Goran Skrobonja

RUBBER SOUL PROJEKT: PUTOVANJE Alternativna muzička istorija/ konceptualni eksperiment

THE RUBBER SOUL PROJECT JOURNEY Alternative music history / a conceptual experiment DRAMATIS PERSONAE: DRAMATIS PERSONAE: (po redu izlaska na scenu) (in the order of appearance)

Rastko ĆiriĆ (Beograd, 1955) Rastko ĆiriĆ (Belgrade, 1955) Profesor ilustracije i animacije Professor of illustration and anima- na Fakultetu primenjenih umet­ tion at the Faculty of Applied Arts nosti u Beogradu. Poznati ilu­ in Belgrade. Well known illustrator strator i animator. Samouki and animator. Self-taught musician. mu­zičar. Dugo­godišnji Bitls fa­ Long-standing Beatles fanatic. natik. Goran Skrobonja (Belgrade, Goran Skrobonja (Beo­ 1962) Lawyer and Sworn to Court grad, 1962) Dipl. prav­nik i sud­ ski tumač, književni­­ prevodilac i Interpreter, literary translator and pisac horora i naučne fantastike. writer of horror and science fiction. Dugogodišnji Bitls fanatik. Long-standing Beatles fanatic.

NebojŠa IgnjatoviĆ–Nebe NebojŠa IgnjatoviĆ–Nebe (Beograd, 1951) Profesor kon­ (Belgrade, 1951) double bass profes- trabasa na Fakultetu muzičke sor at the Faculty of Music Arts in umetnosti u Beogradu. Kom­ Belgrade. Composer and theater mu- pozitor i teatarski muzičar. Bivši sician. A former member of the Bel- član Beogradske filharmonije, grade Philharmonic Orchestra Sko- orkestra Skovran, grupe Rene- vran, Renaissance Group, Symphony sans, Simfonij­skog orkestra Nju Orchestra of New Jersey, USA. Long- Džersija, SAD. Dugogodišnji standing Beatles fanatic. Bitls fanatik. Miroslav CvetkoviĆ Miroslav CvetkoviĆ (Beo­ (Belgrade, 1953) bass guitarist in the grad, 1953) Bas gitarista u Ba­ Bajaga’s band. Sound engineer and jaginom bendu. Inženjer zvuka i producent. Osnivač i dekan producer. Founder and Dean of the beogradske Rok akademije. Belgrade Rock Academy. Long-stand- Dugogodišnji Bitls fanatik. ing Beatles fanatic. Čedomir Macura (Beograd, Čedomir Macura (Belgrade, 1967) Samouki bubnjar koji je 1967) A self-taught drummer posle 12 godina sešn-svirki, za­ who after 12 years of session gigs, hvaljujući Rubber Soul Projektu, thanks to the Rubber Soul Project, postao stalni član Bajaginog became a permanent member of ben­­da. Novopečeni Bitls fa­na­ the Bajaga’s band. Recent Beatles tik. fanatic.

Dragan AŠanin (Beograd, Dragan AŠanin (Belgrade, 1959) Filmski i TV producent, 1959) Film and TV producer, a uspešan biznismen, vlasnik successful businessman, owner of kom­panije AD&Sons koja je fi­ AD & Sons company, which had nansirala realizaciju Rubber Soul funded the realization of the Rub- Projekta #1. Dugogodišnji Bitls ber Soul Project 1. Long-standing fanatik. Beatles fanatic.

ĐORĐE PETROVIĆ (Beograd, ĐORĐE PETROVIĆ (Belgrade, 1953) Inženjer elektronike, pro­ 1953) electronics engineer, profes- fesor na Fakul­ ­tetu muzičke sor at the Faculty of Music Arts of umetnosti i na Univerzitetu the University of Arts in Belgrade. umetnosti u Beogradu. Kom­ Composer, producer and performer. pozitor, producent i izvođač.­ Long-standing Beatles fanatic. Dugogodišnji Bitls fanatik.

ALEKSANDAR SAŠA LOKNER ALEKSANDAR SAŠA LOKNER (Zemun, 1964) Poznati pijanista (Zemun, 1964) Renowned pianist i kompozitor. Eks Galija, sada and composer. Ex Galija, now a član Bajaginog benda. Solo al­ member of Bajaga’s band. Solo al- bum Evropa Elektro Express, sa bum Electro Express Europe, with Lazom Ristovskim album Naos. Laza Ristovski album Naos. Long- Dugogodišnji Bitls fanatik. standing Beatles fanatic . IGOR KORDEJ (Zagreb, Hrvat­ IGOR KORDEY (Zagreb, Croatia, ska, 1957) Izvršni producent 1957) Producer of the RSP 2. One RSP 2. Jedan od najvažnijih i of the most important and prolific naj­ plodnijih­­­ svetskih strip crtača comics artist and illustrator world- i ilustratora. Oktobra 2013. pro­ wide. In 2013 proclaimed the Knight glašen­ Vitezom umetnosti od stra­ of Arts by the French government. ne francuske vlade. Dugogodišnji Long-standing Beatles fanatic. Bitls fanatik. DAMJAN DAŠIĆ (Belgrade, 1980) DAMJAN DAŠIĆ (Beograd, Musician, sound engineer and stu- 1980) Muzičar, inženjer zvuka i dent of dentistry. Drummer and student stomatologije. Bubnjar i bass guitarist, ex member of Vam­ bas gitarista, eks Vampiri, Breeze, piri, Breeze, E-Play… Leader and E-play… Vođa i bas gitarista bass guitarist of The Beastbeat Bitls tribjut benda The Bestbeat. Beatles tribute band. Long-stand- Dugogodišnji Bitls fanatik. ing Beatles fanatic.

