Hubbry Logo
SmakSmakMain
Open search
Smak
Community hub
Smak
logo
7 pages, 0 posts
0 subscribers
Be the first to start a discussion here.
Be the first to start a discussion here.
Smak
Smak
Smak
View on Wikipedia
from Wikipedia

Smak (Serbian Cyrillic: Смак; trans. The end time) was a Serbian and Yugoslav band from Kragujevac. The group reached the peak of popularity in the 1970s when it was one of the most notable acts of the former Yugoslav rock scene. The band's leader, guitarist Radomir Mihailović, nicknamed Točak ("The Wheel"), is considered one of the most influential guitarists on the former Yugoslav rock scene.

Key Information

Formed in 1971 by the guitarist Radomir "Točak" Mihajlović and drummer Slobodan "Kepa" Stojanović, the band did not get a stable lineup until 1975 by which time bassist Zoran Milanović, vocalist Boris Aranđelović and keyboard player Laza Ristovski became the band's official members. However, after recording their eponymous debut album, Ristovski left and the remaining quartet recorded their subsequent albums with various keyboardists before disbanding in 1981.

After brief reunions between 1986 and 1992, the two founding members, Mihajlović and Stojanović, reestablished the band with younger musicians — vocalist Dejan "Najda" Najdanović, the second drummer Dejan "Kepa Jr." Stojanović, second guitarist Milan "Mikica" Milosavljević and bassist Vlada Samardžić. During the late 1990, the latter was replaced by the bassist Slobodan "Sale" Marković who performed with the band until 2002 when Smak disbanded once again. The remaining members from the last lineup, with the new bassist Miloš Petrović reunited in 2010, and in 2012 the default lineup of the band made a one-off reunion.

History

[edit]

Formation and early career (1971–1975)

[edit]

Two ambitious twenty-year-old budding musicians—guitarist Radomir "Točak" Mihailović and drummer Slobodan "Kepa" Stojanović [sr]—met up in Stojanović's hometown Kraljevo on 23 April 1971 with a view of starting a band together. They had earlier been put in touch with one another through Mihailović's childhood friend Predrag "Biska" Albić who had served his mandatory Yugoslav People's Army (JNA) service in Mostar with a group of conscripts that included Stojanović.[1] Throughout their army stint together, Albić kept telling Stojanović about Mihailović's exceptional guitar-playing skills and passion for rock'n'roll, eventually arranging for the two to meet. Following the introductory meeting in Kraljevo, the two musicians returned to their lives as Stojanović had already been set to go on a tour with his family orchestra—an engagement he envisioned as an opportunity to earn enough money for a new drum kit—while Mihailović went back to his hometown Čačak.[2]

Upon getting back home, Mihailović was introduced to Zoran Milanović (bass guitar) and Slobodan "Koma" Kominac (vocals), both from Kragujevac, who asked him to join their upstart progressive rock band Gentry, an offer he accepted on condition that Stojanović become the band's drummer.[3] During November 1971, the four met up in Kraljevo in order to officially form a band and, having been kicked out of Stojanović's family home by his grandmother who didn't appreciate the sight of four young men with long hair in her house, they went to a local restaurant and eventually to a nearby park where they wrote their first song, later named "Bluz u parku" ("Blues in the Park") in memory of the event.[4]

In December 1971, the lineup was completed with the arrival of Miša Nikolić on organ. Still largely a cover band at this point, the group played youth dance halls with covers of Santana, Deep Purple, Led Zeppelin, The Rolling Stones, and Jimi Hendrix.[5] Soon after, the members decided to change the band's name. Influenced by Smak sveta (The End of the World), a Hair-inspired musical being prepared locally at the Kragujevac Theatre in dedication to the schoolchildren killed during the Kragujevac massacre, they agreed on Smak (Endtime) as their new name while the play eventually never got staged.[3] New name Smak occasionally got referred to in jest as S.M.A.K., a supposed acronym for Samostalni Muzički Ansambl Kragujevac (Independent Musical Ensemble Kragujevac).[5] During this period, the band members spent time writing their own material, including 22 instrumental songs — from "Biska 2" to "Biska 23", written by Mihailović as a dedication to his friend Predrag "Biska" Albić (who was 22 at the time), featuring the defined band's sound as a combination of progressive rock with jazz and blues influences.[3]

The fact that the band's improvisations turned dances into rock concerts was the reason why their performances were becoming less popular, which eventually led vocalist Kominac to leave the band, being replaced by Slobodan "Johan" Jovanović, Mihailović's friend from Čačak.[6] However, since the performances were the source of income for the band members, they all agreed to reunite with Kominac and go to Dubrovnik where they would perform mostly blues repertoire for two and a half months during the summer of 1972.[7] During their stay in Dubrovnik, the band opened for Time, which had borrowed their equipment for the performance.[8] After the Dubrovnik performances the band took a break until March 1973 when, with the new vocalist Milorad "Kimi" Petrović, Stojanović's former bandmate from the band Bluz Projekcija, Stojanović, Mihailović and Milanović decided to perform at the Požarevac Gitarijada Festival (not to be confused with Zaječar Gitarijada Festival).[9] There, in April 1973, the band shared the first place with the local band Dijamanti, which organized the festival.[3]

With yet another return of Kominac to the band, Smak continued performing in Kragujevac clubs,[9] as well as making a successful appearance at the Pop Music Festival in Sanad.[3] This lineup recorded the song "Biska II blues", which appeared on the PGP RTB various artists compilation Leteća diskoteka (Flying Discothèque), compiled by Zoran Modli in 1977.[10] In October 1973, the musically inexperienced high tenor vocalist Boris Aranđelović, who had just returned from Australia, joined the band after auditioning with a successful performance of Deep Purple's "Child in Time".[3] After Aranđelović's arrival, during the early 1974, the band started recording their debut single and were interested in bringing an organist into the band, offering the place to Time member Tihomir "Pop" Asanović, who turned down the offer due to his plans to form his Jugoslovenska Pop Selekcija.[10] Eventually, the band released their debut single "Živim ja" (I'm Livin'), originally entitled "Biska 13", with "Biska 16" as the B-side, in March 1974 through PGP-RTB.[10] "Živim ja" featured the flutist Sreten Tasić "Tasa", at the time member of the band Oliver, who by chance turned up at the studio during the recording session.[10] During the late 1974, "Živim ja" was selected as the hit single of the year on the Veče uz radio (An Evening With the Radio) Radio Belgrade show.[11]

Smak performed in Belgrade for the first time on November 10, 1974, during the Veče uz radio anniversary concert, alongside Bijelo Dugme, Pop Mašina and other notable bands of the time.[10] Several days later, the band performed at the University of Belgrade Faculty of Philology, the first time with a guest keyboard player Laza Ristovski, a former Bezimeni and Boki Milošević Orchestra member.[10] Ristovski officially became a member in January 1975, soon after which, Smak performed with the Hungarian band Omega in the Dom Sindikata Hall.[10] In February of the same year, the band performed at the Rock Evening of Opatija Festival, and afterwards in Zagreb at the Kongres rock majstora (The Rock Masters Congress) concert held as the summit of the best Yugoslav guitar players.[10] Unlike the expectation that Mihajlović would be declared the best guitarist of the event, the judges decided that the best four guitarists were Bata Kostić of YU grupa, Vedran Božić of Time, Josip Boček formerly of Korni Grupa, and Goran Bregović of Bijelo Dugme, all of whom, unlike Mihailović, were signed to Jugoton, the event's principal organizer.[10] Shortly after, on March 16, 1975, Smak opened for the Deep Purple concert in Belgrade, performing three of their numbers: "Put od balona" (Road Made of Balloons), "Šumadijski blues" (Šumadijan Blues) and "Ulazak u harem" (Entry into the Harem).[12]

After the performance at the Od glave do pete (From Head to Heels) television show where the band performed the instrumental "Ulazak u harem", originally composed by Točak's teacher, Dragoljub "Jarak" Jaraković but rearranged by Točak,[10] owing to positive reactions, they decided to record the track as their follow-up single.[13] In April 1975, the band signed the Ljubljana ZKP RTLJ and released the single "Ulazak u harem" with the track "Epitaf" ("Epitaph") as the B-side.[13] However, after being offered the contract by the Zagreb Suzy Records to release the single through their label, the band signed yet another contract, releasing "Ulazak u harem" with the song "Sto ptica" ("A Hundred Birds") as the B-side, which resulted in the two labels simultaneously releasing the same single.[13] The release of the singles became the first major music controversy in the history of Yugoslav music.[10] Eventually the band chose to remain with the ZKP RTLJ label and were offered to record their debut album for the label.[13] The following month, the band went on a Bosnian and Croatian tour with Bijelo Dugme and the East German band Puhdys, and had several live appearances with the Hungarian band Sirius and Austrian band Gypsy Love, followed by them headlining the Zagreb BOOM Festival.[10]

Commercial success (1975–1978)

[edit]

