadu i od Ivančice na sjeveru do Medvednice na jugu, Goluban se na novom albumu na dužinu bodeža približava etno-bluesu. Dodamo li tome i činjenicu da je nakon dva, uglavnom «engleska» albuma, novi u potpunosti otpjevan na hrvatskom, samouki usnoharmonikaš iz kuće kraj pruge u Grabrovcu se nameće kao ultimativni glazbeni poslanik «sa škrlakom» kojeg se bez ustezanja može pokazati Europi i svijetu.
Usprkos jezičnom saltu i bijegu iz voljenog tradicionalnog blues geta, mali je golub od prethodnih albuma zadržao vedrinu, svježinu, optimizam i odličnu mjeru za instrumentale i goste. Svaki od četiri instrumentala na albumu Zagorje blues dobila su zahvaljujući njima sasvim nove kromatske i dijatonske boje. «Išel budem v kleticu» na Chicago way je obojao virtuozni Joe Filisko, onomatopejsku «Vidimo se i pčele» Boris Šaronja, Ante Prgin te Gordana i Miroslav Evačić, song za tancanje «Cvitara blues» ufolklorio je Dragan Brzoja, a 7-minutni «Vinski vrh» za sam kraj albuma ubajkovili su Davor Rodik i Nikola Santro. U već ranije sa singlova poznatim pjesmama «Libertin» i «Brzi vlak» gostuju vila Lidija Bajuk, odnosno skijovođa Ivica Kostelić, a u definitivno najsugestivnijoj izvedbi pjesme «Oj, mladosti moja» briljira Kvartet Gubec. Naposljetku treba spomenuti i meštre Golubanovog pratećeg sastava «Little Pigeon’s ForHill Blues» koji su vrhunski odradili svoj posao. To su Darko Aljinović – File (klavijature), Tomi Novak (bas) i Mihael Vlah (bubanj) te zagorski tekstopisac Zvonko Kudelić – Žuna, autor većine tekstova.
Ne znam kakvu je glazbu svojevremeno volio Matija Gubec, no siguran sam da bi – kad bi je mogao čuti – volio zagorski blues malog goluba. Ako ne iz glazbenih, a onda iz rebelijanskih razloga. Gupca bi se sigurno dojmilo kako goloruki Tomislav naoružan samo usnom harmoničicom iz samog zabočkog srca Hrvatskog zagorja uporno juriša na američke i europske blues festivale. Iako pernatog poznajem tek nekoliko godina (dakle nije baš da se znamo od 1573.), tek nakon ovog albuma znam zašto mi, kad se Goluban pojavi neobrijan i neispavan u svojoj ofucanoj kožnoj jakni, pred očima zatitra Matija Gubec.
Novi Golubanov album i njegov strasni spoj Zagorja i Bluesa zvuče snažno, iskreno, nepretenciozno i emocijski nabijeno zato što je Goluban štucajući živicu, koseći travu, farbajući ogradu, ispraćajući cugove i glazbeno promišljajući svoje brege, iskopao stvarni zagorski životni blues koji kao da ga je zakopan čekao u Stubičkim Toplicama još od Seljačke bune.
Siniša Bizović, 19.10.2009.
With his third album titled «Zagorje Blues», Tomislav «Little Pigeon» Goluban, is definitely becoming the music ambassador of Croatian Zagorje, in all possible contexts of the phrase. The skill he used to adjust the American root music to Zagorje hills and adjacent philosophy of life, even more, his way of traditional Zagorje song and iconography transpositioned into the blues – simply amazing. He used the «Think globaly – act locally» slogan. Goluban incorporated «pura z mlinci», «na ščapu gaće», «guske i sijeno», «golub v ruki» and «nedjeljni ancug» into the delta blues. He went step higher and tracks «Išel budem v kleticu» and «Oj, mladosti moja» poured into the waters of Mississippy without any emotions, strength and convictions washed off from the original songs. Plus – there is also very inspiring remake of «Kaj god blues» originaly dating back in 1971, the first Croatian song which mentioned blues in such a word. Combining the impossible, trying to make the river of Krapina affluent to Mississippi, trying to make cotton the plant grown all over Zagorje, Little Pigeon is getting tight close to the ethno-blues. After two mostly English albums, this third one is completely in Croatian. This self-thaught harps player, living next to the rail tracks in Grabrovec, imposes himself as the ultimate music ambassador which can be presented without any hesitation anywhere in Europe or the world.
Despite the lingual salto and an escape from the beloved traditional blues ghetto, Little Pigeon maintained the freshness, optimism, cheerfulness and an excellent ratio of instrumentals and guest appearances, which he established in previous albums. Each of the four instruments received completely new chromatic and diatonic tones. «Išel budem v kleticu» on his Chicago way was coloured by wizard Joe Filisko himself, onomatopoeic tone was given by Boris Šaronja, Ante Prgin and Gordana & Miroslav Evačić in «Vidimo se i pčele», dancing song «Cvitara blues» was tuned in traditionally by Dragan Brzoja.
