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From Wikipedia, the free encyclopedia
This article is about the Serbian band. For the museum in Ghent, Belgium, see SMAK.
For the Sri Lankan brand of food products, see SMAK (brand).

Smak

Smak in 1975: Laza Ristovski, Slobodan "Kepa" Stojanović, Radomir "Točak"

Mihailović, Zoran Milanović, and Boris Aranđelović.

Background information

Origin Kragujevac, Serbia

Genres Progressive rock, jazz rock, blues rock, folk

rock, symphonic rock, psychedelic rock, hard rock

1971–1981
Years active
1986–1992
1994–2002

2010–2015

2022–present

Labels PGP-RTB, Suzy, ZKP RTLJ, Bellaphon, Fantasy, RCA,

Sorabia Disk, Vans, Komuna, A Records, Razglas, PGP-

RTS, Active Time, One Records

Members see the members section

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.
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 Predrag "Biska" Albić, Mihailović's
childhood friend who had served the mandatory Yugoslav People's Army (JNA) service
with Stojanović.[1] Throughout their army stint together in Mostar, 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 got 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 then 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
owing to the fact that 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 owing to the fact that 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]
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

 Radomir "Točak" Mihailović – guitar (1971–1981, 1986–1992, 1994–2002, 2010–2015)

 Slobodan "Kepa" Stojanović [sr] – drums, percussion (1971–1981, 1986–1992, 1994–2002,
2010–2015)
 Zoran Milanović [sr] – bass guitar (1971–1981, 1986–1992, 2012, 2013, 2015)
 Boris Aranđelović [sr] – vocals (1973–1981, 1986–1987, 1989–1992, 2012, 2013, 2015)
 Milan "Mikica" Milosavljević [sr] – guitar (1994–2002, 2010–2015)
 Dejan "Kepa Jr." Stojanović [sr] – drums, percussion (1994–2002, 2010–2015)
 Dejan "Najda" Najdanović [sr] – vocals (1994–2002, 2010–2015)
 Dejan Zdravevski – keyboards (2012–2015)
 Filip Milanović – bass guitar (2015)
 Miša Nikolić – keyboards (1971–1972)
 Lola Andrijić – bass guitar (1980–1990)
 Slobodan "Koma" Kominac – vocals (1971–1972, 1973)
 Slobodan "Johan" Jovanović – vocals (1972)
 Milorad "Kimi" Petrović – vocals (1973)
 Laza Ristovski – keyboards (1974–1976, 1979–1981, 1992)
 Miodrag "Miki" Petkovski [sr] – keyboards (1976–1978, 1979)
 Tibor Levay – keyboards (1978)
 David Moss – percussion (1978)
 Milan Đurđević [sr] – keyboards (1986–1990)
 Milan Šćepović – vocals (1988, 1990)
 Vlada Samardžić [sr] – bass guitar (1994–1997)
 Slobodan "Sale" Marković [sr] – bass guitar (1997–2002)
 Miloš "Šomi" Petrović [sr] – bass guitar (2010–2013)

Discography[edit]
Main article: Smak discography

Serbian language albums English language albums

 Smak (1975)  Black Lady (1978)

 Crna dama (1977)  Dab in the Middle (1978)
 Stranice našeg vremena (1978)
 Rock cirkus (1980)
 Zašto ne volim sneg (1981)
 Smak 86. (1986)
 Bioskop Fox (1995)
 Egregor (1999)

References[edit]
 Antonić, Duško; Štrbac, Danilo (1998). YU 100: najbolji albumi jugoslovenske rok i
pop muzike. Belgrade: YU Rock Press.
 Jakovljević, Mirko (2003). Nevidljive terazije Slobodana Stojanovića Kepe. ISBN 86-
83525-67-8.
 Janjatović, Petar (2007). EX YU ROCK enciklopedija 1960-2006. ISBN 978-86-
905317-1-4.

