Doživjeti stotu

From Wikipedia, the free encyclopedia

Bijelo dugme chronology
Doživjeti stotu

Studio album by Bijelo dugme
Released	December 1980
Recorded	Studio 4, Radio Belgrade October-November 1980
Genre	Rock New Wave Pop
Length	32:19
Label	Jugoton
Producer(s)	Goran Bregović
Bitanga i princeza (1979)	Doživjeti stotu (1980)	5. april '81 (1981)

Doživjeti stotu is the fifth studio album released by Yugoslav rock group Bijelo dugme. The album is noted for the band's change of direction towards a new wave sound, in contrast to folkish hard rock on their previous albums.

Doživjeti stotu was being prepared and eventually released in the wake of the Yugoslav lifetime president Josip Broz Tito's death. His passing on May 4, 1980 triggered an extended mourning period that saw most of the entertainment activities throughout the country temporarily quiet down.

Pre-recording rehearsals were held in Goran Bregović's chalet on Jahorina Mountain, before actual sessions began at Radio Belgrade's Studio 4 on October 6, 1980. Two months later, in anticipation of the new release, the two-side single "Dobro vam jutro Petrović Petre" / "Na zadnjem sjedistu moga auta" appeared in stores containing a song off the coming album as well as B-side from a previous one.

[edit] Reception and reaction

Immediately, the new song about the fictional character Petar Petrović received a radio ban duo to the lyric "sve u finu materinu", which some found inappropriate "especially in the sensitive time following Tito's death". Also, once the album itself came out, some complained about what they saw to be the "morbidity" of its three part cover by Mirko Ilić, which depicts a plastic surgery.

Unlike with previous studio albums, promoting Doživjeti stotu also included selling the shocked public on the whole new sound and radically different look.

Except for the monumental "Pristao sam biću sve što hoće" and "Pjesma mom mlađem bratu" every single track sounded much different from what came to be expected as Bijelo dugme sound over the previous 6-7 years, which is why the album was met with a lot of skepticism. However, bandleader Bregović was unapologetic as the group prepared to start a tour: "It would've been foolish to make this record any different than it is since this is the only way I feel my music at the moment. When I look back, I think this is our first album with this much energy. We're hungry for music and I think our live shows will also be exceptional. The record is all tempo, it's got a lot of text and rhythm and I think the public will like it".

Still, many critics weren't convinced, speculating the real reasons for the radical musical shift lay in Bregović feeling the creative heat from emerging Yugoslav acts at the time such as Riblja čorba and Azra. Both of those bands exhibited clear social awareness with a pronounced political component in their lyrics, which is something Bregović tried to replicate for the very first time in his career on tracks "Tramvaj kreće" and "Ha, ha, ha". Critics further accused Bregović of posturing and pandering to a younger audience, speculating that his motives for latching on to the fresh new wave sound have to do with his fear of Bijelo dugme seeming over the hill and out of touch, especially when compared to many younger, hip, and critically-acclaimed bands like Šarlo akrobata, Film, Idoli, Haustor, etc.

Other critics, however, found it conceivable that following a pinnacle year Bijelo dugme had in 1979 and the commercial heights they reached with Bitanga i princeza album, Bregović sincerely wanted a change of pace, all of which he himself alluded to when he commented on how Doživjeti stotu fits in the group's overall opus: "It's hard to catch us in a style on any of our albums. We never limited ourselves to a style on any record and I'd like to keep that freedom whereby nothing specific is expected from us. I've never been quite satisfied with what I've done so far, which makes it really easy for me to go further on. This thing now creates an opening for us to go somewhere since we really did reach an end in a way that we took some things as far as they could be taken and after which we had nowhere to go to. When we were starting this band we thought we'd make as much as we feel is necessary and then we'll quit - but it's not time for that quite yet".

As mentioned, the new album also brought a whole new look. Željko Bebek shaved off his famous bushy moustache, while everyone in the band cut their hair short and started wearing white shirts and thin ties ala Talking Heads instead of the usual shepherd's coats. Also, their signature platform boots and wide leggings got replaced by sleak running shoes and tight pants.

Unlike the new sound which found some, albeit less vocal, sections of support, the reaction to the new visuals was much more unynamous - both the fans and the media pretty much hated it. Different media outlets, especially written ones, had a field day ridiculing the band's new look with even the somewhat more serious Politika ekspres, daily that usually stayed away from such prosaic topics, proclaiming Bijelo dugme members to be "pale copies of Spandau Ballet and Duran Duran".