Smak's eponymous debut album, Smak (Endtime), was released in 1975 and featured five tracks: the A-side featured "Perle" (Beads), "Mračni mol" (The Dark Minor), "Blues u parku" (Blues in the Park) and the shortened "Biska 2", whereas the B-side featured the twenty-minute long instrumental "Put od balona" ("The Road Made of Balloons"), originally entitled "Biska 20".[10] Despite its length, the latter track was recorded in a single take and was inspired by the Korni Grupa symphonic rock tracks such as "Prvo svetlo u kući broj 4" (First Light in the House Number 4) and "Jedna žena" (A Woman).[14] The album featured the lyrics mostly written by Mihajlović, but shortly after, the band asked the services of the poet Mirko Glišić from Kragujevac for the same occupation, with whom they collaborated on their subsequent releases.[10] The album received mixed to favorable critics, but nevertheless went silver, being sold in about twenty thousand copies.[14] The album had also increased the cult status of Mihajlović's guitar playing, which was confirmed on their three-week tour of East Germany.[10]

In April 1976 the band released the double 7" EP Satelit (Satellite), featuring the title track which became an instant hit, and had a cover which in its inner side had a satellite jumping out of the sleeves.[10] The promotion of the EP was also organized in an unusual manner: the Ljubljana's ZKP RTLJ record label invited about twenty journalists to a DC10 flight from Belgrade to New York City during which the band performed an improvised session on the plane.[10] They stayed in New York City for a week, recording a promotional video for "Satelit", a documentary about their visit, and performed in a club for expatriates from Banat.[10] Upon their return from the United States, Mihajlović released his debut solo album R. M. Točak,[10] and the band had a mini-tour of Yugoslavia during the Autumn of 1976.[15] In October the band released the single with songs "Ljudi nije fer" (People, It's Not Fair!) with the B-side "El dumo", and as a part of the single promotion, a one-hour documentary about the band's stay in New York was screened.[10] The following month, Laza Ristovski left Smak to join Bijelo Dugme, at the time Smak's rivals, being replaced by the organist Miki Petkovski from the band Breg (the embryonic Leb i Sol), a cello music academy graduate in the class of professor André Navarra.[10]

During the early 1977, the band, Ristovski's departure and Mihailović's illness started preparing material for the following album, with Petkovski also bringing his cello to the rehearsals, and the written material was recorded in London at the Morgan Studios.[16] Crna dama (Black Lady), produced by Martin Levan, featured the lyrics written by Mirko Glišić and the music by Mihajlović, with the exception for "Tegoba" (Ailment), written by Petkovski, in which he presented his sympathies for jazz rock.[10] The musical style ranged from the hard rock influenced title track, ballads "Stvar ljubavi" (A Matter of Love) and "Plava pesma" (Blue Song), featuring the London Harmonium string quartet, folk rock "Daire" (Tambourine), the progressive "'Alo", featuring Aranđelović's scat singing combined with Mihajlović's solo parts, and "Domaći zadatak" (Homework), featuring complex solos on drums, bass guitar and keyboards, which was directly dedicated to Bijelo Dugme.[10] The album had a luxurious cover designed by Dragan S. Stefanović, featuring a new band logo which became one of the band's trademarks.[16]

The album went gold and received mostly positive critics, although Glišić's lyrics received mostly negative reactions, being described as banal and ineffective.[10] PGP RTB had also made a great investment in the album promotion, with the appropriate coverage in the media, thus the songs "Crna dama", "Daire" and "Plava pesma" became nationwide hits.[17] On September 8, 1977, the band embarked on a large promotional tour, playing the opening show in Belgrade,[17] performing in the sold out Pionir hall, and later at the BOOM festival in Novi Sad.[10] In Zagreb, the band promoted the album in a streetcar which circled the city and after the Zagreb performance, in front of eleven thousand people, the representatives of the Frankfurt-based record label Bellaphon Records were introduced to the band.[18] The band signed a five-year contract for eight albums, after which Mihajlović and Aranđelović traveled to London in order to record the tracks for the English language version of Crna dama for the European and American markets.[18] Black Lady, featuring an alternate album cover,[18] in the Melody Maker was reviewed as "a bad copy of Taste and Deep Purple", however, it received a positive review in Guitar Player.[10] In the annual poll the readers of the Džuboks magazine selected Smak as the best band in 1977 and the band got the best album, cover, single, guitarist, bassist and drummer.[10]

In January 1978, during the Midem music industry trade fair in Cannes, the Black Lady rights were bought by the American Fantasy Records and the Spanish branch of RCA Records.[10] However, the atmosphere within the band had become tense, mostly since the successful Crna dama tour had eventually ended up in the band being twenty million dinars (approximately fifty thousand dollars) in debt after the tour.[18] In such atmosphere they had several unsuccessful live performances, including the half-empty Belgrade Pionir hall concert in the spring of 1978.[10] The band had also performed at a Polish international rock music festival in Poznań.[18] At the time, the PGP RTS label bought the MCI 24-channel studio equipment on which, with the help of the personnel from Morgan studio, the band recorded the maxi single Smak Super 45, featuring "Nevidljive terazije" (The Invisible Scales) and "Hitopadeza" (Hitopadesha), the latter featuring Stojanović simultaneously playing two rhythms.[19] During that period Petkovski recorded a solo album Ko zna (Who Knows), on which on one side of the LP performed Smak members and Leb i Sol members on the other.[19] Soon after Petkovski left due to his military service, being replaced by Tibor Levay, the member of the RTV Novi Sad Orchestra.[10]

Decline and crisis (1978–1981)

[edit]

In a tense atmosphere, the band started writing new material, often clashing with Mihailović who did not react to the band's objections to his lyrical works. Nevertheless, the band traveled to England and in Chipping Norton near Oxford, in a local castle, the band installed their studio and started recording their third studio album.[20] Despite frequent arguments, they recorded the progressive rock album Stranice našeg vremena (Pages of our Time), produced by the band themselves with the producer Barry Hammond, and featured the music and part of the lyrics written by Mihailović.[10] The rest of the song lyrics were written by the Kragujevac poet Zoran Petrović, but did not receive positive reactions from the critics.[10] Beside the new "Ponoćni lovac (Biska 18)" (Midnight Hunter (Biska 18)), "Tendži-tandži", "Nebo je samo drum bez dna" (Sky is Just a Bottomless Road), the album featured a rerecorded version of "Ulazak u harem".[21] The album was released by Bellaphon for the international marked and PGP RTB released a licensed Serbian language version of the album. The English language version of the album, entitled Dab in the Middle, named after the suggestion by the guest percussionist on the album, David Moss.[10]

After the album release, Levay left the band, soon to be followed by Mihailović, dissatisfied with the band's objections to his lyrics writing as well as objections to the usage of Moss' lyrics on Dab in the Middle.[22] Smak continued performing, having several performances with the former Mirni Ljudi guitarist Srđan Miodragović, and former Time members Dado Topić and Chris Nichols.[22] During the late 1978, Stojanović got the call to join September, fronted by Tihomir "Pop" Asanović, but declined due to his ambitions to continue working with Smak.[23] At the beginning of 1979, Mihajlović returned to the band, and Laza Ristovski with him, disappointed with the situation in Bijelo Dugme and the failure of his album Stižemo (Here We Come), recorded with his Bijelo Dugme bandmate Ipe Ivandić.[22] With the guest appearance by Dado Topić, the band released the EP Na Balkanu (On The Balkans), featuring the title track and "Gore dole" ("Up and Down"), with the lyrics written by Marina Tucaković.[22] At the time, the band ended their contract with Bellaphon who were dissatisfied with the Smak album sales, with the band being dissatisfied with the album promotion.[22] Another reason was the court case between Moss, who protected the rights to the usage of Dab in the Middle, and Bellaphon, eventually ending in the label paying ten thousand dollars for royalties.[22]

The band continued collaborating with Dado Topić who produced the album Rok cirkus (Rock Circus), released in early 1980, featuring a more commercial hard rock sound, but met with severe criticism due to flaccid song lyrics, written by Marina Tucaković and Marko Glišić, especially the lyrics for the song "La Kukarača" (La Cucharacha).[22] The album however had shown a reminiscence of their previous works in the instrumental "Instrumental Baby", and the songs "Hirošima" ("Hiroshima") and "Ogledalo" (The Mirror).[22] The only song to become a hit from the album was the song "Profesor" ("Professor").[24] Influenced by the Rolling Stones' Rock 'n' Roll Circus, the band wanted to promote the album on a tour with performances in a circus tent.[24] For that reason, in April 1980, the band traveled to Slovenia in order to sign a contract with the Slovenian Vargas circus company, however, their tent had been damaged after a heavy snowfall.[24] In expecting another tent to arrive, the band had heard the news of the death of president Josip Broz Tito,[24] after which the album was left almost without any promotion.[22] Furthermore, the popularity of punk and new wave music in Yugoslavia had also influenced the commercial failure of the album.[22]

At the beginning of 1981, Mihailović with Smak members decided to record a solo album, however, during the album recording process, they were uncertain whether it should be Točak's solo album or yet another Smak record.[25] Eventually, it was decided that the album should be Mihailović's solo work, mostly since, during the writing process, his brother had died which made an influence on the atmosphere of the album and a part of the material recorded as a dedication to his brother.[26] Another reason was the absence of Aranđelović whom did not participate the album recording due to his illness and thus the three non-instrumental tracks on the album featured the vocals of Dado Topić, in the song "Zašto ne volim sneg" ("Why I Dislike the Snow"), recorded in a single first take, and Zoran "Hoze" Živanović, in the songs "Južni voz" ("Southern Train") and "Nebeski splav" ("Sky Raft").[27] Beside the material written by Mihajlović, the album featured a cover version of the Macedonian folk song "Zajdi, zajdi" ("Set, Set (Oh, Sun)"), originally composed by Aleksandar Sarijveski.[28] Eventually, Zašto ne volim sneg (Why I Dislike the Snow) was released as a Smak album after the PGP RTB persuaded the band to abolish the idea of a solo record.[22] The album was released in five thousand copies only and quickly sold out in less than a month.[29]