MARKO ĆALIĆ (Beograd, MARKO ĆALIĆ (Belgrade, 1982) 1982) Muzičar, student prava i Musician, student of law and health proizvođač zdrave hrane. Bivši food manufacturer. Ex member of član Vampira i Breeze. Solo gitaris­ Vampiri and Breeze… Solo guitar- ta Bitls tribjut benda The Bestbeat. ist of The Beastbeat Beatles tribute Dugogodišnji Bitls fanatik. band. Long-standing Beatles fanatic.

SAŠA JANKOVIĆ (Beograd, 1968) SAŠA JANKOVIĆ (Belgrade, 1968) Inženjer zvuka, suvlasnik studi­ Sound engineer, co-owner of the ja Strip u Beogradu. Predavač Strip Studio in Belgrade. Lecturer of na SAE Institutu u Beogradu. Sound Design at the SAE Institute Između ostalih, u Rak i Ebi Roud in Belgrade. At Rak and Abbey Road studiju u Londonu, sni­mao Studios in London he had recorded The Cure, The Rutles, Paul Weller, The Cure, The Rutles, Paul Weller, Nazareth, Bo Didley, Suede… Nazareth, Bo Diddley, Suede… Dugogodišnji Bitls fanatik. Long-standing Beatles fanatic. Deo prvi: KONCEPT

