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Pop Mašina je grupa koja nikad nije doživela iliti dočekala veću popularnost u tadašnjoj Jugoslaviji a realno, bila je rame uz rame po kvalitetu sa tadašnjim svetskim hard rock sastavima.Kad pomenuh hard rock to i nije tačna definicija žanra muzike koju je ova grupa svirala.Najbliža odrednica svirke Pop Mašine bila bi “progressive acid psychedelic hard rock”.

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Pop Mašinu su negde u januaru 1972. godine osnovali Zoran Božinović (rođen 1952.) gitara i vokal (ex Exelent, Rokeri, Džentlmeni, Intro), Robert Nemeček (rođen 1949. u Beogradu) bas i vokal (ex Dogovor iz 1804, Džentlmeni, Intro), Raša Ðelmaš, bubnjevi i Sava Bojić, gitara i vokal. Bojić je vrlo brzo napustio bend, a u jesen 1972. godine Raša Ðelmaš je prešao u YU grupu Zamenio ga je Mihajlo Bata Popović (ranije svirao u grupama Intro i Siluete). Svojim čvrstim zvukom, koji je koketirao i sa za to vreme vrlo progresivnom muzikom, napravili su pionirske korake na tadašnjoj jugoslovenskoj a pre svega srpskoj sceni Članovi grupe su dosta voleli “Grateful Dead”, i stoga su po uzoru na njih često držali besplatne koncerte, pa su juna 1972. godine napravili dnevni koncert na Hajdučkoj česmi, na kome su još učestvovale grupe “S vremena na vreme”, “Porodična manufaktura crnog hleba” i drugi. Sledeći put su kod Hajdučke česme svirali za Dan mladosti, 25. maja 1973. godine, a te večeri su nastupile i grupe “Jutro” (kasnije Bijelo dugme), “Grupa 220”,  Vlada i Bajka i drugi.

Prva ploča “Kiselina”, pored neobične teme kojom se bavi i vrlo čvrstog zvuka za to vreme, donosi i nekoliko akustičnih tema koje je napisao Robert Nemeček. Bio je to jedan od prvih domaćih albuma koji je bio neverovatno aktuelan i imao je tu neku psihodeličnu notu tada tako popularnu na svetskoj rock sceni. Prateće vokale na albumu su pevali Ljuba Ninković, Vojislav Ðukić (obojica iz “S vremena na vreme”), Drago Mlinarec i “Trio DAG”. Klavijaturista je bio Slobodan Marković, a u tri pesme bas je svirao Miša Aleksić, tada u grupi SOS, a kasnije u Ribljoj čorbi. Najefektnije pesme na ploči su “Tražim put”, “Mir” i “Povratak zvezdama” u kojima se smenjuju akustični i električni delovi. Album je ustvari trebao da bude konceptualan i sam naziv “Kiselina ” je bio vezan za englesku reč “Acid” što je u tadašnjem slengu bio naziv za “trip” ili LSD (tada prilično poplarnu drogu) .Tema albuma je bila mentalno putovanje po uticajem halucinogene droge LSD – tema koja je bila nezamisliva i da se pomene, a jos manje da se pretoči u muziku. Unutar grupe je dogovoreno da se do izlaska prava tema ploče krije kao tajna, u koju je osim članova grupe bio upućen jedino Jugoslav Vlahović, dizajner svih omota ploča Pop Mašine.Nemeček je jednom izjavio : “Osnovna tema ‘Kiseline’ jeste LSD iskustvo. To nije nešto što je trebalo na bilo koji način da afirmiše drogu, naravno. Album je pre svega jednostavno slika tog jednog mentalnog iskustva koje je nama bilo vrlo blisko. “Kiselina” je bio projekat koji smo dugo spremali, ali smo dobili samo 20 sati studija da u svega dva dana snimimo i remiksujem ceo album što je bilo nemoguće”.