A 7 minute «Vinski vrh» for the outro, was enriched by Davor Rodik and Nikola Santro. Known from previous singles Libertin» i «Brzi vlak», special guests are a fairy Lidija Bajuk and a ski champion, Olimpic medal winner Ivica Kostelić.
Up to now, definitely the most suggestive performance of the traditional song «Oj, mladosti moja» is dominated by the «Kvartet Gubec». Finally, it is obligatory to mention the masters in Goluban’s band «Little Pigeon ForHill Blues» who did ther jobs perfectly. They are Darko Aljinović – File (keyboards), Tomi Novak (bass), Mihael Vlah (drums) and Zagorje songwriter Zvonko Kudelić – Žuna, author of most of the lyrics.
I don’t know what sort of music Matija Gubec (peasant rebelion leader from 1573) liked back then, but I’m sure if he could hear it, he would have loved it, this Zagorje blues of Little Pigeon. If not for music, then rebellian reasons. Gubec would have been impressed by bare-handed Tomislav persistantly marching in the US and EU blues festivals, armed only with a harp. Although I know the «feather one» only for couple of years (it’s not really we’ve known each other since 1573), only after this album I’m aware why, all unshaved and drowsy in his run-down leather jacket, he reminds me so strongly of Matija Gubec.
New Tomislav’s album in his passionate combination of Zagorje and Blues, sounds strong, honest, unpretentious and emotionally loaded. All mentioned is a result of digging out the real Zagorje blues thru moving the grass, clipping the hedge, painting the fence, sending out the trains and reflecting on Zagorje hills. The Zagorje blues which seems to be waiting burried since the Peasant Revolt, 1573.
Siniša Bizović, October 19th, 2009
Zagorje (ForHill) – a pleasant, peaceful region of rolling hills situated in the north-west of Croatia, populated by high-spirited and hospitable people. That’s where I live. That’s where the sound is. I’ve translated Zagorje as ForHill (where the band’s name originates from), although the word doesn’t exist in English, I employ it as For(Za) Hill(gorje) Blues. Maybe the more correct version with proper plural would be: behind the hills, backhills, beyond the hills; but hey – who cares!
– – – – – – – – – – – –
Nakon albuma Pigeon’s Flight iz 2005. i Mr. B. iz 2007. godine konačno je gotov i treći studijski album. Na njemu je, računajući i dva maksi singla koja su mu prethodila (Brzi vlak, Libertin trilogija), sudjelovalo ukupno trideset glazbenika te brojni suradnici koji su pomogli da ugleda svjetlo dana.
After the 2005 Pigeon’s Flight and the 2007 Mr B album, the third studio album is finally completed. The Zagorje Blues album brings two maxi-singles which have preceded the album (Fast Train and Libertin Trilogy) and it presents a total of 30 musicians alongside with numerous associates who have contributed to it.
1. Išel budem v kleticu
(Trad. / instr. / Tomislav Goluban)
Tomislav Goluban: usna harmonika /harp
Joe Filisko: usna harmonika /harp
Nikola Santro: cajon, udaraljke /cajon, percussions
Kombinacija američke blues glazbe i tradicionalne zagorske popevke jest glavna ideja ovog albuma, ujedno i njegov naslov. Joe Filisko (Chicago) svira usnu harmoniku na desnom kanalu i predstavlja Blues, dok ja sviram na lijevom kanalu i zastupam Zagorje. Jay Sieleman upoznao me s izjavom Watermelon Slima: «Blues je kultura koja ne poznaje granice». Lijevi i desni kanal, Zagorje i Blues apsolutno potvrđuju njegovu tvrdnju.
A combination of American blues and Zagorje traditional song is the main idea of this album. Joe Filisko (Chicago) plays the harp on the right channel and represents Blues, while I play on the left channel and represent Zagorje. Jay Sieleman brought Watermelon Slim’s quote to my attention: «Blues is a culture without borders», and the left and right channel, Zagorje and Blues only confirm this statement.
Zagorje (ForHill) – a pleasant peaceful region of rolling hills situated in the north-west region of Croatia, populated by high-spirited and hospitable people – that’s where I live. That’s where the sound is. We have translated Zagorje as ForHill (it’s where the band’s name originates from), although the word doesn’t exist in English, we employ it as For(Za) Hill(gorje) Blues. Maybe the more correct version with the proper plural would be: behind the hills, backhills or beyond the hills.