Part one: THE CONCEPT he Rubber Soul Project (RSP) nastao he Rubber Soul Project (the RSP) was Tje usred posvemašnjeg sunovrata onoga Tcreated in the midst of complete disaster što smo tada nazivali državom. Bila je to which we called Yugoslavia at that time. 1993, vreme lažnih banki Dafine i Jezde, It was in 1993, the time of the pyramid novčanice od 500 milijardi dinara i pot­ schemes called Dafina and Jezda, the bills pune praznine i beznađa u kulturnom with denominations of 500 billion dinars životu Jugoslavije. and total emptiness and hopelessness in the Rastko Ćirić je negde u to vreme, u cultural life of Yugoslavia. knji­zi Džefa Rasela THE BEATLES/ Just about then, in Geoff Russell’s book THE ALBUM FILES AND COMPLETE DIS­ BEATLES / FILES AND COMPLETE AL- COGRAPHY, naleteo na spisak od BUM DISCOGRAPHY, Rastko Ćirić stum- preko dve stotine pesama koje su Bitlsi bled upon a list of more than two hundred snimili dok su bili zajedno, ali ih nisu previously recorded but never released Bea- objavili. Ne znajući da će se ubrzo po­ tles songs. Not knowing about the impend- javiti zvanična izdanja kao što su BBC ing releases of the BBC and Live Anthology Live i serija Anthology, Rastko je imao series, Rastko was under the impression utisak da je naišao na that he had encountered popisani inventar the listed inventory of Ali-Babine pećine: the cave of Ali Baba: spisak zamamnog, ali a list of stunning, but potpuno nedostup­ completely inaccessible nog blaga. Jedan od treasures. One of the ti- naslova posebno mu tles especially attracted je privukao pažnju – attention – “Rubber Rubber Soul, pesma Soul”, a song that was koja je trebalo da supposed to be on the bude na istoimenom eponymous Beatles al- albumu Bitlsa iz bum from 1965, but had 1965-e, ali je iz nepo­ been left out for reasons znatih razloga izostavljena. To je i za unknown. For a person far less imaginative nekoga sa daleko manje imaginacije than Rastko it could have been extremely od Rastka moglo da bude krajnje za­ interesting, but in Rastko’s head this had nimljivo, ali u Rastkovoj glavi imalo je had the effect of that legendary flutter of the učinak onog legendarnog zamaha lepti­ wings of a butterfly that might have caused rovog krila koji će na drugoj strani sveta a flurry of hurricanes on the other side of the možda izazvati nalet uragana. Naime, world. Specifically, as it seemed he would pošto mu se činilo da nikada neće imati never get a chance to peek into the vaults priliku da zaviri u sefove u kojima se ti where these legendary, unreleased Beatles legendarni, neobjavljeni snimci Bitlsa recordings were kept, it occurred to Rastko čuvaju, Rastku je palo na pamet da oku­ to gather around people of similar sensibil- pi oko sebe ljude sličnog senzibiliteta, ity, regardless of whether they had any con- bez obzira na to bave li se rokenrolom nection whatsoever with rock and roll or not, ili ne, i da svako od njih komponuje so that each of them could write a song that pesmu koja bi bila njegovo (ili njeno) would be his (or hers) personal vision of that lično viđe­nje te misteriozne, odbačene mysterious, discarded “Rubber Soul” tune. Gumene duše. Pesme bi bile objavljene na These songs could then have been recorded ploči pod imenom­ Rubber Souls. Rastka in an album called Rubber Souls. For this je za ovaj zanimljiv koncept koji bi se interesting concept that could have been mogao nazvati, recimo, “kreativnom re­ designated, say, a creative reconstruction, konstrukcijom”, inspirisala i Borhesova Rastko was inspired by the story of Borges priča pod nazivom Pjer Menar pisac Ki- called “Pierre Mennard, the Writer of Quix- hota (iz zbirke Fictions), gde Borhes veli: ote” (from the collection Fictions), where “…on (Pjer Menar) nije hteo da napiše Borges says: …he (Pierre Mennard) did not nekog drugog Kihota – što je lako – nego want to write another Quixote – it is easy – upravo Kihota…” U priči, Borhes citira but the Quixote… In the story, Borges cites dva potpuno identična izvoda iz Kiho­ two identical statements from Quixote, one ta, jedan Servantesov i drugi Menarov, by Cervantes and the other by Mennard, kudeći prvi, a hvaleći onaj Menarov kao criticizing the first one, and praising Men- neverovatno dostignuće. Naravno, nard’s as an incredible achievement. Of za realizaciju ovakvog koncepta bio 9 course, in order to realize this concept je potreban onaj sudbonosni, početni ko­ Rastko needed that fateful first step, which rak, a do njega je došlo, kako to obično occured, as it usually happens, by pure co- biva, pukim sticajem okolnosti. U martu incidence. In March 1993, Rastko Ćirić will 1993-će, Rastko Ćirić se sasvim slučajno accidentally meet Goran Skrobonja. ”A pri- upoznao sa Goranom Skrobonjom. vate company had organized an exhibition “Jedna privatna firma organi­­zovala je, of the Serbian economy in Greece” Goran kao, izložbu srpske privrede u Grčkoj”, recalls that meeting. ”Rastko was hired priseća se Goran tog susreta. “Rastka su to imagine and execute design for that ex- angažovali da osmisli i izvede dizajn te hibition, and I went there representing the izložbe, a ja sam pošao kao predstavnik company where I had been working at that preduzeća u kom sam tada radio. Zade­ time. It so happened that we traveled in the silo se da putujemo istim kolima, ne same car, not suspecting this was the begin- sluteći da je to početak jednog divnog ning of a beautiful friendship”. Having had prijateljstva. Pošto su imali dovoljno enough time to get to know each other, the vremena da se upoznaju, budući autori future authors of the RSP realized they both RSP shvatili su da su obojica Beatles- were Beatles fanatics, and it didn’t take long fanatici, i Rastku nije trebalo mnogo da for Rastko to explain his concept to Goran. izloži Goranu svoj koncept. “Ti puno “You translate, you speak English well… prevodiš, znaš engleski… Mogao bi da Could you write lyrics for ‘Rubber Soul’?”. napišeš reči za Rubber Soul?”. Za Gorana For Goran, this meant: “How many English je to, u prevodu, značilo: ”Koliko znaš words can you rhyme with ‘soul’?” So, one engleskih reči koje se rimuju sa ‘soul’?” evening in Greece, after maybe ten minutes Tako ubačen crvić bio je dovoljno upo­ of scribbling on a page torn out from a note- ran da jedne večeri u Grčkoj, posle pad, the text was written. On the way back desetak minuta škrabanja po stranici home, in the car, Rastko was very quiet and iscepanoj iz nekog notesa, tekst bude calm, except for occasional indistinct hum- napisan. Pri povratku u otadžbinu, Ras­ ming and staring at the paper with the lyr- tko je u kolima bio izuzetno tih i miran, ics. Soon, Goran has forgotten about the ako se izuzme povremeno ne­razgovetno whole affair. But Rastko did not give up. In pevušenje i zurenje u pomenuti April, he called Goran and told him to papirić. Goran je zaboravio na celu 10 come and visit his home, where he played Soul Paul ball small r’n’roll

Goran se tušira i rimuje, 1993. (iz filma) / Goran takes a shower and rhymes, 1993 (from the movie)

Prvi notni zapis melodije Rubber Soul, 1993. / The first note inscription of the “Rubber Soul” melody, 1993

Goran i Rastko na svadbi na kojoj je nastao tekst pesme Shirley’s Wild Accordion, 1994. / Goran and Rastko at the wedding where the text of the “Shirley’s Wild Accordion” song was Rastko za klavirom /Rastko by the piano written, 1994. 11 stvar. Ali, Rastko nije odustajao. U his song to him. ”I wish I could have seen the aprilu pozvao je Gorana da navrati i od­­­ expression on my face when Rastko played svi­rao mu pesmu. “Voleo bih da mogu it for me for the first time”, Goran said. “If da vidim izraz koji sam imao na licu not for any other reason, than just to com- kada mi je to Rastko prvi put odsvirao”, pare it to all other stunned and silly faces I kaže Goran. “Ako ništa drugo, ono da was later able to see during the same type of proverim da li je bio isto tako glupavo initiation. It was as if Lennon himself had zapa­njen kao lica koja sam kasnije imao descended from above, sat down and played prilike da vidim prilikom iste takve a Beatles song I had never heard before (al- inicijacije. Kao da je Lenon lično sišao though lyrics sounded a bit familiar to me).” odozgo, seo tu i odsvirao mi pesmu Bitl­ sa koju ranije nikada nisam čuo (mada mi je tekst bio nekako poznat).”