Breakup and aftermath (1981–1986)

[edit]

By the time Zašto ne volim sneg got released, the frequent arguments among the band members precipitated their decision to disband following one final show in Belgrade.[30] In June 1981, they held a farewell concert at the Red Star basketball court within the Kalemegdan fortress[31] in front of six thousand fans, with a guest appearance by Dado Topić who joined the band on stage to perform "Na Balkanu".[22] The concert was originally delayed due to heavy rainfall, partially damaging the equipment.[31] Afterwards, there were issues with the show's promoters who reneged on the terms of the agreement regarding payment for the show, leading to band members only receiving about a fifth of the previously agreed payment.[32] The suddenly reduced financial windfall from the final show led to the band's decision to embark on a farewell tour in order to recoup the lost income despite being on unfriendly terms and originally not intending on performing past the Kalemegdan performance.[22] The farewell tour ended in September 1981 and the members went their separate ways.

Soon after the breakup, Stojanović and Mihajlović, together with Dado Topić on bass and lead vocals, made an agreement to form a band called Tito, an idea the three had as far back as 1973, however, due to Mihajlović disliking the concept of not recording new material and relying on their old repertoire, the band never got off the ground.[33] In early 1982, Mihajlović and Stojanović, this time with bassist Lola Andrejić, decided to form an instrumental music trio, continuing with the style first explored on Zašto ne volim sneg, however, after a misunderstanding between Stojanović and Andrejić, the former left the band.[34]

During 1982, Mihajlović released a single "Mantilja" (Mantilla), with "Specijalka" (A Special) as the B-side, and with Andrejić and Moss who often performed live with him, he recorded maxi single "Marš na Drinu" ("March on the River Drina"), a cover of the World War I song.[22] He had also opened a school for guitar players in Kragujevac and Belgrade, through which an abundance of students had passed over the years.[22] During 1982, with his former Smak bandmates, Boris Aranđelović recorded his debut solo album Iz profila (Profile View), after which he moved to London where he minimized his musical career.[22] Stojanović formed the band Cveće (Flowers) in October 1982, with Chris Nichols (keyboards), Miodrag Babalj (vocals), Srećko Maksimović (guitar) and Branko Pavlović "Stenli" (bass), but by the time their debut album Polenov prah (Pollen Powder) was released in 1983, they had already disbanded.[22] Stojanović then performed in Belgrade's Hotel Mažestik, in clubs in Germany and the Soviet Union and participated in the recording sessions of Toma Zdravković's singles "Ej, Branka, Branka" ("Hey, Branka, Branka") and "Kiša je padala" ("The Rain was Falling").[22] Ristovski joined the Alvin Lee Band, performing on a tour of Yugoslavia and Hungary, and released five solo albums, before returning to Bijelo Dugme in 1985, remaining until their breakup in 1989.[35]

Reunions and hiatuses (1986–1992)

[edit]

In mid-October 1986, the mainstay Smak members reunited in the lineup Mihajlović, Stojanović, Aranđelović and Milanović,[22] but without Ristovski who refused to participate in the reunion.[36] The four started rehearsing at the University of Kragujevac campus, and during the rehearsals a young keyboard player Milan Đurđević often attended the rehearsals, however, due to being Mihajlović's reserved towards him, he invited Chris Nichols to record the keyboard parts.[37] The comeback album Smak 86., also featuring Miša Komnenić and Vlada Nikodijević on guest keyboards, but the album was not well received by the critics.[22] The album featured Mihajlović as the album producer, music and lyrics author, even lead vocalist in the song "Kornjačina koža" ("Turtle Skin").[22] The band members themselves, with the exception of Mihajlović were also dissatisfied with the record: Aranđelović was not satisfied with some of the lyrics and Stojanović was not content with the usage of rhythm machines on certain tracks.[37] After the album release, the band embarked on a tour with Milan Đurđević on keyboards, but without much promotion.[38] After a short tour, the band went on an indefinite hiatus.[22]

In 1987, Mihailović founded his R.M. Točak band, featuring Lola Andrejić and David Moss, with whom he appeared on the Legende YU Rocka (The Legends of YU Rock) concert, organized on May 22, 1987, by the Zagreb Radio 101 at the Dom Sportova,[39] and the recording of the instrumental "Because" appeared on the various artists double live album Legende YU Rocka, released by Jugoton during the same year.[22] Stojanović founded his school of drummers and started performing folk music in both Yugoslavia and abroad.[22] During the time of Smak's inactivity Mihailović, Stojanović and Milanović remained in contact, and in 1988, without much rehearsing, they decided to perform at the traditional Kragujevac Midnight concert, with Milan Đurđević on keyboards, who was at the time serving the army, and the vocalist Milan Šćepović "Šćepa".[40] After having a successful performance in Kragujevac, despite the rumors of reformation, the members devoted to their own careers once again.[40] However, the same lineup had reunited once again in 1990, once again performing at the Kragujevac Midnight concert.[40]

The following year, the band reunited, this time with Aranđelović on vocals, once again at the same concert, and featured a guest appearance by Pera "Džo" Miladinović on harmonica.[40] The same lineup with Ristovski on keyboards performed at the Kragujevac Midnight concert, after which, the band had their first live appearance after six years in Belgrade.[41] The band held two performances in Sava Centar, the first of which was recorded for the live album OdLIVEno (LIVEquefied), on compact cassette only.[41] Beside their own songs, the album featured cover version of blues songs "Cross Road Blues" and "Tobacco Road", and Serbian traditional song "Ukor" ("Blame").[22] The band had also released a compilation album Smak: Retrospektiva (Smak: A Retrospective) and re-released the album Dab in the Middle as The Pages of Our Time.[22] After the Belgrade performances, the band had a meeting in Kragujevac, where they decided to continue working and started planning a comeback album.[42] Nevertheless, Aranđelović went to Amsterdam where he stayed longer than the intended two months and Milanović and Ristovski did not appear at the band rehearsals, thus the lineup did not make a full-time comeback.[42]

TEK and reformation (1993–2002)

[edit]

Having realized that there would not be a default lineup reformation, Mihailović and Stojanović nevertheless continued rehearsing together, playing instrumental music with Mihailović's student Milan "Mikica" Milosavljević, a former Alahambra member,[22] who, despite being a solo guitarist, took up playing bass out of the respect for the two musicians.[42] During one of the rehearsals, having heard Stojanović and his 19-year-old son playing drums simultaneously with his father, Mihajlović suggested that Dejan Stojanović "Kepa Jr." should join the three as the second drummer.[43] At the time, in 1993, Mihajlović got the offer to score the film Vizantijsko plavo (Byzantine Blue), directed by Dragan Marinković, which he recorded Stojanović senior and junior on drums and Milosavljević on bass, signed as the band TEK.[22] The soundtrack album, recorded at the Laza Ristovski's studio,[44] featured guest appearances by Ristovski (keyboards), Zoran Milanović (bass), Marija Mihajlović (vocals), Miroslav Savić (keyboards) and Nenad Petrović (saxophone).[22] Beside his own compositions, the album featured several cover versions of folk motifs, including the 1981 version of "Zajdi, zajdi" and the song "Ukor",[42] as well as the compositions by Miroslav Savić and Dragan Stefanović.[22] Mihajlović eventually got the Crystal Prism award for the album.[22]

After the album release, TEK started a promotional tour, performing instrumental music mainly in clubs, however, on the audience request, they included Smak material, but in instrumental versions with the audience filling the vacant vocalist spot.[45] This was the reason why Stojanović suggested Mihailović to return to a classic rock lineup with a vocalist, and in the meantime, Milosavljević switched to guitar, thus the band were to look for a new vocalist and bassist.[46] At first the band considered the Osvajači vocalist Zvonko Pantović "Čipi", due to a similar vocal style with Aranđelović's, but eventually the new vocalist became Dejan Najdanović "Najda", a former Kramer vocalist,[22] after a successful vocal interpretation of the Free song "All Right Now".[47] On the recommendation of a friend, the new bassist became Vlada Samardžić, a young jazz fusion musician from Novi Sad,[48] who performed with Vasil Hadžimanov.[22] The VANS production company, which released the Vizantijsko plavo soundtrack, wanted to start a collaboration with the band in releasing new material, suggesting them to continue using the name Smak.[49]