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“Kiselina” se pojavljuje u prodavnicama 30. decembra i do zatvaranja 31. decembra prodaje se ceo tiraž od 2.500 ploča, što je vrlo začudilo PGP RTS.Umesto da baci akcenat na Pop Mašinu, PGP RTS zaključuje da “izgleda da se sada traže grupe” i na brzinu izbacuje LP ploče grupa “Dag”, “Porodična Manufaktura Crnog Hleba”,  “Dragoljubov Taksi” i Srdjana Marjanovića i svaka  ponaosob propada u prodavnicama. U medjuvremenu jedan novinar “Ilustrovane Politike” , koji je bio u Americi shvata i otkriva “nadležnima” u PGP RTS šta zapravo znači “Kiselina”  i Pop Mašina dobija upozorenje da “ako se ovo otkrije svi će pod led”.  Da li zbog ovoga ili iz nekog drugog razloga, PGP RTS nikada nije sklopio ugovor sa “Pop Mašinom” za tu ploču i nikada nije platio ni dinar članovima grupe.Trideset pet godina kasnije izlazi remaster albuma gde je Robert Nemeček uspeo da pokaže kako je “Kiselina” ustvari trebala da zvuči da nije bilo tih nabrojanih problema.

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Svoj status posebne grupe Pop mašina potvrđuje čestim koncertima. Omiljeno mesto za svirku postaje im “Hala sportova” gde organizuju redovne koncerte na koje pozivaju grupe sličnog opredeijenja iz cele zemlje. Sve vreme su se mogli pohvaliti vrlo atraktivnim nastupom, tako da Zoran Božinović pored vrlo dugih solo deonica nudi raznovrstan arsenal vrištanja, pirotehniku, sviranje gudalom, sviranje gitare iza leđa uz redovna bacanja na kolena, a Nemeček povremeno u žaru svirke lomi bas gitaru.

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Početkom 1975. godine u ljubljanskom studiju Akademik snimaju drugi LP “Na izvoru svetlosti“, sa gostima Ljubom Ninkovićem i Slobom Markovićem. Produkciju su radili Ivo Umek i Robert Nemeček. Na ploči je i blues “Negde daleko” snimljen na koncertu u Hali sportova 2. januara 1974. godine. Ključna pesma “Rekvijem za prijatelja” (tekst Ljuba Ninković, osnovnu temu čini “Bahov koral”, a na snimku gostuje gudački orkestar), posvećena je Predragu Jovičiću, pevaču grupe “San” koji je poginuo od strujnog udara na koncertu u niskoj hali “Čair”. Na ploči se našao i novi snimak pesme “Zemlja svetlosti”, koja je već bila objavljena na njihovom trećem singlu.

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Nedugo zatim izdaju live album “Put ka suncu” koji je ujedno i prvi koncertni neke naše grupe, ali ih iz tehničkih razloga ne predstavlja u pravom svetlu.

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Krajem 1976. godine Nemeček odlazi u JNA, a u grupu stižu basista Dušan Petrović, bubnjar Dušan Ðukić (ex Innamorata) i gitarista Vidoja Džindžer Božinović. Po izlasku iz vojske Robert odlazi u London gde je radio u firmi koja se bavila prodajom instrumenata, a bio je dopisnik listova “RTV revija” i “YU video”. Nova postava krenula je sa jazz rock koncepcijom. Snimili su singl “Moja pesma”, najavljivali album, ali su krajem 1977. godine su prestali sa radom.

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Džindžer se priključio grupi Opus u kojoj se zadržao samo pola godine. Po povratku iz Engleske, Nemeček je počeo da radi kao urednik rock programa u Dadovu, a zatim je sa bendom pod imenom “Rok mašina” početkom 1981. nastupio na koncertu u Zagrebu, u okviru manifestacije “Pozdrav iz Beograda”. Pored Nemečeka, grupu su činila braća Božinović i bubnjar Vladan Dokić (ex Pop šou). Ubrzo su objavili album “Rok mašina” na kome prateće vokale pevaju Ljuba Ninković i Dragan Popović (ex DAG). Ploča donosi ponovo snimljene pesme “Vatra” i “Bilo mi je bolje” koje su već bile objavljene na singlu, a tu su “Zakon ulice”, “Neću ti dati”, “Želim” i druge. Kasnije im je pristupio bubnjar Boban Ðorđević (Generacija 5), ali klima za grupu nije bila povoljna u vreme novog talasa i oni 1983. godine prekidaju sa radom, dok su snimali novi LP. Deo tog snimljenog materijala pojavio se dve godine kasnije na mini LP-u “Izrod na granici”. Na ploči je i koncertna verzija pesme “Bilo mi je bolje” snimljena na Beogradskom rock festivalu septembra 1982. godine u hali Pionir.