Ekipa počinje da se okuplja: Rastko upoznaje Nebeta februara 1993. koji je upravo snimio album Beatless, sa svojim kreativnim obrada­ ma pesama Bitlsa/ The team starts to gather: Rastkov “Help”omaž dizajn za korice još Rastko meets Nebe in February 1993. He has just neobjavljenog Nebetovog albuma Beatless/ recorded the album “Beatless”, with his crea- Rastko’s “Help” hommage design for the still tive covers of The Beatles songs. 12 unpublished Nebe’s “Beatless” album cover. Deo drugi: ALHEMIJA STVARANJA esa u Košutnjaku esa studio in Košutnjak, Belgrade U studiju V I n the V Part two: THE ALCHEMY OF CREATION

13 a Rastkov poziv za učešće u pro­ nly one man responded to Rastko’s Njektu po prvobitnom konceptu, odazvao Oinvitation to participate in the project based se samo jedan čovek: Gradimir Aleksić, on his original concept: Gradimir Aleksić, a dizajner koji sad živi u Singapuru.­ designer now living in Singapore. He made Svoju pesmu Rubber Soul #2 snimio je the demo recording of his song “Rubber Soul sa Rastkom kao demo snimak. Rastko #2”, with Rastko. Rastko, meanwhile, gave je, u međuvremenu, dao Goranu spi­ Goran a list of other recorded and unreleased sak drugih snimljenih, a neobjavljenih Beatles songs, in order to persuade him to pesama Bitlsa, kako bi ovaj uradio tekst write lyrics for at least one more song, which makar za još jednu stvar, koja bi bila would be on the B side of the Rubber Soul na B strani singla Rubber Soul. Pošto je single. Since Goran was busy with other Goran bio zauzet nekim drugim stva­ things, Rastko, tired of waiting, sat down rima, Rastku je dozlogrdilo da čeka, and wrote “All Together on The Wireless pa je seo i napisao All Together On The Machine”, the only song of which he is the Wireless Machine, jedinu pesmu čiji je complete author, although it was credited to on kompletan autor, mada je potpisana Ćirić & Skrobonja (fully in accordance with sa Ćirić & Skrobonja (potpuno na tragu the concept, as Lennon & McCartney did). koncepta, kao što bi to uradili Lennon The song was so good, that Goran immedi- & McCartney). Pesma je bila toliko do­ ately started to write lyrics for new songs: bra, da se Goran trgnuo i ubrzo počeo the words have been written on a bussiness da piše reči za nove stvari: tekstovi su trip, at Rastko’s home, at a (very boring) nastajali na službenom­ putu, kod Ras­ wedding, scribbled on scraps of paper and tka, na svadbi, žvrljani na papirićima i napkins, dictated over the phone… a would- salvetama, diktirani preko telefona… be single soon expanded to EP format, and zamišljeni singl prerastao je u EP, da finally, with 14 written songs in November bi konačno, sa 14 komponovanih pesa­ 1993, became big enough for a CD release. ma, u novembru 1993, dobio dužinu At first, Rastko recorded the songs on his pogodnu za CD izdanje. Ras­ home four-channel portable studio, tko je demo pesme snimao­ sam, usually piano-based, overdubbing the 14 Dragan Ašanin, producent prvog albuma, 1995. / Dragan Ašanin, producer of the first album, 1995.