2. Preko plota
(Tomislav Goluban / Robert Grubić / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: električni bas /bass guitar
Mihael Vlah: bubnjevi /drums
Martina Rubil: prateći vokal /backing vocal
Marija Sente: prateći vokal /backing vocal
Pjesma je nastala proljetnog dana 2008. godine kada smo se Gobbo (Robert Grubić) i ja vozikali Splitom u njegovom bijelom kombiju. Žmigavac lijevo, pošalica desno i Gobbo mi je sljedeći dan napisao ovaj tekst. Glazba je «sjela» ubrzo nakon toga pa je ovo dokaz da je zagorsko-dalmatinska blues «žnora» funkcionalna i postojana.
This song was created on a sunny Spring day in 2008 while Gobbo (Robert Grubić) and I were driving around Split in his white van. A direction signal to the left, a joke to the right, and so it happened – Gobbo wrote this song the very next day. Music was fitted in shortly afterwards, and this proves that the Zagorje-Dalmatia blues link is functional and stable.
3. Oj, mladosti moja
(Trad. / Trad. / Tomislav Goluban, Nikola Herceg, Krunoslav Dobričević, Nikola Santro)
Tomislav Goluban: usna harmonika /harp
Nikola Herceg: električni bas /bass guitar
Krunoslav Dobričević: akustična gitara /acoustic guitar
Ivica Vrdoljak: doboš /snare
Davor Rodik: pedal steel
KVARTET GUBEC: Rajko Suhodolčan, Adalbert Turner-Juci,
Adam Končić, Vid Balog, Siniša Miklaužić: vokali /vocals
Ova skladba dolazi i pod nazivom «Zašumele gore». Izvorno je slovačka narodna pjesma koja se tijekom 19. stoljeća proširila Austro-Ugarskom pa je tako došla i do naših krajeva. Većinom se izvodila na pogrebima mladih ljudi. Glavni cilj bio je pokazati da ova predivna melodija savršeno funkcionira i u blues aranžmanu. Tome su vokalno iznimno pomogli dečki iz Kvarteta Gubec, Davor Rodik (Plava Trava Zaborava) na pedal steel gitari, dio «stare garde» ForHill Bluesa te Zoran Haraminčić – Hara s uslugom terenskog snimanja.
This song also appears under the title Zašumele gore (Hum Of The Hills). Originally, it is a Slovak traditional song which spread all over the Austro-Hungarian empire during the 19th century. It appeared in our region as well, however back then it was mainly performed at funerals of young people. It was my intention to show that this wonderful melody works perfect in a blues arrangement as well. Guys of Kvartet Gubec (the Gubec Quartet) vocally contributed here a great deal. Davor Rodik (of Plava Trava Zaborava) is at pedal steel guitar, there is a part of the ForHill Blues old team and Zoran Haraminčić – Hara who supplied field recording.
4. Brzi vlak
(Tomislav Goluban / Zvonko Kudelić, Ivica Kostelić / Tomislav Goluban, Nikola Herceg, Krunoslav Dobričević, Nikola Santro)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Ivica Kostelić: akustična gitara, vokal /acoustic guitar, vocal
Nikola Herceg: električni bas /bass guitar
Krunoslav Dobričević: akustična gitara /acoustic guitar
Nikola Santro: cajon
Vjekoslav Magdalenić: hammond
Ivica Vrdoljak: doboš /snare
Martina Rubil: prateći vokal /backing vocal
Ana Mikulec: prateći vokal /backing vocal
Ovo je priča inspirirana likom i djelom Ivice Kostelića. Iako je gostovao na svim mojim dosadašnjim izdanjima, ova je pjesma nešto «najjače» kaj smo napravili. U njoj Ivica pjeva i svira akustičnu gitaru, a u suradnji sa zagorskim tekstopiscem Zvonkom Kudelićem – Žunom napisao je i tekst ove skladbe. Ideja pjesme nastala je jednog sunčanog popodneva u parku u Velikoj Mlaki uz gitaru i usnu harmoniku kada je Kostelić smislio refren songa. Glazbu sam dodao godinu dana kasnije, nakon čega je tekst dovršio Žuna inspiriran Kostelićevom životnom pričom.
This is a story inspired by the character and life of Ivica Kostelić. He is the best Croatian skier: the world champion in slalom in 2003 and the winner of a silver Olympic medal at the 2006 Winter Olympics in Torino who possesses a fantastic passion for blues music.
Although he appeared as a special guest on all of my previous releases, this song holds perhaps the greatest meaning of all we’ve done so far. Ivica plays the acoustic guitar and sings, and has written the lyrics, which was achieved through his cooperation with songwriter Zvonko Kudelić-Žuna. The idea for this song came on a sunny afternoon at the Velika Mlaka park. It took Ivica only my harp and his guitar to come up with the refrain. I’ve managed to marry music with his lyrics a year later and Žuna finished the song – officially inspired by Ivica’s life story.