Notes[edit]
1. ^ Jakovljević 2003, p. 30
2. ^ Jakovljević 2003, p. 31
3. ^ Jump up to:a b c d e f Janjatović 2006, p. 209
4. ^ Jakovljević 2003, p. 35
5. ^ Jump up to:a b Jakovljević 2003, p. 36
6. ^ Jakovljević 2003, p. 37
7. ^ Jakovljević 2003, p. 38
8. ^ Jakovljević 2003, p. 39
9. ^ Jump up to:a b Jakovljević 2003, p. 42
10. ^ Jump up to:a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag Janjatović 2006, p. 210
11. ^ Jakovljević 2003, p. 50
12. ^ Jakovljević 2003, p. 57
13. ^ Jump up to:a b c d Jakovljević 2003, p. 52
14. ^ Jump up to:a b Jakovljević 2003, p. 53
15. ^ Jakovljević 2003, p. 62
16. ^ Jump up to:a b Jakovljević 2003, p. 64
17. ^ Jump up to:a b Jakovljević 2003, p. 66
18. ^ Jump up to:a b c d e Jakovljević 2003, p. 67
19. ^ Jump up to:a b Jakovljević 2003, p. 71
20. ^ Jakovljević 2003, p. 68
21. ^ Janjatović, 2006, p. 210-211
22. ^ Jump up to:a b c d e f g h i j k l m n o p q r s t u v w x y z aa ab ac ad ae af ag ah Janjatović 2006, p. 211
23. ^ Jakovljević, 2003, p. 72-73
24. ^ Jump up to:a b c d Jakovljević 2003, p. 74
25. ^ Jakovljević 2003, p. 75
26. ^ Jakovljević, 2003, p. 75-76
27. ^ Jakovljević 2003, p. 76
28. ^ Janjatović, 2006, 211
29. ^ Jakovljević 2003, p. 79
30. ^ Jakovljević 2003, p. 78
31. ^ Jump up to:a b Jakovljević 2003, p. 80
32. ^ Jakovljević 2003, p. 81
33. ^ Jakovljević 2003, p. 82
34. ^ Jakovljević, 2003, p. 83-84
35. ^ Janjatović 2006, p. 198
36. ^ Jakovljević 2003, p. 95
37. ^ Jump up to:a b Jakovljević 2003, p. 96
38. ^ Jakovljević 2003, p. 97
39. ^ Janjatović 2006, p. 227
40. ^ Jump up to:a b c d Jakovljević 2003, p. 102
41. ^ Jump up to:a b Jakovljević 2003, p. 104
42. ^ Jump up to:a b c d Jakovljević 2003, p. 105
43. ^ Jakovljević, 2003, p. 106-107
44. ^ Jakovljević 2003, p. 107
45. ^ Jakovljević 2003, p. 108
46. ^ Jakovljević, 2003, p. 108-109
47. ^ Jakovljević 2003, p. 110
48. ^ Jump up to:a b Jakovljević 2003, p. 111
49. ^ Jakovljević 2003, p. 109
50. ^ Janjatović, 2006, p. 211-212
51. ^ Jump up to:a b c Jakovljević 2003, p. 112
52. ^ Jump up to:a b c d Jakovljević 2003, p. 113
53. ^ Jakovljević, 2003, p. 114-115
54. ^ Janjatović 2006, p. 212
55. ^ Jump up to:a b Jakovljević 2003, p. 116
56. ^ Jump up to:a b c d e f g h i Janjatović 2006, p. 112
57. ^ Jump up to:a b Antonić and Štrbac, 1998
 58. ^ Jump up to:a b Jakovljević 2003, p. 117
59. ^ Jakovljević, 2003, p. 117-118
60. ^ Jakovljević 2003, p. 118
61. ^ "Smak ponovo na okupu sa Točkom (VIDEO)", balkanrock.com Archived 2011-03-18 at
the Wayback Machine
62. ^ "Smak ponovo svira", blic.rs
63. ^ Delfin at One Records official website
64. ^ "Smak zasvirao ponovo", vesti-online.com
65. ^ "Ponovo se okuplja čuveni Smak", svetgitara.com
66. ^ Smak izdaje EP Delfin na dan koncerata nocturnemagazine.net Archived 2013-02-22
at archive.today
67. ^ OdLIVEno at One Records official website
68. ^ Tonsko ukrašavnaje at One Records official website
69. ^ "Beograd dočekao "Smak""
70. ^ "SMAK U KOMBANK ARENI: Ovo je pravi Smak, a ne ono...", popboks.com
71. ^ "Grupa "Smak" otvorila "Arsenal fest" pred 5.000 ljudi (FOTO) (VIDEO)", telegraf.rs
72. ^ "Nebo je samo drum bez dna", YouTube.com
73. ^ "SPEKTAKL Smak održao koncert pred 20.000 ljudi na Ušću!", blic.rs
74. ^ "Smak big bend zadao domaći zadatak na Ušću", balkanrock.com
75. ^ "Preminuo Boris Aranđelović, pevač grupe Smak!", novosti.rs
76. ^ "Group Smak on the town square in Čačak on September 9". B92.net (in Serbian). 2022-09-05.
Retrieved 2022-09-07.
77. ^ "Nikolić dao 84 ordena, dobio 'Danas nam je divan dan...'", b92.net
78. ^ Disco Rock at Disocgs
79. ^ Neverne Bebe I at Discogs
80. ^ Neverne Bebe IV – Dvoje – The Best Of
81. ^ "Osvajaci – 15 Ljudi nije fer (unplugged) (Smak cover)". YouTube. Archived from the original on
2021-12-19. Retrieved 2014-06-05.
82. ^ Nostalgija at Discogs
83. ^ "Čipi I Industrija – Na Balkanu (CD, Album) at Discogs". Discogs.com. Retrieved 2014-06-05.
84. ^ "Edo Maajka – Štrajk Mozga (CD, Album) at Discogs". Discogs.com. 2012-04-21. Retrieved 2014-
06-05.
85. ^ "Milan Petrovic Quartet – Favorites (CDr, Album) at Discogs". Discogs.com. 2013-09-18.
Retrieved 2014-06-05.
86. ^ "Rolling Stone – Specijalno izdanje: 100 najboljih albuma 1955 – 2015". Rolling Stone (in Croatian).
No. Special editidon. Zagreb: S3 Mediji. p. 86.
87. ^ "100 najboljih pesama svih vremena YU rocka". Rock Express (in Serbian). Belgrade (25).
88. ^ The B92 Top 100 Domestic Songs list at B92 official site Archived 2007-03-28 at the Wayback
Machine
89. ^ 60 хитова емисије ПГП на 202!, facebook.com

External links[edit]
 Biska 2 - Smak (1975)
 Blues in the Park - Smak (1975)
 Black Lady – Smak (1977)
 Entrance to Harem – Smak (1978)
 Smak – Black Lady (1978) at Rock On Vinyl (2010)
 The end Time in the New World (1976)
 Smak (Al Jazeera Balkans Documentary – 2015)
 Smak at Myspace
  Smak at YouTube
 Smak at Discogs
 Smak at Rateyourmusic
 Smak at Last.fm
 Smak at B92.fm
 Smak at Progarchives
show
 v

 t

 e
Smak

show
Authority control databases
Categories:
 Serbian rock music groups
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 Serbian hard rock musical groups
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 Yugoslav rock music groups
 Yugoslav progressive rock groups
 Yugoslav jazz-rock groups
 Yugoslav hard rock musical groups
 Blues rock groups
 Musical groups from Kragujevac
 Musical groups established in 1971
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