Cvele, Nebe, Rastko i Čeda / Cvele, Nebe, Rastko and Čeda

Rastko, Cvele i Čeda u Vesa studiju / Rastko, Cvele and Čeda in Vesa Studio Logo izdavača, dizajn Rastko, 1994. / Publisher’s logo designed by Rastko, 1994 15 na kućnom četvorokanalnom portabl vocals and guitar and bass sections. The studiju, najčešće sa klavirskom osno­ recordings came to Dragan Ilić–Ilke, who vom, uz nasnimavanje pratećih vokala i offered to Rastko to record demo version of gitarskih i bas deonica. Snimci su došli the Rubber Soul song in his home studio, do Dragana Ilića-Ilketa, koji je ponudio and it was realized in the summer of 1994. Rastku da kod njega u kućnom studiju The circle of people interested in the pro- snimi prvu studijsku­ demo-verziju ject slowly grew larger, until Rastko, again pesme Rubber Soul i to je realizovano­ u thanks to his design engagement, met Dra- leto 1994. Krug ljudi zaintereso­vanih za gan Ašanin, whose company was interested projekt polako se širio, sve dok Rastko, to finance recording of the material in a pro- opet zahvaljujući svom dizajnerskom fessional studio, with participation of top angažmanu, nije upoznao Dragana Aša­ musicians. Then Miroslav Cvetković–Cvele nina-Ašketa, čija je firma bila zainte­ (bass, recording and music production) and resovana da finansira snimanje materi­ Nebojsa Ignjatović–Nebe (guitars and musi- jala u profesionalnom­ studiju, uz učešće cal production) joined the project. For drums, vrhunskih muzičara. Tada se u projekt Cvele called Čeda Macura, an experienced stu- uključuju i Miroslav Cvetković-Cvele dio musician, and “Vesa studio” was chosen (bas, snima­nje i muzička pro­dukcija) i as the most convenient studio in Belgrade, the Nebojša Ignjatović-Nebe (gitare,­ muzič­ only one with analog equipment and echo– ka pro­dukcija). Cvele za bub­njara dovodi plate, similar to studios in which the Beatles Čedu Macuru, koji je imao dosta iskustva had recorded their LPs (after all, British con- kao sešn-muzičar, a za najpogodniji­ stu­ structors did make it in the late Sixties). dio odabran je Vesa studio u Košutnjaku, In December 1994, 4 songs were recorded: jedini beogradski studio sa analognom “All Together…”, “Four Nights In Moscow”, opremom­ i eho-pločom, sličan studijima “Colliding Circles” and “Rubber Soul”, on u kojima su Bitlsi snimali svoje ploče six discs for promotional purposes. These (uostalom, pravili su ga upravo Englezi, were not the final version of the songs, and krajem šezdesetih). changes in post-production were made most- Decembra 1994. snimljene su 4 pesme: ly in “Colliding Circles” and “Rubber Soul”. All Together…, Four Nights In Mos- The real studio work began on the 6th cow, Colliding Circles i Rubber Soul, i 16 of January 1995, and ended on the 20th Čeda i Cvele u akciji /Čeda and Cvele in action

Kumari Pradan sa Tibeta svira sitar u Indian Rope Trick / Kumari Pradhan from Tibet plays sitar in “Indian Rope Trick” Rastko: Coliding Circles na klaviru / Rastko: “Coliding Circles” on piano 17 Čeda peva Ringa / Čeda sings Ringo Gile “Orgazam” sa violin bas gitarom i Cvele / Gile “the Orgasm” with the violin bass guitar and Cvele

Grupa Nitjananda svira Indian Rope Trick / Cvele dosnimava svoje bas linije / Cvele over- Nityananda band plays “Indian Rope Trick” recording his bass lines