5. Libertin
(Tomislav Goluban / Zvonko Kudelić / Tomislav Goluban, Tomi Novak)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Lidija Bajuk: vokal /vocal
Adam Končić: recitacija /recital
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: kontrabas /doublebass
Mihael Vlah: bubnjevi /drums
Vjekoslav Magdalenić: zvučni efekti /synth sounds
Boris Šaronja: truba, bongosi /trumpet, bongos
Ova glazbena bajka nastala je ispirirana vinom Libertin iz perspektive rimskog vojnika u ležećem, poprilično mamurnom, ali zadovolj(e)nom stanju. Prema legendi, pri povratku iz ratova u Trakiji i Daciji, rimski su vojnici zastajali na Vinskome vrhu, krijepili se vinom i pripremali za nove ratne pohode. Za vjetrovitih noći posjećivale su ih vile i vilenjaci i hrabrili ih pjesmom. Kad bi vojnici zaspali, šumska su im bića posakrivala oružje kako ratova više nikada ne bi bilo. Tijekom 17., 18. i 19. stoljeća naziv Libertin odnosio se na osobe koje ne priznaju ograničenja, streme životnim užicima, nesputanoj slobodi i individualizmu. U glavnim ulogama: Adam Končić – rimski vojnik i Lidija Bajuk – dobra vila.
This musical fairy tale was inspired by Libertin wine and is written from the perspective of a Roman soldier lying on his back with a substantial hangover but in a satisfied state of body and mind. According to the legend, Roman soldiers returning from battles in Thrace and Dacia, used to stop by the Vinski Vrh (Wine Peak), where they would be invigorating themselves with wine and getting ready for new battles. During the windy nights, fairies and elves would visit and encourage them with their song. Soldiers finally asleep, forest creatures would hide their weapons as to prevent them from partaking in any more wars. During the period from 17th to 19th century, the term «Libertin» was used to refer to persons who have no boundaries, who prefer to take in and enjoy all the joys life offers, who stream to unrestrained freedom and individualism.
Guest vocals: Adam Končić – Roman soldier, Lidija Bajuk – fairy.
6. Blues Lojzovih dionica
(Tomislav Goluban / Zvonko Kudelić / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Mike Sponza: električna gitara /guitar (zahvaljujući /courtesy of HCB69 Records)
Darko Aljinović – File: hammond
Zoran Haraminčić – Hara: električni bas /bass guitar
Mihael Vlah: bubnjevi /drums
Martina Rubil: prateći vokal /backing vocal
Marija Sente: prateći vokal /backing vocal
Lojz je predstavnik prosječnih hrvatskih građana koji su vjerovali u transparetnost, profitabilnost i vjerodostojnost privatizacije hrvatskih tvrtki temeljem javnih ponuda na tržištu kapitala. Prometno angažirane pjesme 0,5 i Sv.Rok s prethodnog albuma urodile su plodom. Druga cijev tunela je probušena, a 0,5 ponovo teče. Cilj ove pjesme je kraj recesije i ostalih financijskih nedaća. Glazbena ekipa pojačana je talijanskim gitaristom, pjevačem i skladateljem Mikeom Sponzom.
Lojz symbolizes an average Croatian citizen who believed in a transparent, profitable and credible privatization of Croatian companies, a privatization based on capital market public tenders. The traffic engagement of the 0,5 and Sv. Rok of the previous album has finally scored. The second tube of the St Rok tunnel has been completed and 0,5 per mille has been allowed in drivers again. This song wants to put an end to the economic crisis and all other financial misfortunes. The music team is «amplified» with Italian bluesman Mike Sponza.
7. Vidimo se (i pčele)
(Tomislav Goluban, Ante Prgin / instr. / Tomislav Goluban)
Tomislav Goluban: kromatska usna harmonika /chromonica
Boris Šaronja: truba /trumpet
Miroslav Evačić: bendžo /banjo (zahvaljujući /courtesy of Croatia Records)
Gordana Evačić: cimbule
Ante Prgin: akustična gitara /acoustic guitar
Nikola Santro: udaraljke /percussions
Naslov ove pjesme inspiriran je pošalicom odnosno pozdravom «Aj’ bok! Ok, vidimo se! I pčele!» (Vidim ose i pčele). Fantastična obitelj Evačić (Miroslav i Gordana), Boris Šaronja, Nikola Santro i Ante Prgin upotpunili su ovu glazbenu imitaciju. Načuo sam da se broj pčela u zadnjih nekoliko godina smanjio za dvije trećine, tako da obratite pažnju na njih.
Vidimo se …
The title of this song is inspired by a Croatian joke i.e. greeting «Aj’ bok! OK, vidimo se! I pčele»! It’s actually a word pun in Croatian. The fantastic Evačić Family (Miroslav and Gordana), Boris Šaronja, Nikola Santro and Ante Prgin completed this music imitation of the word pun. Mind you, I have heard that the number of bees has been cut in half over the past several years, so pay attention to them. See you…
8. Pura z mlinci
(Tomislav Goluban, Ante Prgin / Zvonko Kudelić / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Jurica Rukljić: tuba /tube
Ante Prgin: akustična gitara /acoustic guitar
Veza između američkog bluesa i Zagorja vidljiva je čak i u životinjskom svijetu.