Having completed the lineup, and having an album's worth material, Radomir "Točak" Mihailović (guitar), Slobodan "Kepa" Stojanović (drums), Dejan "Kepa Jr." Stojanović (drums), Milan "Mikica" Milosavljević (guitar), Dejan "Najda" Najdanović (vocals) and Vlada Samardžić (bass guitar) entered the studio and recorded the Smak's seventh studio album Bioskop Fox (Fox Cinema), produced by Mihailović and released jointly by VANS, Komuna and PGP RTS in 1995.[22] The entire material, consisting of fourteen tracks, was written by Mihajlović, with the exception for a part of the lyrics, written by Zoran Amar, Predrag Drčelić "Skaki" of Trula Koalicija, Jovan Nikolić and Nikola Mihajlović.[50] In order to promote the album, the band had recorded a promotional video for the song "Lisica" ("Fox"), dedicated to Jimi Hendrix, in a professional film studio in Košutnjak,[48] as well as two promotional videos, for the songs "Organizam bluz" (Organism Blues) and "Miris nje" (The Smell of Her), in Novi Sad.[51] Despite the adequate media promotion, Mihajlović was not satisfied with VANS, partially owing to their inexperience with the music business due to being a film company, thus the band ended the collaboration with the company.[51]

After the album release, the band started tour rehearsals in Kragujevac and had their first live appearance with the new lineup in Čačak on September 9, 1995, followed by performances in Kragujevac, however they were facing the problem of a small number of people attending their shows.[51] At the time, the band got an invitation to go on a tour of Canada but despite everything being set for their arrival, Mihajlović changed his mind and the tour was canceled.[52] After the tour cancellation, the bassist Vlada Samardžić, disappointed with the fact, decided to leave the band and dedicated himself to his studies at the Berklee College of Music.[52] Mihailović suggested Lola Anderjić as his replacement, but after Stojanović's refusal, the new bassist became Slobodan Marković "Sale" from Kragujevac.[52] The new lineup continued performing live, including the performance at the Belgrade Sava Centar, which was broadcast on national television, with the performances featuring drum solos on two drums consisting of three sections, the first being unison drum playing, the second with individual improvisations and the third with the Latin-American rhythms under the influence of Steve Gadd's playing style.[53]

During 1996, the RTV Slovenia released a compilation album The Best of Smak, and the following year, in the spring of 1997, the band had a tour of Slovenia.[54] The success of the tour resulted in the plans for another tour which was canceled due to the problems with the management in Slovenia.[52] After the tour, the band had reduced their live activities, performing mainly free concerts at town squares, including the concert in Kragujevac on which all the former members, with the exception of Miki Petkovski, appeared as guests.[55] In May of the same year, in the Kragujevac Šumadija cinema hall, the band made an experiment with performing an entire concert without audience and the recording of the concert was released on the double live album Live Without Audience, featuring live versions of twenty two tracks from the band's entire career.[56] A promotional video for the song was recorded for the song "Ljudi nije fer" which received an adequate media coverage.[55] The following year, in 1998, in a book edited by Duško Antonić and Danilo Štrbac YU 100: Najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best Albums of Yugoslav Rock and Pop Music), Crna dama appeared on the 40th and Smak on the 63rd place.[57]

In 1999, the band started working on a new studio album, for which Mihajlović and Stojanović decided that it should feature poly-rhythmic drums and scat singing.[58] Nevertheless, Stojanović suggested that beside scat singing, several tracks should feature lyrics, which Mihajlović refused, and thus Stojanović made a decision not to play on the album.[58] Mihajlović then hired Igor Malešević, at the time the member of Vasil Hadžimanov Band, but after not being satisfied with the rehearsals he was fired and Stojanović recorded the drums for all of the fourteen tracks on the album, which was entirely recorded in 72 hours.[59] Egregor, released by PGP RTS, produced by Mihajlović and Saša Habić, featured only one song with lyrics and on the rest Najdanović was featured on scat singing.[56] The song "5. maj" ("May 5") was dedicated to Led Zeppelin and the theme "SOS" featured a sample of Josip Broz Tito's speech from 1948, older generation folk singers Vuka Šeherović and Mijat Mijatović, and an anonymous Radio Belgrade speak at the time of the World War II occupation of Yugoslavia.[56] The album received mixed critics and did not receive an adequate promotion due to the NATO bombing of Yugoslavia during the same year.[60]

During 1999, Boris Aranđelović recorded a solo album Milion godina (A Million Years) as Boris i Dinosaurusi on which the music was written by former YU grupa guitarist Bata Kostić, Jimmy Barnes and R.M. Točak, the lyrics by Marina Tucaković and Ranko Slijepčević, and the recordings featured Kostić, Ristovski, Kepa Stojanović, Zoran Milanović, Pera Joe and Neverne Bebe guitarist Saša Ranđelović "Ranđa".[56] On March 3, 2000, the band performed at the Kragujevac Le Cinema hall and the recording of the concert was released in 2002 by Active Time as Live – klub Le Cinema (Live – Le Cinema Club) in 2002.[56] The same label released the recording of the TEK concert in Niš recorded in 1994, on the live album Niš 1994.[56] In 2001, the compilation album Istorija (History) was released by PGP RTS, featuring songs from all the periods of Smak's career and the previously unreleased song "Blues od vina", which was recorded on the 1974 Veče uz radio anniversary concert.[56] The following year, the band disbanded.[56] A compilation album featuring a part of the material from Live Without Audience was released as Antologija! (Anthology!) in 2005, and in autumn of the following year, the PGP RTS released a remastered edition of the album Crna dama.[56]

Reunion (2010–2015)

[edit]

In 2010, the lineup of Radomir "Točak" Mihailović (guitar), Dejan "Najda" Najdanović (vocals), Slobodan "Kepa" Stojanović (drums), Milan "Mikica" Milosavljević (guitar), Dejan "Kepa Junior" Stojanović (drums) with the new band member Miloš "Šomi" Petrović (bass) reunited and started writing new material.[61] The former bass player Vlada Samardžić did not participate the reunion, but expressed the support of the new lineup.[62] From summer until autumn of the same year, the band had recorded four tracks, "Delfin" (The Dolphin), an instrumental version of the song "Cigansko srce" (Gypsy Heart), originally released on the album Rock cirkus, "Ispiranje" (Ablution) and "Rapsodija o lepom" ("A Rhapsody on Beauty"),[63] which were premiered on the band's official YouTube channel.[64] However, further reunion plans had been interrupted by Slobodan Stojanović's spinal cord surgery.[65] The recorded tracks, along with the bonus video versions of the material, were released in December 2012 on the EP Delfin (The Dolphin) by the Serbian record label One Records.[66] The same label also rereleased in compact disc format the 1992 live album OdLIVEno,[67] previously available on compact cassette only, and released Radomir Mihajlović's solo album Tonsko ukrašavanje (A Tonal Ornamentation).[68]

On December 29, 2012, Smak reunited in the default lineup – Radomir Mihajlović (guitar), Boris Aranđelović (vocals), Zoran Milanović (bass guitar) and Slobodan Stojanović (drums) – for a concert in Kombank Arena. The concert also featured members of the current Smak lineup – Dejan Najdanović (vocals), Milan Milosavljević (guitar), Miloš Petrović (bass guitar) and Dejan Stojanović (drums) – as well as Dejan Zdraevski on keyboards.[69] The reunion of the band's default lineup saw large media coverage and the concert featured about 18,000 spectators.[70] On June 27, 2013, the band, in both the default and current lineup, performed at Kragujevac Arsenal Fest. It was the band's first concert in Kragujevac since 1997.[71] In 2014, the band rerecorded their 1978 song "Nebo je samo drum bez dna" ("The Sky Is Only a Bottomless Road") and released it on their official YouTube channel.[72]

On June 20, 2015, the band, once again in both default and current lineup, held a concert in Belgrade Ušće park, in front of about 20,000 spectators.[73] The concert featured the bands Oktava, Rare and Epilog as the opening bands and Dado Topić as guest.[74]

The concert at Ušće park was Aranđelović's last performance with the band. He died on August 27 of the same year in Rotterdam, after long illness. He was 67.[75]

New reunion (2022–present)

[edit]

On May 6, 2022, Smak reunited again with a new singer, Jovan Pantić Panta, whose voice tone is very similar to Aranđelović's. They held a concert in Kragujevac at the City Hall.