18 narezano je ukupno 6 diskova u promo­ of March that same year. The initial 14 ti- tivne svrhe. Tu nisu bile konačne verzije tles were recorded, while the fifteenth song, pesama, i najveće promene u produkciji “Heather”, was created during the recording pretrpeće Circles i Rubber Soul. Pravi rad sessions. Given the fact that every song was u studiju započet je 6. januara 1995. a very precisely modelled after different stages završen 20. marta iste godine. Snimljeno of the Beatles creative phases, the material, je prvobitnih 14 naslova, dok je petnaesta required participation of members of the “Sk- pesma, Heather, nastala u toku snimanja. ovran” string quartet (the arrangements for S obzirom­ na to da je svaka pesma bila strings were made by Đorđe Petrović), the vrlo precizno postavljena po ugledu na Nityananda band and Tibetan artists on si- različite faze stvaralaštva Bitlsa, ma­­te­­­ tar and other Indian instruments (the Pradan rijal je, između ostalog, zahtevao i učeš­ couple), Zoran Božinović and others. će članova gudačkog kvarteta Skovran The recording of the “imaginary Beatles al- (aranžmane za gudače radio je Đorđe bum”, during the difficult period of interna- Petrović), sastava Nitjananda i tibetanskih tional sanctions, was unexpectedly pleasant umetnika na sitaru i drugim indijskim in­ and refreshing experience for all participants strumentima (bračni par Pradan), Zorana in the Project, in spite of very cold winter. It Božinovića i drugih. was followed with many anecdotes and ex- Snimanje “imaginarnog albuma Bitlsa”, tremely lucky coincidences. tokom teškog perioda međunarodnih Sankcija, bilo je neočekivano prijatno i THE BASS osvežavajuće iskustvo­ za sve učesnike As the time of recording came closer, Cvele u Projektu uprkos hladnoj zimi. Bilo je was getting nervous because he did not praćeno mnogim anegdotama i neo­ know how to get the sound of bass that bičnim srećnim koincidencijama. would be similar to Paul’s “Höfner Violin” bass. He had already desperately begun to Bas conceive an electronic variant: sampling and Kako se bližilo vreme snimanja, Cve­ synthetic combinations, and then, literally le je postajao sve nervozniji, jer nije one day before the recording, Gile (Electric znao kako da dođe do zvuka basa Orgasm band) came to his place with a koji bi bio sličan Polovom Höfner 19 suitcase in his hand saying: “Hey, look Violin basu. Već je počeo da pomišlja what a cool guitar I’ve just bought” When na očajničku varijantu: elektronsko he opened the suitcase, Cvele could not be- “semplovanje” i sintetičke­­ kombinacije, lieve his eyes: a shiny, preserved original a onda je, buk­valno jedan dan pre sn­ “Höfner Violin” bass glowed inside, ready imanja, kod njega banuo Gile (Orgazam) to be played on. Gile generously lent him the sa koferom u ruci i rečima: “Ej, da vi‘š što bass for the recordings, and its sound can be sam kupio gitaru”. Kada je otvorio kofer, heard in all the songs on the disc the RSP 1. Cvele nije mogao da veruje: unutra je blistao sjajno očuvan originalni Höfner RINGO Violin bas, spreman za svirku. Gile mu ga je velikodušno pozajmio za snimanje, Since both records were supposed to have i zvuk ovog basa čuje se u svim pesmama one song by Harrison (“Indian Rope Trick”, na RSP 1 disku. “India”) and one sung by Ringo (“When I Come To Town”, “Hitch Hike”), someone Ringo had to do the singing. Harrison was not such Pošto su obe ploče koncipirane tako da a problem, but Rastko failed to adjust his se na njoj nalazi jedna Harisonova (In- voice to sound like Ringo’s, no matter how dian Rope Trick, India) i jedna Ringova hard he tried. They tried everything, includ- (When I Come to Town, Hitch Hike) stvar, ing Nebe’s and Cvele’s voices, but without iste je trebalo i otpevati. Sa Harisonom je any success. Then it occured to them to sug- bilo još kako-tako, ali Rastko nije uspeo gest that Čeda the drummer should sing it. da izvede da mu glas zaliči na Ringov ”I entered the recording room, sang ‘When I koliko god se trudio. Probali su sve vari­ Come To Town’ and went back to production, jante, uključujući i Nebeta i Cveleta, ali and there they all were on the floor, rolling rešenja nije bilo. Onda im je sinulo da and roaring with laughter”. Čeda’s voice did predlože Čedi da to otpeva. ”Otišao sam u prostoriju za snimanje, otpevao not only resemble Ringo’s from the early six- When I Come to Town i vratio se u sobu za ties, but the song was sung exactly the same produkciju” kad tamo, oni svi na podu, way. ”Sometimes the most obvious solutions valjaju se i drže za stomak od smeha.” are the right ones”, said Rastko. Čedin glas ne samo da je ličio na Ringov s početka šezdesetih, već je pesma bila i otpevana na u dlaku 20 isti način. “Ponekad su najočiglednija MORSE rešenja ipak ona prava”, rekao je Rastko. In the song “All Together...” one can hear the phrase P-a-u-l-I-s-D-e-a-d in Morse Morze Code, as Rastko’s small reference to the simi- U pesmi All Together… čuje se morzeo­ lar jokes the Beatles had on their recordings, vom azbukom otkucano P-a-u-l-I-s-D- and the whole affair of the alleged Paul’s e-a-d, kao mala Rastkova referenca na death and his double who had replaced him slične zezalice koje su Bitlsi imali na (the famous “Billy Shears”). When asked by svojim snimcima, i na čitavu aferu o na­ Goran why he did not mention John instead vodnoj Polovoj pogibiji i dvojniku koji ga je zamenio (čuveni “Billy Shears”). of Paul, Rastko replied that the whole thing Kada ga je Goran upitao zašto nije stavio would then seem, well, too realistic. John umesto Paul, Rastko je odgovorio da bi to čitavu stvar učinilo suviše, pa, Horror and science fiction realističnom. When the final version of the song “All To- gether...” was mixed, Cvele was horrified Horor i naučna fantastika to realize that he had lost the recording of Kada je miksovana finalna verzija passages from some radio show that should pesme All Together… Cvele je, na have been included in the soundtrack. Since sopstveni užas, shvatio da je negde Goran and Rastko were in the studio, Cvele izgubio snimak odlomka iz nekakve suggested them to read something in front of radio-emisije koji je trebalo da bude deo the microphones, so he could then put it in zvučne podloge. Pošto su se u studiju the song as false radio presenter. As usual, zadesili Goran i Rastko, Cvele im je Goran had with him various books, and now predložio da uzmu nešto i pročitaju in the recording of “All Together...” one can pred mikrofonima, kako bi on to ubacio u pesmu kao tobožnje spikere sa radija. hear the beginning of the novel Swan Song Kao i obično, Goran je sa sobom vukao by Robert R. McCammon and sentences raznorazne knjige, i sada se na snimku from a story by Harlan Ellison – the first All Together… može čuti početak romana one is a famous writer of horror, while the Swan Song Roberta R. Mekkemona i second one is the legendary ’enfant terrible’ rečenica iz jedne priče Harlana Eli­ of science fiction. sona – prvi je poznati pisac horora, 21 Korice za novelu Gumena duša / Cover for the Rubber Soul novella