Zagorski puran potječe od srednjoameričkog purana (meleagris gallopavo) koji je u naše krajeve dospio iz Italije 1523. g. kao dar biskupa Geraldinija. Tijekom duljeg razdoblja najbolje se udomaćio na području Hrvatskog zagorja. Specifična klimatska obilježja, uvjeti držanja i hranidbe te umjetni odabir stvorili su posebno ukusno meso koje ga je proslavilo diljem Europe. Tajna je bila samo u jednom, a to je da se zagorski puran uzgajao u malim jatima koja su hranu pronalazila na otvorenom slobodno se krećući livadama, voćnjacima, šumarcima ili drugim vegetacijom bogatim staništima. Samo u nepovoljnim vremenskim uvjetima i noću osiguravalo im se sklonište, odnosno peradarnjak. Tako je zagorski puran početkom 20. st. putovao vlakom, zamrznut u ledu put Velike Britanije, Švicarske, Austrije, Italije i Njemačke gdje je bio vrlo tražen te se nalazio na stolovima plemića i kraljeva kao blagdanski specijalitet (u to se vrijeme u Hrvatskom zagorju godišnji uzgoj purana kretao između 25 i 30 tisuća!) zbog najsočnijeg mesa i izuzetnog okusa kakav nema nijedna životinja iz porodice ptica.
/Preuzeto s www.zagorskipuran.hr/
Upravo sam danas (24. kolovoz 2009.) na Radio Sljemenu čuo da je zagrebački ZOO postao bogatiji za neke nove stanovnike između kojih je i američki puran.
The connection between American blues and Zagorje is obvious even in the animals’ world. Zagorje turkey originates from Central American turkey (meleagris gallopavo), which came to our country from Italy in 1523 as a gift from Geraldini bishop. Over the years, it became domestic in Zagorje. Specific climate, conditions of feeding and selection created especially tasty meat which became famous all over Europe. The secret was only one thing: Zagoje turkey was kept only in small flocks that fed in the open fields, orchards, groves or any other habitat rich in vegetation. The shelter is provided only during nightime or in case of a bad weather. At the begining of the 20th century Zagorje turkey, frozen in ice, began travelling to the Great Britain, Switzerland, Austria, Italy and Germany. The demand was enormous and the turkey found its place on the tables of kings and noblemen on all major courts. It was treated as a special holiday specialty (at that point, annual number of fed turkeys in Zagorje was between 25.000 and 30.000) due to it’s juicy meat and exquisite taste that no other birds have had.
(The source of the description: www.zagorskipuran.hr/)
Just today (8/24/2009) Croatian national radio announced that Zagreb ZOO is richer with some new animals, including American turkey.
Mlinci are actually a side-dish in the form of pasta, but can be served in numerous ways, not only with turkey. Main ingredients are salt, water and flour.
9. Kaj God Blues
(Ivica Kiš / Ivica Kiš, Drago Mlinarec / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal /harp, vocal
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: električni bas /bass guitar
Mihael Vlah: bubnjevi /drums
Martina Rubil: prateći vokal /backing vocals
Marija Sente: prateći vokal /backing vocals
Kaj God Blues je nastao 1971. godine, a prvu javnu izvedbu doživio je 21.3. iste godine na promotivnom koncert grupe «Time» u zagrebačkom studentskom centru. Izveli su ga Ivica Kiš (autor) i Drago Mlinarec (kojima je to, tada prvom akustičarskom kantautorskom duetu, bio prvi zajednički javni nastup). Autor nikada nije snimio samostalni nosač zvuka, a Kaj God Blues je prvi puta zabilježen u izvedbi autora, Drage Mlinarca i Tomaža Domicelja, na prvom dvostrukom live albumu «BOOM ’72.» u Ljubljani. U izvedbi autora (vokal, gitara i usna harmonika), Željka Klašterke (gitara) i Davora Roccoa (bas), nastala je snimka u studiju u Šubićevoj ulici u Zagrebu, koja je uvrštena u fonoteku radio Zagreba, 1974. godine. Nepretencioznim kajkavskim tekstom Kaj God Blues je prihvatilo slušateljstvo, pa je snimka Radio Zagreba 1975. i 1976. godine često bila na programu Radio Zagreba i drugih radio stanica.
Tekst 2003. napisao Dražen Vrdoljak (1951.-2008.)
Velika zahvala gospodi Ivici Kišu i Dragi Mlinarcu na vremenu koji su mi posvetili, uputama te ustupljenim dokumentarističkim materijalima. Za promociju blues glazbe osobito je važno, barem koliko ja znam, da je ovo prva hrvatska pjesma kajkavskog narječja u kojoj je upotrijebljena riječ Blues.