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Bio je to njihov poslednji nastup i poslednja pesma koju su te večeri odsvirali. Zoran Božinović se posle toga povukao iz muzike, Džindžer se posvetio studijama na Arhitektonskom fakultetu i povremeno je svirao po blues klubovima ili sa jazz grupom Interaction, sve dok nije prešao u Riblju čorbu. Robert Nemeček je postao urednik filmskog i zabavnog programa TV Politika, a zatim je prešao na TV Pink gde radi kao urednik zabavnog programa. Nemeček se uz interesovanje za film, bavi izučavanjem okultne nauke i istorijom okultnih redova.

U članku korišćeni tekstovi iz nekad najpopularnijeg muzičkog časopisa u SFRJ –“Džuboks”.


The first real Serbian rock album – Acid

 

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Pop Machine is a group which never lived up to the great popularity in Yugoslavia of that day and in reality it stood side by side by its quality with hard rock bands of the world. Now that I have mentioned the hard rock I have to say that it’s not the correct definition of the genre that band used to play. The closest specifier of what Pop Machine had played would be “progressive acid psychedelic hard rock”.

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Pop Mašina was established in January of 1972 by Zoran Božinović (born in 1952) guitar and vocals (ex Exelent, Rokeri, Džentlmeni, Intro), Robert Nemeček (born in 1949 in Belgrade) bass and vocals (ex Dogovor iz 1804, Džentlmeni, Intro), Raša Ðelmaš, drums and Sava Bojić, guitar and vocals.

Bojić had soon after left the band and in autumn of 1972 Raša Đelmaš crossed to YU grupa. He was replaced by Mihajlo Bata Popović (played earlier in Intro and Siluete). With its hard sound which flirted with, for that time, very progressive music, they’ve made pyoneer steps on Yugoslavian  and before all, Serbian scene. The band members liked „The Greatful Dead“ very much and therefore, being modeled by them, they often held free concerts, so in June of 1972 they’ve made a daily concert at Hajdučka česma („The fountain of the outlaws“ situated at the bottom of Belgrade’s park Košutnjak), in which “S vremena na vreme”, “Porodična manufaktura crnog hleba” and other bands have participated. Next time they’ve played at Hajdučka česma it was Youth day on May 25, 1973 and that evening “Jutro” (later renamed to Bijelo dugme), “Grupa 220”,  Vlada and Bajka and others also appeared.

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First LP „Acid“, besides unusual topic and very hard sound for that time, brings a couple of acoustic themes which Robert Nemeček had written. It was one of the first local albums which was incredibly up-to-date and had that psychodelic note then so popular on a world rock scene. Back vocals on the album sang Ljuba Ninković, Vojislav Ðukić (both from “S vremena na vreme”), Drago Mlinarec i “Trio DAG”. Pianist was Slobodan Marković, and in three songs Miša Aleksić played bass, then a member of  SOS, and later „Riblja čorba“. The most effective songs on a record are “Tražim put” (I search for a path), “Mir” (Peace) and “Povratak zvezdama” (Return to stars) in which acoustic and electrical parts take turns. The album was supposed to be conceptual and a title itself „Kiselina“ was linked to English word „Acid“ which then was a slang for „trip“ or LSD (pretty popular drug of the day). The topic of the album was mental trip under the influence of hallucinogen drug LSD- theme that was unimaginable to mention, let alone pour into music. Within the band it was agreed that until the album gets released, the real subject stays a secret, which besides the band members, knew only the casing designer for all records Pop Mašina ever released, Jugoslav Vlahović. Nemeček once said:“The basic theme of „Kiselina“ is the LSD experience. It was not intended in any way to affirm the drug, of course. The album is simply an image of one mental experience that was very close to us. „Kiselina“ was a project we prepared for a long time, but we’ve got 20 hours of studio time to record and mix the entire album in only two days, which was impossible“.