Još jedna Rastkova ilustracija u formi lažnog faksimila. Sličan koncept ponoviće se mnogo kasnije u Goranovom hit romanu Sva Teslina deca iz 2014. / Another hoax facsimile style il- lustration by Rastko. A similar concept will repeat much later in Goran‘s best selling novel All Tesla‘s Children in 2014. Ilustracija: izmišljeni srednjevekovni notni zapis melodije pesme Rubber Soul / Illustration: an imagined medieval music inscription of the “Rubber Soul” melody

22 dok je drugi legendarni ‘enfant terrible’ MANTRA naučne fantastike. During the recording of ”Indian Rope Trick“, Mahodari Takač, singer of the Nity- Mantra ananda band, suggested that she would like Na snimanju Indian Rope Trick, Mahodari to sing a mantra in the song. As someone Takač, pevačica grupe Nitjananda, predložila said that Hindus necessarily buy everything je da otpeva mantru koja bi se uklopila containing the famous Hare Krishna… the u pesmu. Pošto je neko rekao da Indusi authors, hopeful because of the possibility to obavezno kupuju sve što u sebi sadrži win a multimillion-dollar market, eagerly čuveno Hare Krishna… autori su, ozareni mogućnošću da tako osvoje višemilionsko accepted the proposal. Nebe commented the tržište, predlog oberučke prihvatili. Nebe Mahodari’s proposal in his own way: ”Yes je Mahodarin predlog prokomentarisao na to mantra, no to ’chantra’ (“grumble” in svoj karakterističan način: “Bolje da nam Serbian)”. mantra nego da nam čantra.” After two months of exhausting and ex- Posle dva i po meseca iscrpljujućeg i citing work on recording and mixing, the ushićujućeg rada na snimanju­ i mikso­ authors finally had the material in their vanju, autori su konačno u rukama imali hands they could be satisfied with. Only materijal kojim su mogli da budu zado­ one “small thing” remained: to present it voljni. Preostala je samo jedna “sitnica”: all to the public. kako sve to predočiti javnosti.

SEARCHING FOR A PUBLISHER U POTRAZI ZA IZDAVAČEM Meanwhile, the whole project fell into the Ceo projekt zapao je u onu vrstu limba kind of limbo usually called ”postproduction koju na zapadu nazivaju “postprodukci­ hell“, with sporadic attempts to offer the jski pakao”, uz sporadične pokušaje da music to the public. Thanks to Dragan Ilić, se muzika i prateći sadržaji ponude who was the music editor at the compa- javnosti. Zahvaljujući Draganu Iliću, ny PGP RTS, they printed the album on koji je bio muzički urednik u PGP 23 RTS, u martu 1996. štampana je na vini­ vinyl in March 1996 (with print-run of less lu ploča The Rubber Soul Project (u tiražu than 200 copies, exclusively for radio sta- manjem od 200 primeraka, isključivo za tions), and cassettes in an unknown quan- radio stanice), i kaseta u nepoznatom tity. It is interesting that this PGP’s edition tiražu. Zanimljivo je da je ovo PGP-ovo was published as the first licensed edition izdanje objavljeno kao prvo licencno in Yugoslavia after the UN sanctions. muzičko izdanje u Jugoslaviji posle AD&Sons and the authors never received ukidanja sankcija UN. AD&Sons i autori any data from the PGP about the number of nikada nisu od PGP-a dobili nikakve copies sold, let alone the agreed percentage podatke o broju prodatih primeraka, a kamoli ugovoreni procenat od prodaje. of the sales. The project was offered to other Projekt je ponuđen drugim domaćim local publishers in order to make the RSP on izdavačima kako bi se RSP našao na compact disc, but none of them showed in- kompakt disku, ali nijedan od njih nije terest. Finally, after the three-year contract pokazao interesovanje.­ Konačno, pošto with the AD&Sons had expired in 1998 – je trogodišnji ugovor sa AD&Sons iste­ the authors agreed to print the CD as their kao 1998-me, autori su se dogovorili da private issue in the trial, limited print-run, CD štampaju kao svoje privatno izdanje which appeared in the shops in early 1999. u probnom, ograničenom tiražu, koji se All this goes to show that, despite the indis- početkom 1999. pojavio u prodaji. Sve putable public interest, the editors of local ovo ukazuje na činjenicu da, i pored ne­ and foreign music companies did not see sumnjivog interesovanja javnosti, ure­ much profits for them in this unusual pro- dnici u domaćim i stranim muzičkim ject. If it’s any consolation, the Beatles them- kućama ne vide u ovako neobičnim pro­ selves had been turned down many times jektima bogzna koliku zaradu. Ako je za before they ran into George Martin and EMI utehu, i Bitlsi su obijali pragove mnogih muzičkih kuća pre nego što su naleteli Parlophone Records. na Džordža Martina i Parlophone.