Whatever Blues was created back in 1971, and the first public performance was on 21st of March the same year. It was performed on a promotional concert of the Time band in Students’ Centre, by Ivica Kiš (author) and Drago Mlinarec. At that time, this particular performance was a first stage appearance for the mentioned acoustic composer-singer duet. The author actually never recorded his own album, but the Kaj God Blues was recorded for the first time during the appearance of the author, Drago Mlinarec and Tomaž Domicelj at double live album Boom ’72 in Ljubljana.
In 1974 the single was studio recorded, appearance by Ivica Kiš (vocals, guitar and harp) Željko Klašterka (guitar) and Davor Rocco (bass). This record was included in Radio Zagreb’s record library. Kaj God Blues was well accepted with the audience, therefore its airplay was very common during the 1975 and 1976 on Radio Zagreb, but other radios played it as well.
In 2003, written by Dražen Vrdoljak (1951.-2008.)
A special thank you to Mr. Ivica Kis and Drago Mlinarec for all of the time and effort that they have committed to me and for all the supporting documentary materials they provided. In terms of Blues promotion, it’s especially important to mention that this is the first Croatian song of the Kajkavian dialect, which uses the word blues (at least as far as I know).
10. Cvitara blues
(Trad. / instr. / Tomislav Goluban, Ante Prgin)
Tomislav Goluban: bas usna harmonika /bass harp
Dragan Brzoja: Octave Comet usna harmonika /Octave Comet harp
Ante Prgin: akustična gitara /acoustic guitar
Od 1830. usne se harmonike proizvode u malim radionicama u nekoliko gradova centralne Europe: Beč, Saxony, Bohemia i Württemberg neki su od njih. Nekoliko godina kasnije, 1857., Matthias Hohner započeo je proizvodnju usnih harmonika u njemačkom gradu Trossingenu. Sredinom druge polovice 20. stoljeća Hrvati su u Trossingenu predstavljali značajni broj radne snage dok ih je danas tamo zaposleno desetak. Razni izvori govore da se u Hrvatskoj usna harmonika počela upotrebljavati od druge polovice 19. stoljeća, odmah nakon početka proizvodnje u Hohneru, a upotrebljavaju je samouki svirači koji izvode tradicijsku glazbu kojom nastoje zabaviti publiku, društvo ili pak sami sebe. Svadbe, krštenja, noćna druženja nakon cjelodnevnog rada na poljoprivredi ili pak ispaše stoke, sajmovi i druga slična masovna okupljanja bila su popraćena zvucima usne harmonike. Tadašnji svirači bili su svojevrsni «heroji», vrlo popularni u ženskom društvu.
U hrvatskim regijama usnu harmoniku različito nazivaju: u Istri organić, finfalica, uslice, vijulin …, u Zagorju orguljice ili usnjak, u ogulinsko-potkapelskom prostoru citre, na području Dubrovnika muzika, u nekim dijelovima Slavonije cincuge, a u južnom dijelu dinarske folklorne zone, tj. od Nina do Knina – cvitare. Cvitare su se kroz povijest nametnule kao važan čimbenik folklorne glazbe kako bi osigurale ritam za plesanje kola (Kukulešće i sl.). KUD Nadin nastoji očuvati tradiciju «cvitaranja» pa je već dvije godine u nizu (2008., 2009.) uspješni organizator festivala usne harmonike pod nazivom Cvitarijada – svojevrsnog natjecanja za najboljeg cvitaraša od Nina do Knina. Veći dio svijeta usnu harmoniku povezuje uz blues glazbu dok ju stari hrvatski «meštri» radije svrstavaju u domaću tradicijsku glazbu. Moj cilj u ovoj pjesmi bio je objediniti obje teze.
Harps have been produced in small Central European workshops since 1830; in Wienna, Saxony, Bohemia and Württemberg, to name just a few. A few years later, in 1857, Matthias Hohner began the production of harps in Trossingen, Germany. By the mid 20th century, Croats were significant in the number of employees at the factory, and today there is still a dozen of them left.
Different sources say that harp has been played in Croatia since the second half of the 19th century, right after the Hohner manufacturing began. Back then, it was mostly played by self-taught performers who played traditional music for public entertainment, or just for themselves. Weddings, baptizing celebrations, night amusements after the hard day’s labour in the field, trade fairs and other traditional gatherings were fullfiled with the sounds of the harp; the players of that time were very popular among girls and women.
In Croatia, harp has a different name in different regions: In Istria – organić, finfalica, uslice or violin. In Zagorje orguljice or usnjak. Ogulin county – citre, Dubrovnik area – muzika, Slavonia – cincuge, southern Dinara area i.e. from Nin to Knin – cvitara. Over the time, cvitara has been promoted to an important factor of the traditional music since it ensured a good rhythm for the wheel dance. KUD Nadin (Association of Culture and Arts) keeps the tradition of cvitaranje (playing harps), therefore for the last two years (2008 and 2009) they have been organizing a harps festival called Cvitarijada, the best harp performer contest.