On September 9, 2022, Smak held a concert in Čačak.[76]

Legacy

[edit]
Monument to the band unveiled in their home city Kragujevac in 2023

In 2017, the band was awarded the silver medal for Merit by the President of Serbia Tomislav Nikolić for their contribution to Serbian culture.[77]

Smak songs have been covered by a plethora of acts and the notable cover versions include: The girl group Aska medley which consisted of passages from "Satelit", "Crna dama", "Nevidljive terazije", "Halo", "Tendži Tandži", "Daire" and "Gore dole" on their 1982 album Disco Rock.[78] The song "Daire" was covered in 1994 by the band Neverne Bebe on their album Neverne Bebe I, their version featuring a passage from "Zajdi, zajdi";[79] the band covered the song once again on their 2004 album Neverne Bebe IV – Dvoje – The Best Of .[80] Osvajači covered the song "Ljudi nije fer" on their 1994 unplugged concert.[81] The song "Crna dama" was covered in 2000 by singer Viktorija on her album Nostalgija (Nostalgia).[82] In 2011, the band Čipi i Industrija, featuring the original Osvajači members, covered the song "Na Balkanu", with former Generacija 5 vocalist Đorđe David on guest vocals, released on the album Na Balkanu.[83] On his 2012 album Štrajk mozga (Brain Strike), the rapper Edo Maajka sampled the riff of "Biska 2", from the Live Without Audience album, in the song "Diši" ("Breathe").[84] The following year, "Biska 2" was covered by the Milan Petrović Quartet on their instrumental cover album Favorites.[85]

The albums and songs by Smak were featured on several all-time greatest lists of former Yugoslav rock. The book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music), published in 1998, features two Smak albums: Crna dama (ranked No. 40) and Smak (ranked No. 63).[57] On the list of 100 greatest Yugoslav album, published by Croatian edition of Rolling Stone in 2015, Crna dama was ranked No. 92.[86] The Rock Express Top 100 Yugoslav Rock Songs of All Times list, published in 2000, featured seven songs by Smak: "Crna dama" (polled No.5), "Ulazak u harem" (polled No.12), "Daire" (polled No.23), "Blues u parku" (polled No.47), "Šumadijski blues" (polled No.65), "Zajdi, zajdi" (polled No.82) and "Satelit" (polled No.94).[87] In 2006, "Plava pesma" was polled No.61 on the B92 Top 100 Domestic Songs list.[88] In 2011, "Daire" was polled, by the listeners of Radio 202, one of 60 greatest songs released by PGP-RTB/PGP-RTS.[89]

Members

[edit]

Former members

Discography

[edit]
Main article: Smak discography

References

[edit]

Notes

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Smak

View on Grokipedia
from Grokipedia
Smak (Serbian Cyrillic: Смак; trans. End Times) is a Serbian rock band formed in 1971 in by Radomir Mihailović "Točak," Slobodan Stojanović "Kepa," Zoran Milanović, and early vocalist Slobodan Kominac "Koma." The band is renowned for its style, blending , , and psychedelic elements, which contributed to its status as one of the most influential acts in the former Yugoslav rock scene during the 1970s. Smak released its self-titled debut album in 1975, marking a pivotal moment in Serbian with its innovative fusion of and jazz-rock influences. The group disbanded in 1981 amid internal challenges but reunited intermittently from 1986 onward, including a revival in 2022 with new vocalist Jovan Pantić "Panta," producing additional albums and maintaining a dedicated following through live performances and legacy recordings as of 2025. Radomir Mihailović "Točak" emerged as a standout figure, often compared to international guitar virtuosos for his technical prowess and improvisational skills, solidifying Smak's reputation in progressive and jazz-rock circles. Despite lineup changes over the decades, Smak's contributions to the development of in the remain significant, influencing subsequent generations of musicians in the region.

History

Formation and early career (1971–1975)

Smak was founded in late 1971 in , (then part of ), by guitarist Radomir "Točak" Mihailović and drummer Slobodan "Kepa" Stojanović. The band's inaugural performance under this name occurred on December 4, 1971, marking the beginning of their activities as a rock group blending progressive elements with and influences. Bassist Zoran Milanović joined soon after, forming the core that would anchor the group's sound during its formative phase. The name "Smak," translating to "end of the world" or "doomsday," was chosen inspired by a local theater production of the musical Smak sveta, reflecting the era's apocalyptic cultural undertones prevalent in Yugoslav rock scenes. In the initial years, Smak operated primarily as a , performing in local venues across , including the –– corridor, where they quickly cultivated a dedicated regional fanbase through energetic live shows. The group participated in amateur festivals and club gigs, honing their style amid the burgeoning Yugoslav rock movement, but faced instability due to frequent lineup shifts, particularly on vocals. Early vocalist Slobodan "Kominac" Kominac contributed to initial performances but departed in 1973, paving the way for Boris Aranđelović to join and bring a more defined frontman presence with his soulful delivery. These changes reflected the experimental nature of the band's early development, as they transitioned from covers to original material emphasizing Točak's virtuosic guitar work and Kepa's dynamic drumming. By late 1974, Smak achieved greater stability with the addition of keyboardist , whose jazz-infused contributions enriched their sound and solidified the classic quintet alongside Točak, Kepa, Milanović, and Aranđelović. This period saw the band intensify local performances, gaining traction at youth festivals and clubs in , which helped refine their fusion of , , and progressive elements. In 1974, they entered the studio for their first professional recordings, culminating in the 1975 debut single "Ulazak u harem," which captured their emerging identity and set the stage for national recognition.

Commercial breakthrough (1975–1978)

Following the band's formation and early performances, Smak achieved their initial commercial success with the release of their self-titled debut album in September 1975 on ZKP RTVLJ. The record, recorded at Studio 14 in Ljubljana, showcased a blend of progressive and hard rock with prominent blues-rock elements, exemplified by the extended track "Blues u Parku," which highlighted guitarist Radomir Mihailović Točak's improvisational style. The album marked a significant step in establishing the band's reputation within Yugoslavia's rock scene, receiving positive reception for its energetic fusion of influences. Building on this momentum, Smak issued their first EP, Satelit, in 1976 as a double 7-inch single on ZKP RTVLJ. The release combined riffs with progressive experimentation, including the title track "Satelit," an that became an immediate hit and propelled the band to wider audiences through radio play. Keyboardist Laza Ristovski's incorporation of jazz-fusion keyboards during this period added depth to their arrangements, enhancing the EP's innovative sound. The band's second studio album, Crna dama, arrived in June 1977 on PGP RTB, solidifying their breakthrough with a more polished production recorded at in . Featuring tracks like the title song "Crna Dama" and "Domaći Zadatak," it emphasized symphonic prog rock elements alongside hard rock drive, achieving widespread acclaim and strong sales in . An English-language version titled was licensed for international release in on Bacillus Records in 1978, marking Smak's entry into European markets beyond . In 1978, Smak released their third album, Stranice našeg vremena, on PGP RTB, which further explored thematic songwriting with progressive structures on songs such as "Povedi me s njim." To facilitate export, an English adaptation titled Dab in the Middle was produced and issued on the German label , broadening their appeal abroad. This period saw extensive touring across , including high-profile festival appearances that boosted their visibility, alongside increased media coverage in rock magazines and radio, positioning Smak as one of the country's leading rock acts.

Decline and initial breakup (1978–1981)

Following the commercial success of their 1977 album Crna dama, Smak experienced significant lineup instability that contributed to creative and internal challenges. Keyboardist , who had briefly left the band in to join , returned in 1979 with producer collaborating on their next album, while Boris Aranđelović continued as vocalist; but the interim period saw replacements including Miki Petkovski (–1979) and Tibor Levay (1978–1979) on keyboards, reflecting ongoing tensions over the band's direction. In 1980, the band released Rock Cirkus, a studio album produced by Topić that shifted toward a more commercial sound, capturing the energy of their extensive touring but also highlighting signs of artistic fatigue amid the pressures of constant performances. The group's final studio album, Zašto ne volim sneg, arrived in 1981, incorporating experimental elements like and progressive structures, though escalating internal tensions and personal issues among members marked it as a breakup record. These conflicts, compounded by exhaustion from relentless touring, led to the band's official dissolution later that year.

Sporadic reunions (1981–1992)

Following the band's initial breakup in 1981, Smak experienced a brief reunion in 1986, during which they recorded and released the studio album Smak 86 on PGP RTB. The album featured eight tracks blending elements with the band's signature and influences, including extended instrumental sections in songs like "Sava" and "Kornjačina Koža." This project marked the first new material since 1981 and involved core members Radomir Mihajlović Točak on guitar, Slobodan Stojanović Kepa on drums, on bass, and Boris Aranđelović on vocals, alongside keyboardist Milan Đurđević. The release was followed by a short promotional tour, after which the group disbanded once more. Throughout the late 1980s, Smak's activities remained limited to occasional live appearances that evoked nostalgia among fans amid Yugoslavia's growing political instability. A notable one-off performance occurred in 1988 as a midnight concert ("Ponoćni koncert") featuring the near-original lineup without on keyboards, focusing on reinterpreted classics from their 1970s catalog. These sporadic shows helped sustain interest without committing to a full or new recordings. In 1990 and 1991, the band participated in select festival performances, including events in and , where they drew crowds seeking a connection to pre-breakup eras through high-energy renditions of hits like "Crna Dama" and "Šumadijski Blues." Such appearances often aligned with charity initiatives and TV specials addressing the era's ethnic tensions and economic hardships, though no original studio work emerged. The period culminated in 1992 with a series of reunion concerts in and , including performances at that were recorded for the live album odLIVEno, released on MG Sorabia. The album captured the classic lineup—Točak, Kepa, Milanović, Aranđelović, and Ristovski—delivering extended jams and fan favorites, emphasizing re-recordings over innovation and building anticipation for future endeavors. A companion compilation, Retrospektiva, also appeared that year on PGP RTB, collecting key tracks from the band's history.