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“Kiselina” shows up in stores on December 30 and by the closing time on December 31 the entire circulation of 2500 records sells, which bewilders PGP RTS. Instead of putting the emphasis on Pop Mašina, PGP RTS concludes that „it seems that now bands are wanted“ and quickly throws out LPs by the bands called „Dag“ “, “Porodična Manufaktura Crnog Hleba”,  “Dragoljubov Taksi” and  Srdjan Marjanović and every each one of them collapses in stores. In the meantime, one journalist of “Ilustrovana Politika” who was in America, discovers to „competent“ ones in PGP RTS what „Kiselina“ (acid) actually means and Pop Mašina gets the warning „if this comes out, everybody goes under the ice“. Be it for this reason, or any other, PGP RTS never sealed a contract with „Pop Mašina“ for this record and never paid the band members. Thirty five years later remaster of the album comes out where Robert Nemeček succeded in showing how „Kiselina“ actually should have sounded if there was no listed problems.

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Its status of special group Pop Mašina confirms with numerous concerts. „Hala sportova“ becomes their favourite place for a gig where they regularly organize concerts and invite groups of similar concept from all over the country. All the time they could boast with a very attractive performance, so that Zoran Božinović besides very long solo parts, offers a varied arsenal of screaming, pyrotechnics, playing with a bow, playing a guitar behind his back with regular throwing on his knees and Nemeček at times, in the heat of playing, breaks his bass.

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At the begining of 1975 in Akademik studio of Ljubljana they record their second LP “Na izvoru svetlosti“(At the fount of light), with guests Ljuba Ninković and Sloba Marković. Ivo Umek and Robert Nemeček did the production. A blues “Negde daleko”(Somewhere far) can also be found on the record, which was recorded on a concert in „Hala sportova“ on January 2, 1974. The key song “Rekvijem za prijatelja” /The requiem for a friend (written by Ljuba Ninković, base theme is „Bahov koral“/Bach’s coral and on a record a string orchestra is a guest) is dedicated to Predrag Jovičić, a singer of the band „San“ / Dream, who had died of an electric shock on a concert in a „Čair“ hall in Niš. A new version of a song „Zemlja svetlosti“ / The land of light, which was already released on their third single, found its way to this record.

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Not long after they release a live album “Put ka suncu”/ A road to the sun, which was, at the same time, a first concert record of any our band, but for technical reasons it doesn’t portray them in a real light.

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At the end of 1976, Nemeček goes to the army and a bass player Dušan Petrović arrives to the band, a drummer Dušan Đukić (ex Innamorata) and a guitar player Vidoja Džindžer Božinović. After leaving the army, Robert goes to London where he had worked in firm which sold instruments and he was also a correspondent for “RTV revija” and  “YU video”. The new line-up started with jazz rock concept. They’ve recorded a singl “Moja pesma”/ My song, announced an album, but at the end of 1977 they’ve stopped working.

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Džindžer joined a band called „Opus“ in which he stayed only for a half of the year. Upon his return from England, Nemeček started working as an editor of a rock programme in Dadov and afterwards he performed with a band called „Rok mašina“/Rock Machine at the beginning of 1981 on a concert in Zagreb, within the manifestation “Pozdrav iz Beograda”/Greetings from Belgrade.

Besides Nemeček, the group consisted of brothers Božinović and a drummer Vladan Dokić (ex Pop šou). Soon after they’ve released an album „Rok mašina“ in which back vocals had sang Ljuba Ninković and Dragan Popović (ex DAG). A record brings again recorded songs “Vatra”/Fire and “Bilo mi je bolje”/I was better, which were already released on a single and there are also “Zakon ulice”//The law of the street, “Neću ti dati”/I will not give it to you, “Želim”/I wish and others. Later on a drummer Boban Ðorđević (Generacija 5) joins the band, but the climate was not in their favour during the new wave and they stop with their work, while they were recording a new LP. A part of that material showed up two years after on a mini LP “Izrod na granici”/A degenerate at the border. A concert version of the song “Bilo mi je bolje” appears on a record from the Belgrade rock festival in September of 1982 in Pionir hall.

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It was their last performance and last song they’ve played that night. Zoran Božinović retired from the music, Džindžer devoted himself to studies on the Faculty of Architecture and played from time to time in blues clubs or with a jazz group Interaction, until he crossed to Riblja čorba. Robert Nemeček became an editor of film and entertaining programme on TV Politika and afterwards he went to TV Pink where he works as an editor of entertaining programme. Nemeček besides his interest in film researches the ocult sciences and history of the ocult orders.

In this article we used texts from once the most popular music magazine of Yugoslavia –  “Džuboks”/ Jukebox.