Most of the world links harp to blues music, while old Croatian «masters» rather see it as a domestic traditional instrument. It is my true intention to bring both aspects together.
11. Golub v ruki
(Tomislav Goluban / Zvonko Kudelić / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal, udarci nogom /harp, vocal, thumping
Junak ove pjesme predstavnik je korumpiranog hrvatskog društva koji tek u (lažno zasluženoj) mirovi shvati da zbog svih laži, krađa, malverzacija i korupcijskih afera ne može samog sebe pogledati u ogledalo. Pjesma je posvećena aktualnom hrvatskom društveno-političkom uređenju. Neka se konačno hrvatskoj politici dogodi neka moralna i ljudska veličina koja je sposobna upaliti svjetlo u nastalom mraku. Do tada se zadovoljite «Golubom v ruki»…. Živio Matija Gubec!
A «hero» in this song is representative of the corrupted Croatian society, who only in his (fake) retirement realizes that he cannot look at himself in the mirror due to all the lies, thefts and corruption affairs he was involved with. This song is dedicated to the actual Croatian socio-political establishment. May Croatian politics finally live to take on more human and moral characteristics and succeed in turning the light on amidst the darkness we are in. Until the light appears amuze yourself with A Pigeon in the Hand…Long live Matija Gubec*!
*a historic 16th century figure, a symbol of resistance of Zagorje peasant population
12. Šerif Mirko
(Trad. / Zvonko Kudelić, Tomislav Goluban / Tomislav Goluban)
Tomislav Goluban: usna harmonika, vokal, drombulja /harp, vocal, jews harp
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: električni bas /bass guitar
Mihael Vlah: bubnjevi /drums
Krunoslav Dobričević: prateći vokal /backing vocal
Ivica Vrdoljak: vokalni efekti /vocal effects
Šerif Mirko Tomek (1930.-2003.) živio je u istoj ulici gdje i ja, popularni Grabrovec u gradu Zaboku. Slovio je za dobrog i požrtvovnog čovjeka koji je umjesto viskija pio crno vino i rakiju, znao je zapjevati, zasvirati gitaru s jednom ili dvije žice te usnu harmoniku. Bio je sveprisutan u javnom životu našega grada te je na vrlo specifičan način bio dijelom priredbi, sportskih manifestacija, ceremonija i noćnoga života. Ispred restorana ili lokalne krčme uvijek je stajao uredno parkiran konj, čekajući fajrunt. Ponekad je konju ponestalo strpljenja, a kako je znao cestu, doma je odlazio sam.
Šerif je ostao zapamćen po originalnoj terminologiji koju su vokalnim imitacijama dočarali Ivek i Krumpa. Zapamćene su ostale i Šerifove usluge prijevoza ljudi s ovoga na onaj svijet u za to posebno uređenoj kočiji. Od siromaha nikada nije uzeo novac i na onaj svijet ih je vozio besplatno. Kad je pod stare dane odlučio otići u šerifsku mirovinu i kad je ostao bez svojih konja (Mađarac, Belgijanac, Kafko, Indijanac) i psa Tarzana, sugrađani su odlučili da mu šerifsku zvijezdu ostave u trajno vlasništvo. Također su mu kupili i konja pa je Šerif tako odjahao u mirovinu. Kao glazbena inspiracija poslužila mi je verzija tradicionalne američke blues pjesme John Henry. Kako je John Henry bio heroj američkih radničke klase, tako je Mirko Tomek bio heroj naselja Grabrovec, Grada Zaboka, ali i cijelog Zagorja. Zahvala obitelji Tomek za ustupljene pisane materijale, a dio gore napisanog teksta korišten je iz članka novinara Jovana Hovana. /Svi likovi u ovoj glazbenoj priči su stvarni i svaka sličnost radnje sa stvarnim događajima je namjerna, nikako slučajna!/
Sheriff Mirko Tomek (1930-2003) lived on my street – the popular Grabrovec in the town of Zabok. He was known as a kind and dedicated man who used to drink red wine and schnapps rather than whisky. He not only sang and played his guitar, which only had one or two music strings, but he played the harp as well. He was omnipresent in the public life of Zabok and was always part of events that occured; even night life. His horse was always neatly «parked» in front of a particular restaurant or pub, patiently waiting for the closing hour. Sometimes, the horse would run away, patience depleted from waiting for its master and it would find its own way home, since it knew the way very well. Sheriff has remained famous to this day for his original and very specific terminology and every day vocabulary used, which Ivek and Krumpa caught very well in vocal imitations. Sheriff’s transportation services were also famous, since he transported his fellow citizens from this world to another. The carriage was specially decorated for the purpose; interestingly, he never accepted money from a poor family and took the deceased to another world for free. As he aged and became older, he decided to become a retired sheriff. All his horses (Hungarian, Belgian, Indian and Kafko) and the dog (Tarzan) passed away and the town decided to let him keep the sheriff’s star permanently. Also, they bought him a horse so he rode to retirement on a horse.