Reformation and TEK era (1993–2002)

In 1993, guitarist Radomir Mihailović Točak reformed the band under the name TEK, consisting of himself, bassist Milan Vukosavljević, and drummer Slobodan Stojanović Kepa, with vocalist Dejan Najdanović joining as a new member. This lineup released instrumental tracks as part of Točak's solo soundtrack album Byzantine Blue, marking a return to active recording after years of sporadic activity. The project emphasized Točak's guitar virtuosity within a jazz-rock fusion framework, serving as a transitional effort amid Serbia's political instability. By 1995, the group reverted to the Smak name and released the album Bioskop Fox, which incorporated electronic elements alongside their signature . Recorded between November and December 1994 at Badža's Studio in Košutnjak, the album featured the refreshed lineup of Točak and Kepa as core members, with Najdanović on vocals, Milan Milosavljević on guitar, and Vladimir Samardžić on bass. Tracks like "Organizam " and "Uspavanka na Paru" blended traditional rock with subtle textures, reflecting an evolution toward more experimental production. In 1999, Smak issued Egregor, an delving into esoteric themes of collective psychological and spiritual energy, as described in its . Recorded in 1998 at Studio 5 in , the record maintained the prior lineup, with additional contributions from guest guitarist Milan Milosavljević on select tracks, enhancing the progressive rock arrangements. Songs such as "5. Maj" and "" explored introspective and mystical motifs, drawing on the band's fusion roots while addressing broader existential concepts. Throughout the late 1990s, Smak conducted tours across despite the ongoing and economic sanctions, performing in local venues to sustain their audience. Following the in October 2000, the band participated in celebratory post-regime change performances, contributing to the cultural resurgence in the region. The group disbanded in 2002, primarily due to Točak's shift toward solo projects and the relocation of other members, ending this era of consistent activity.

Reunion in the 2010s (2010–2015)

In 2010, Smak reformed with a lineup featuring Radomir Mihajlović Točak, second Milan Milosavljević Mikica, drummers Slobodan Stojanović Kepa and Dejan Stojanović Kepa Jr., and new bassist Miloš Petrović Šomi replacing longtime member Zoran Milanović; the band emphasized performances of their classic material while also composing new songs, including "Delfin," which was premiered online that year. The reunion gained momentum with a major concert on December 29, 2012, at Belgrade's Kombank Arena, where the band performed in their original configuration—Točak on guitar, vocalist Boris Aranđelović, bassist Milanović, and drummer Kepa—joined by supporting members; the event drew approximately 10,000 fans and celebrated the band's legacy through hits like "Crna dama" and "Satelit." This performance aligned with the release of the EP Delfin in 2012, featuring the title track alongside covers and originals such as "Cigansko srce" and "Rapsodija o lepom," capturing the nostalgic energy of the era. Activity peaked with an outdoor concert on June 20, 2015, at Belgrade's Ušće Park, reuniting the original and current lineups for a setlist spanning their catalog, attracting over 20,000 spectators in one of the largest such events for a Serbian rock act at the time. The band's momentum was abruptly halted by the death of vocalist Boris Aranđelović on August 27, 2015, in , , at age 66, due to complications from a long illness; Aranđelović, a core member since 1975, had performed at the Ušće show just two months prior. Following Aranđelović's passing, the band paused live activities, but tributes from fans and the Serbian rock community preserved the revival through archival footage of the Ušće shared online and discussions of potential releases from reunion-era recordings to honor his contributions.

Revival and recent years (2022–present)

In 2022, Smak underwent a revival by reforming with a new vocalist, Jovan Pantić "Panta", whose vocal style echoes that of the band's original singer. This lineup marked their return to the stage with a on May 6 in , celebrating the group's 50th anniversary through a set of classic tracks performed at Trg Slobode. The performance drew significant local attention, highlighting the enduring appeal of Smak's blues-rock sound in their hometown. Later that year, on , the band delivered another live show in Čačak at Gradski Trg, further solidifying their resurgence with energetic renditions of hits like "Šumadijski blues" and "Profesor." By 2025, Smak had not released any new studio albums, opting instead to emphasize live reinterpretations of their foundational catalog during sporadic performances. This approach allowed the band to maintain creative momentum without venturing into fresh recordings, preserving the integrity of their 1970s and 1980s-era material. In 2023, the band's hometown roots were formally honored with the unveiling of a monument in , featuring four sculptures of key members on Trg Omladine, attended by surviving original musicians like Radomir Mihajlović "Točak." A related project, Smak+, has emerged to extend the band's legacy through performances absent the original lineup, infusing renewed energy into the repertoire for contemporary audiences. This offshoot group appeared at the Beer Fest on June 23, 2025, delivering a spectacle that blended with flair to captivate multigenerational fans. As of November 2025, Smak remains active with occasional gigs amid members' individual pursuits, showing no signs of disbandment and continuing to nurture their cultural footprint in Serbian rock, with no major events reported after June 2025.

Musical style and influences

Core elements and genres

Smak's musical style is characterized by a fusion of , , and , often incorporating elements that lend a sophisticated edge to their sound. The band's heavy guitar riffs, driven by Radomir Mihailović's virtuosic playing, form the backbone of their compositions, complemented by Slobodan Stojanović's precise and rhythmic drumming that provides a solid foundation for dynamic builds and shifts. This blend creates a powerful, riff-centric rock framework that emphasizes instrumental intensity over simple structures. Early works prominently feature keyboards, courtesy of Laza Ristovski, which introduce psychedelic and symphonic textures, adding layers of atmospheric depth and orchestral flourishes to tracks that might otherwise lean toward straightforward . These elements evoke a sense of experimentation, blending electric guitar-driven energy with keyboard swells that enhance the progressive and jazz-infused undertones. The band's , sung in Serbian, delve into apocalyptic, social, and personal themes, reflecting a brooding often tied to the "end times" motif suggested by their name, derived from "smak sveta" meaning doomsday. Songs explore existential dread, societal critique, and individual struggles, such as , pain, and human frailty, aligning with the era's turbulent socio-political context in . Smak's instrumental prowess shines in live performances, where extended guitar solos by Mihailović and jam sessions allow for , stretching compositions into exploratory realms that highlight the band's technical skill and jazz-rock roots. Influenced by Jimi Hendrix's innovative guitar techniques and Deep Purple's heavy, organ-augmented rock, as well as subtle integrations of Yugoslav folk rhythms, their sound bridges Western rock traditions with regional flavors. This foundational style, established in the 1970s, would evolve in later works toward more streamlined arrangements.

Evolution across eras

In the 1970s, Smak's sound began with a bluesy foundation on their self-titled debut album, blending blues rock, jazz rock, and early progressive elements in a raw, fusion-oriented style that echoed the era's hard rock influences. By their second album, Crna dama (1977), the band shifted toward greater progressive complexity, incorporating jazz-rock, folk rock, and symphonic structures while retaining hard rock drive in tracks like the title song, allowing for more intricate compositions and dynamic arrangements. The 1980s reunion marked a more experimental phase, particularly on Smak 86. (1986), where Smak integrated synthesizers and electronic elements alongside new wave, , , and , creating a synth-infused sound that diverged from their earlier organic fusion toward a polished, contemporary edge. During the TEK era—a trio project featuring core members Radomir Mihailović Točak, Slobodan Stojanović Kepa, and Milan Milosavljević—the band explored instrumental in live settings, as captured on Niš 1994. This period transitioned into Smak's reformation, with Egregor (1999) emphasizing and in a more introspective, guitar-driven format that highlighted emotional depth through structured prog compositions and bluesy solos. In the and reunions, Smak returned to their rock roots, focusing on live performances of classic material like blues-infused tracks from their early catalog, enhanced by modern production techniques for clearer sound and energy. The revival with a new vocalist continued this approach, maintaining the band's emphasis on and live improvisation without major stylistic changes as of 2025. Key albums such as Crna dama and Smak 86. exemplify these shifts, driving the band's adaptation over time. Overall, Smak's evolution trended from heavy toward eclectic fusions of progressive, , and electronic influences, responding to advancing recording technologies.

Band members

Original and core members

Radomir "Točak" Mihajlović, born on June 13, 1950, in , , founded Smak in 1971 alongside drummer Slobodan "Kepa" Stojanović and served as the band's leader and primary throughout its history. Renowned for his innovative guitar solos that fused rock, , and blues elements, Mihajlović's distinctive playing style—often compared to —became a cornerstone of Smak's progressive sound and earned him recognition as one of Yugoslavia's most influential guitarists. As the main composer, he contributed to the band's core identity across all eras, remaining active in performances and recordings up to the present day. Slobodan "Kepa" Stojanović, born on November 26, 1950, in , , co-founded Smak as its drummer and provided the rhythmic foundation with his versatile and energetic style that supported the band's complex compositions. Before joining Smak, he played with the group Cveće, and his precise drumming helped stabilize the lineup by late 1974, enabling the band's early breakthroughs. Stojanović remained a constant presence through the original era and subsequent reunions, embodying the band's enduring percussion drive. Boris Aranđelović, born on October 13, 1948, in , , joined Smak as vocalist in 1973 and became a key original member by 1975, delivering charismatic performances with his high-register, emotive that infused the band's with intensity and theatrical flair. His stage presence and vocal contributions defined Smak's early hits, though he passed away on August 27, 2015, in , , after a long illness. Zoran Milanović served as Smak's bassist from the band's formation in 1971 through its initial breakup in 1981, delivering steady low-end grooves that underpinned the group's intricate arrangements and progressive structures. His foundational role in the stable 1974 lineup helped solidify the rhythm section alongside Stojanović, contributing to the band's cohesive sound during its formative years. , born on January 23, 1956, in , , joined as keyboardist in late 1974 and played until 1979, incorporating and elements that added progressive and atmospheric layers to Smak's music. His sophisticated keyboard work elevated the band's fusion influences, and after leaving Smak, he achieved notable solo success, including film scoring and collaborations with acts like before his death on October 6, 2007, in .