As a music inspiration, I have used the traditional American blues song John Henry. The way that John Henry was a hero of American working class, Mirko Tomek was a hero in Grabrovec, the city of Zabok and all of Zagorje as well. I wish to express my gratitude to the Tomek family for all the written materials. A part of this text is written using articles of journalist Jovan Hovan.
(All the characters appearing in this music story are real. Any resemblance to the real events is intentional, not accidental in any way!)
13. Šerifov obračun
(Trad. / Emil Kušan Mika / Tomislav Goluban)
Tomislav Goluban: usna harmonika, drombulja /harp, jews harp
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: električni bas /bass guitar
Mihael Vlah: bubnjevi /drums
Vjekoslav Magdalenić – zvučni efekti /synth sounds
Ivica Vrdoljak: vokalni efekti /vocal effects
Adam Končić: recitacija /recital
Za nastavak pjesme o Šerifu potakla me priča o DJ-u E.K.Miki. On je po povratku iz Amerike, gdje je između ostalog obišao Texas i Hawaiie, donio sa sobom West Side Story i 1990. godine otvorio prvi pravi kafić u Hrvatskom zagorju imenom West Caffe, na čijem ste parkingu mogli vidjeti «rame uz rame» parkiranog Šerifovog konja i Mikin Harley Davidson. Osim novootvorenog kafića, Mika je od prije bio vlasnik Kuglane, prvog disko kluba u Zagorju. Tekst pjesme je dio reklame koja se emitirala na radiopostajama u svrhu promocije kafića. I mala anegdota za kraj. U West Caffeu Šerif je imao svoje mjesto, a gdje drugdje nego za šankom. Bio je to prvi stolac s lijeve strane, oštećen i izgreben od mnogih «obračuna». Ulaskom Šerifa u West, ljubazno osoblje oslobodilo bi «njegov» stolac kako bi sve dalje moglo teći u redu i prema zakonu.
For this sequel of Sheriff’s story, I was inspired by the story of the DJ E.K. Mika. Upon returning from the USA, where he toured in Texas and Hawaii, he opened a first true caffe-bar in Zagorje and named it West Caffe. Out in the front, Mika’s Harley Davidson was often parked next to the Sheriff’s horse. Besides the caffe, Mika owned the first disco-club in Zagorje named Kuglana. Lyrics of this song are partially taken from a radio commercial which was broadcast for the caffe. And a small anecdote for the end: in West Caffe Sheriff had his place, at the bar, of course; it was the first chair on the left, damaged and scratched from numerous «shootdowns». Whenever Sheriff would enter the caffe, kind personnel would free his chair (if occupied) in order to continue on with business «in order and according to the law».
14. Vinski vrh
(Tomislav Goluban / instr. / Tomislav Goluban, Nikola Santro)
Tomislav Goluban: usna harmonika /harp
Davor Rodik: slide gitara /slide guitar
Darko Aljinović – File: električni klavir /electric piano
Tomi Novak: kontrabas /doublebass
Mihael Vlah: bubnjevi /drums
Nikola Santro: trombon /trombone
Boris Šaronja: truba /trumpet
Vinarija Vinski vrh nalazi se u općini Hraščina, vinogorju Zlatar, u vinogradarskoj podregiji Međimurje – Zagorje. Kada stignete na ovaj posjed, zvuk tišine, predivan zagorski krajolik i vidikovac ostavit će vas bez daha. Predivno i inspirativno mjesto, pa eto instrumentala u 7-minutnoj verziji. Glavni proizvod Vinskog vrha je vrhunska vinska kapljica Libertin, pa vidi poveznicu s pjesmom br. 5.
Vinski Vrh winery is located in the county of Hrašćina, Zlatar wine-growing hills, which is a part of Zagorje-Međimurje wine-growing region. This silent Zagorje landscape and sightseeing spot will take your breath away. It is a wonderfully inspirational place, of which the end result is this 7-minute instrumental. There is no need to mention (but we will anyhow) that the main product of Vinski Vrh is a wine brand Libertin, so see (and listen to) Track 5. To taste – please do come around!
Recorded & mixed by Davor Totović, Studio Kasandra, Tugonica, May 2008 till August 2009
Mastered by Neven Smolčić, Fabrika 13, Ljubljana
Extraordinary technical help by Zoran Haraminčić – Hara
Translation by Danijel Likar
Photos by «BlackdoG» Martin Turk
Design by Igor Vranješ