Later and reunion lineups

During the band's 1993 reformation in the TEK era, Dejan Najdanović joined as , infusing the group's instrumental tracks with renewed vocal dynamics and energy that complemented the foundations. His contributions extended to albums like Bioskop (1995), where he provided scat vocals and harmonies that enhanced the band's fusion elements. In the 1990s lineups, Milan Milosavljević added textural depth to Smak's sound, particularly on the 1999 Egregor, where his guitar layers supported the dual-drummer setup and experimental arrangements. Milosavljević's role as second helped bridge the band's classic style with more atmospheric progressions during live and studio work. Dejan Stojanović, known as "Kepa Jr." and the son of founding drummer Slobodan "Kepa" Stojanović, served as second drummer from the mid-1990s through the 2000s, providing rhythmic complexity in reunion performances and recordings that echoed his father's influence while introducing youthful precision. His involvement stabilized the percussion section during the TEK and subsequent eras, contributing to albums like Egregor. Bassist Vlada Samardžić participated in the mid-1990s reunions from 1994 to 1997, handling bass duties for live sessions and the recording of Bioskop Fox, where his fusion-oriented playing supported the band's jazz-rock explorations before he departed for studies at . Samardžić's tenure added groove and melodic bass lines to the evolving lineup. In the 2010–2015 reunion period, Miloš Petrović took over as bassist, providing solid support for major concerts and the EP Delfin (2012), enabling the band to deliver high-energy performances to large audiences. His rhythmic foundation helped maintain continuity amid lineup changes. The 2022 reunion introduced vocalist Jovan Pantić, known as "Panta," whose closely resembles that of original singer Boris Aranđelović, allowing the band to adapt classic material for contemporary live shows and new recordings. Pantić's interpretations have focused on preserving Smak's legacy while engaging younger listeners through refreshed arrangements.

Legacy

Awards and honors

In 2017, the band Smak was awarded the Silver Medal for Merit by Serbian President in recognition of their exceptional contributions to cultural activities, particularly in contemporary musical arts. Smak's albums have received notable rankings in prominent retrospective lists of Yugoslav music. In the 1998 publication YU 100: Najbolji albumi jugoslovenske rok i pop muzike, their 1977 release Crna dama was ranked No. 40, while their self-titled debut album from 1975 placed at No. 63, highlighting their enduring impact on the region's rock canon. Posthumous tributes have honored key members, particularly vocalist Boris Aranđelović, who passed away in 2015. The 2023 monument in , unveiled on September 22, features life-sized bronze sculptures of the band's core lineup—including Aranđelović—serving as an official city recognition of their legacy and a to his contributions. Drummer Slobodan "Kepa" Stojanović, who passed away in 2018, has been honored through exhibitions tied to the band's history, such as the 2023 "Smak 50" exhibition at the National Museum in , which celebrated the band's 50th anniversary and included materials recognizing its members. The band has also been celebrated at Serbian music festivals with special performances, underscoring their foundational role in Yugoslav rock. At the Gitarijada festival, Smak and related projects have been featured in performances. In February 2025, a monograph titled Smak by Ksenija Đerković was promoted at the National Museum in Kraljevo, documenting the band's history from 1971 to 2023 with articles, interviews, song lyrics, and QR codes linking to recordings.

Influence on music and culture

Smak's innovative blend of , , and elements significantly shaped the Yugoslav rock scene in the , establishing a template for technical proficiency and experimental songwriting that resonated with urban youth across the federation. The band's leader, guitarist Radomir Mihailović Točak, is widely regarded as one of the most influential guitarists in the region's rock history, inspiring subsequent generations of musicians through his virtuosic style and integration of Eastern European motifs with Western rock traditions. By dominating charts and touring extensively, Smak contributed to a burgeoning rock that promoted Western-oriented , live performance energy, and a sense of shared identity amid ethnic diversity, particularly among post-Tito youth navigating economic shifts and cultural liberalization in the late and 1980s. The band's enduring appeal is evident in its inclusion in key rock compilations, such as the 1997 release Rock Legende, which highlights Smak alongside other Yugoslav icons, underscoring their role in defining the era's musical canon. Songs like "Crna Dama" from their 1977 album of the same name became notable in the Yugoslav rock scene. During the turbulent 1990s amid the , Smak's sporadic performances helped sustain live rock traditions in , providing continuity for fans despite broader scene disruptions caused by conflict and isolation. Smak's legacy extends through tributes and extensions, including the formation of Smak+ in the , a project band featuring original members that revives and reinterprets their catalog with contemporary energy, performing at major events like the Beer Fest and Fest to engage new audiences. This continuity fosters regional pride, amplified by public monuments celebrating their hometown roots and cultural significance, such as the four sculptures unveiled in Kragujevac's city center in 2023.

Discography

Studio albums

Smak's debut studio , Smak, released in 1975 on ZKP RTVLJ, marked the band's entry into the Yugoslav rock scene with a blend of blues-rock and progressive elements. The consists of five tracks: "Perle," "Mračni Mol," " u Parku," "Biska 2," and the lengthy instrumental "Put Od Balona," which spans nearly 19 minutes and showcases extended guitar work by Radomir Mihailović Točak. Recorded in a raw, garage-like style, it laid the foundation for the band's sound, drawing influences from British while incorporating local sensibilities. Reception was positive among enthusiasts, praised for its energetic guitar riffs and improvisational flair, though some critics noted its uneven production; it holds a 3.55/5 rating on Prog Archives based on user reviews highlighting tracks like " u Parku" as standout progressive pieces. The follow-up, Crna Dama, arrived in 1977 via PGP RTB and expanded the band's palette with jazz-rock fusion influences, recorded at in for a more polished sound. Featuring seven tracks, including the title hit "Crna Dama," "Stvar Ljubavi," "Domaći Zadatak," "'Alo," "Tegoba," "Daire," and "Plava Pesma," the emphasizes melodic hooks and intricate arrangements, with Boris Aranđelović's vocals adding emotional depth. Key highlights include the riff-driven opener and the folk-tinged "Plava Pesma," which became radio staples. It received acclaim as a commercial and artistic success in , described as a "gem" of jazz-rock fusion with broad appeal; Prog Archives rates it highly for its dynamic songwriting and fusion experimentation. Stranice Našeg Vremena, released in November 1978 on PGP RTB and recorded at Studios in , represents a conceptual shift toward jazz-rock and progressive structures, with an English-language export version titled Dab in the Middle. The eight-track includes "Tendži-Tandži," "Povedi Me S Njim," "Maht – Tema," "The Pages of Our Time," "Nebo Je Samo Drum Bez Dna," "Ulazak u Harem," "Ponoćni Lovac (Biska 18)," and "Ludi," blending orchestral elements and extended jams. Standout tracks like "Maht – Tema" feature Tony Levay's compositional contributions, emphasizing atmospheric guitar and rhythmic complexity. Critics appreciated its maturity and international polish, earning a 3.6/5 on for its fusion of and prog rock genres. In 1981, Zašto Ne Volim Sneg was issued on PGP RTB as the band's fourth studio effort, capturing an experimental phase amid lineup changes, with guest vocals from on the title track. Comprising seven tracks—"Južni Voz," "Zajdi, Zajdi," "Talisman," "Zašto Ne Volim Sneg," "Balet," "Maht – Pustinja," and "Nebeski Splav"—it incorporates psychedelic and folk-rock elements, notably a reimagined Macedonian folk song in "Zajdi, Zajdi." The sprawling "Maht – Pustinja" (over nine minutes) highlights improvisational prowess. Reception lauded its emotional depth and instrumental prowess, particularly the nostalgic title track, with Prog Archives scoring it 4.11/5 for evoking strong sentimental responses among listeners. The reunion album Smak 86., released in 1986 on PGP RTB after a brief hiatus, introduced and new wave influences alongside progressive roots, recorded at Studio VI in from 1985 to March 1986. It features nine tracks: "Želim Da Kupim Nove Pantalone," "," "Put Pod Noge, Bre," "Sunčani Sat," "Kad Spavaš Sam," "Ja Volim Tvoje Grudi," "Na Vrhovima Prstiju," "Kornjačina Koža," with guest keyboards from Miša Komnenić and Vlada Nikodijević adding electronic textures. Highlights include the upbeat "" with synth layers. While it marked a stylistic evolution, reception was mixed, with some praising the melodic accessibility and others critiquing the pop shift; Prog Archives rates it around 2.90/5, noting its grit but departure from earlier fusion. Bioskop Fox, Smak's 1995 release on Komuna following another lineup refresh, infused electronic elements into their blues-prog core, recorded in November–December 1994 at Badža's Studio in Košutnjak. The album spans 14 tracks across two discs in some editions, but the standard LP/CD lists nine key pieces: "Lisica," "Miris Nje," "Organizam Blues," "Možda Imam Vremena," "Strašilo," "Idi," "Beli Bik," "Možda Postojim," and "Pauk Spava," emphasizing atmospheric blues and subtle synths. Točak and drummer Slobodan Stojanović remained core, with new members contributing to a refreshed sound. It garnered moderate praise for bridging 1970s roots with 1990s production, though specific reviews highlight its introspective tone over commercial hits. Finally, Egregor, issued in 1999 on PGP RTS, explored esoteric and psychological themes through a hard rock-prog lens, recorded in November 1998 and produced by Saša Habić. The 10-track includes "5. Maj" (dedicated to Led Zeppelin), "Do Vazduha," "Lujka," "Waltz," "Petica," "Swing On," "H-Rizl," "Skoro Iz," "Music Out," and "Rif Srbija," featuring guest guitar solos and a mix of and vocal pieces. It delves into motifs, with tracks like "Swing On" showcasing rhythmic swing and Točak's solos. Reception views it as a solid latter-day effort, with Prog Archives averaging 3.09/5, appreciating the thematic cohesion and bluesy prog revival despite its niche appeal.

Other releases

Smak's early extended plays highlighted their experimental sound. The band's debut EP, Satelit, released in 1976 on RTV , consisted of four tracks—"Satelit," "Čoveče, ti si mlad," "Šumadijski bluz," and "Slikar sa Pikadilija"—that blended bluesy prog rock with elements, packaged in a innovative sleeve featuring a pop-out design. Another EP, Delfin, appeared in 2012 on One Records as a with enhanced video content, capturing live performances from a 2012 concert and emphasizing the band's enduring stage energy. The group issued several notable singles and maxi singles during their active years. In 1978, Smak Super 45 was released on PGP RTB as a with extended grooves for "Nevidljive Terazije" and "Hitopadeza," showcasing their fusion of and progressive structures. The 1979 single Na Balkanu / Gore-Dole, also on PGP RTB, featured guest vocals by and marked a shift toward more accessible funk-infused prog rock. Live recordings preserved Smak's dynamic performances across decades. odLIVEno, released in 1992 on MG Sorabia, documented a with tracks like "Crossroads" and "Šumadijski ," highlighting their jazz-rock . Live Without Audience, a 1997 double CD on A Records, captured an intimate studio session mimicking a live setting, including extended renditions of classics such as "Tobacco Road." In 2024, the archival live album Smak Ušće 2015 was issued, drawing from their June 2015 at Ušće Park and including previously unreleased live versions of staples like "Crna Dama" and "Daire." Compilations and retrospectives have sustained Smak's catalog through reissues. Retrospektiva (1992, PGP RTB) compiled key tracks from their early years, while The Best Of (1995, ZKP RTVS) offered a broad selection of hits like "Daire" and "Crna Dama" from the and . Wait, better: Actually, to be precise, cite where possible. For The Best Of: Post-2002 efforts included Antologija (2005, One Records), a two-disc set with remastered tracks and rarities, and various tribute-inclusive releases around 2015 that incorporated unreleased material from archival tapes.

References

  1. https://www.discogs.com/artist/517378
  2. https://www.jazzmusicarchives.com/artist/smak
  3. https://exyumusic.org/2025/11/10/smak-smak/
  4. https://www.progarchives.com/artist.asp?id=1550
  5. https://www.last.fm/music/Smak
  6. https://www.pecat.co.rs/2022/02/smak-srpski-rokenrol-i-secanje-na-zemlju-koje-vise-nema
  7. https://nmkv.rs/event/smak/?lang=en
  8. https://www.atlasobscura.com/places/smak
  9. https://www.discogs.com/artist/517378-Smak-3
  10. https://rateyourmusic.com/release/album/smak/smak/
  11. https://www.discogs.com/release/3498366-Smak-Smak
  12. https://www.progarchives.com/album.asp?id=7306
  13. https://www.discogs.com/release/1180382-Smak-Satelit
  14. https://www.discogs.com/release/3868945-Smak-Crna-Dama
  15. https://www.discogs.com/release/1565306-Smak-Black-Lady
  16. https://rateyourmusic.com/release/album/smak/dab-in-the-middle/
  17. https://jazzrocksoul.com/artists/smak/
  18. https://www.discogs.com/release/1574506-Smak-Rock-Cirkus
  19. https://rateyourmusic.com/release/album/smak/rock-cirkus/
  20. https://rateyourmusic.com/release/album/smak/zasto-ne-volim-sneg/reviews/1/
  21. https://www.discogs.com/master/1071830-Smak-Smak-86
  22. https://www.discogs.com/master/869828-Smak-odLIVEno
  23. https://www.progarchives.com/album.asp?id=9429
  24. https://www.progarchives.com/artist.asp?id=2746
  25. https://www.progarchives.com/album.asp?id=7312
  26. https://rateyourmusic.com/release/album/smak/egregor/
  27. https://www.progarchives.com/album.asp?id=7313
  28. https://www.discogs.com/release/1560890-Smak-Egregor
  29. https://www.last.fm/music/Smak/+wiki
  30. https://musicbrainz.org/artist/41d8a241-d1f2-4f9e-acd5-7c23e3a3bbc9
  31. https://www.discogs.com/release/6865262-Smak-Delfin
  32. https://www.setlist.fm/setlist/smak/2015/usce-park-belgrade-serbia-2bc9084e.html
  33. https://www.instagram.com/p/DLIKsryiCXj/
  34. https://en.vijesti.me/fun/muzika/166575/the-singer-of-the-group-smak-boris-arandelovic-died
  35. https://www.youtube.com/watch?v=uzzG7OqjTxM
  36. https://www.setlist.fm/setlist/smak/2022/trg-slobode-kragujevac-serbia-33b788dd.html
  37. https://www.youtube.com/watch?v=gnILequCj-w
  38. https://www.setlist.fm/setlist/smak/2022/gradski-trg-aak-serbia-3b0e5a3.html
  39. https://www.telegraf.rs/pop-i-kultura/muzika/3754098-grupa-smak-dobila-spomenik-u-kragujevcu
  40. https://belgradebeerfest.com/en/smak-plus/
  41. https://www.last.fm/music/Smak/%2Bwiki
  42. https://blues.gr/profiles/blogs/q-a-with-one-man-band-from-serbia-ice-cream-man-brings-the-old-sc
  43. https://www.jazzmusicarchives.com/artist/radomir-mihajlovic
  44. https://rateyourmusic.com/artist/slobodan_stojanovic_kepa
  45. https://rateyourmusic.com/artist/boris-arandelovic
  46. https://rateyourmusic.com/artist/laza_ristovski
  47. https://www.discogs.com/artist/452166-Laza-Ristovski
  48. https://www.progarchives.com/forum/forum_posts.asp?TID=21203
  49. https://www.theaudiodb.com/artist/129405-Smak
  50. https://musikzirkus.eu/forum/topic.php?t=12888
  51. https://www.vladimirsamardzic.com/
  52. https://en.vijesti.me/fun/muzika/368979/the-group-ends-up-together-again
  53. https://www.predsednik.rs/lat/predsednik/ukazi-o-odlikovanjima
  54. https://www.danas.rs/vesti/drustvo/nikolic-odlikovao-zdravka-colica-grupu-smak-anu-ivanovic/
  55. https://de.rateyourmusic.com/list/Simon3rd/yu_100___najbolji_albumi_jugoslovenske_rock_i_pop_muzike____best_albums_of_yugoslavian_rock_and_pop_music/7/
  56. http://www.acclaimedmusic.net/forums/viewtopic.php?t=4609
  57. https://kragujevac.ls.gov.rs/vest/sr/55942/otkriven-spomenik-grupi-smak-na-novom-trgu-omladine.php
  58. https://n1info.rs/magazin/showbiz/spomenik-grupi-smak/
  59. https://nmkv.rs/event/smak-50/?lang=en
  60. https://www.setlist.fm/setlists/smak-1bd4c52c.html
  61. https://nmkv.rs/promotion-of-the-book-by-ksenija-derkovic-smak-held/?lang=en
  62. https://www.thebestoffmusic.nl/rock/smak/
  63. https://www.therocktologist.com/essential-yugoslavian-prog.html
  64. http://www.balkanrock.ruediger-rossig.de/YURock.htm
  65. https://rocksmith-music.com/under-the-radar-why-ex-yugoslav-rock-holds-its-own-on-the-global-stage/
  66. https://www.discogs.com/release/3130091-Various-Rock-Legende
  67. https://www.setlist.fm/setlist/smak/2023/knezev-arsenal-kragujevac-serbia-6ba9aa46.html
  68. http://www.nesradio.com/vijesti/muzika/Grupa-Smak-dobila-spomenik-u-centru-Kragujevca/15953
  69. https://www.discogs.com/master/432575-Smak-Smak
  70. https://www.progarchives.com/album.asp?id=7307
  71. https://rateyourmusic.com/release/album/smak/stranice-naseg-vremena-2/
  72. https://www.progarchives.com/album.asp?id=7310
  73. https://www.progarchives.com/album.asp?id=7311
  74. https://www.discogs.com/master/399857-Smak-Egregor
  75. https://www.progarchives.com/album.asp?id=9229
  76. https://www.discogs.com/release/1759703-Smak-Nevidljive-Terazije
  77. https://www.discogs.com/release/922939-Smak-Na-Balkanu-Gore-Dole
  78. https://www.discogs.com/release/1369876-Smak-Live-Without-Audience
  79. https://www.discogs.com/master/534355-Smak-The-Best-Of
  80. https://www.discogs.com/release/2511676-Smak-Antologija
Add your contribution
Related Hubs
User Avatar
No comments yet.