24 Od 4 nedelje, dve na prvom mestu top liste albuma TV Novosti, april 1996 / Two weeks on the first place (out of 4) in the album top list, TV Novosti, April 1996

Petar Janjatović: RSP, Billboard

Omot i nalepnica za vinil izdanje prve ploče, 1996. / Cover and label record, for the vynil edition of first 1996 25 magazine, 6. 4. 1996 Deo treći: MULTIMEDIJA by S . Marković and J O bradović Colliding Circles S. Markovića i J. Obradović Spot Colliding Circles Clip

Part three: MULTIMEDIA

26 SP je od samog početka privlačio rom the very beginning the RSP had pažnjuR beogradskih i inih umetnika Fattracted the attention of artists from Bel- koji su, na ovaj ili onaj način, želeli da grade and elsewhere, interested, in one way se uključe u njega. Goran Kovačić, koji or another, to get involved. Goran Kovačić, je u vreme nastajanja projekta radio na who had been employed in the TV Studio B televiziji Studija B, došao je na ideju at the time of the project’s realization, came da snimi pseudo-dokumentarni film o up with the idea to shoot a pseudo–documen- RSP-u, u stilu filma Let It Be. Pošto nije tary about the RSP – in the style of the Bea- imao jasnu ideju o scenariju, predložio tles film Let It Be. Since he did not have a je da Goran (Skrobonja), pošto se time clear idea about the script, he suggested that i tako bavi, napiše neku priču koja bi Goran (Skrobonja), as he was a writer any- mogla da posluži kao osnova za takav way, should write a story that could serve as film. Ovaj je počeo da piše, ali ono što the basis for such a movie. Goran began to se pojavilo kao gotova priča zahtevalo write, but what emerged as the finished story je spilbergovski budžet za eventualnu required a Spielberg budget for a potential ekranizaciju. No­vela Gumena duša (koja big screen adaptation. The novella “Rubber se, zajedno sa Rastkovim ilustracija­ Soul” (which was, together with illustra- ma i “alternativnim dokumentima” tions and Rastko’s ’alternative documents’ nalazila u pakovanju CD-a Rubber Soul included with the “Rubber Soul Project” Project) proglašena je 1994. za naj­ CD) won the award for the best SF story in bolju naučnofantastičnu novelu u SRJ. Yugoslavia in 1994 written as specific com- Napisana je kao kombinacija fikcije bination of fiction and facts (’faction’), hap- i fakata (‘faction’), sa projekcijom od pening some twenty years in the future. It is dvadesetak godina u budućnost. Za­ interesting that in the novella the so called nimljivo je da je u noveli ekstenzivno ’Celtic connection’ between the Balkans re- korišćena tzv. ‘keltska veza’ između gions and British history is used extensively, naših i britanskih krajeva i istorije, nekih some five years before it became fashionable pet godina pre nego što je to postalo in the mainstream literature. Several moderno u domaćoj književnosti directors had made video clips for the 27 glavnog toka. Nekoliko režisera snimi­ songs from the project, including Miša lo je spotove po pesmama iz projekta, Vukobratovic and Pavle Grujičić. In 1998, među njima Miša Vukobratović i Pavle on the 45th Documentary and Short Film Grujičić. Godine 1998, na 45. festivalu Festival held in Belgrade, two video spots dokumentarnog i kratkometražnog fil­ vere screened: “Colliding Circles”, directed ma održanom u Beogradu, pojavila su by Srđan Marković and Jelena Obradović, se dva spota: Colliding Circles, čiji su au­ and “Rubber Soul” by Aleksandar Dević. tori Srđan Marković i Jelena Obradović, The first one won the Gold Medal for best i Rubber Soul Aleksandra Devića. Prvi mini–movie, while the other one won the je osvojio Zlatnu plaketu za najbolji YU–ASIFA Diploma for the best first film, mini-film, dok je drugi osvojio Diplomu at the same festival. It is interesting that YU-ASIFA za najbolji debitantski film both videos were made with​​ the most mod- na istom festivalu. Zanimljivo je da su ern technology of computer animation at the oba spota, urađena tada najsavremeni­ time, and they were shown with great suc- jom tehnikom kompjuterske animacije, cess by the end of 1998 at the traditional fes- sa velikim uspehom prikazana krajem tival of comics and cartoon in Lucca (Italy), 1998. na tradicionalnom festivalu stripa just before the projection of the restored film i crtanog filma u Luki (Italija), nepo­ Yellow Submarine, on the occasion of the sredno pre projekcije osvežene Žute 30th anniversary of that animated film with podmornice, povodom 30-godišnjeg ju­ Beatles music. The Bitef Theatre was also bileja od pojavljivanja tog animiranog interested in the RSP, with the idea to set up filma sa muzikom Bitlsa. Za RSP je a musical, but after the change of the govern- jedno vreme bio zainteresovan i Bitef ment, this project was cancelled. There were Teatar, sa idejom da postavi mjuzikl, ali rumours, too, that Goran’s novella (in Eng- posle promene uprave, do realizacije te lish translation), had found its way to the zamisli nije došlo. Govorka se, takođe, hands of Steven Spielberg, who kept it. This da je Goranova novela (prevedena na half–information is here just in case of some engleski), tajanstvenim putevima Gos­ SF blockbuster release by Dreamworks in podnjim, dospela u ruke samom Stive­ the near future, about a lost Beatles song. nu Spilbergu, koji ju je zadržao. Ovu (”I dreamed about Spielberg” Goran poluinformaciju dajemo tek toliko 28 says, ”returning the novella manuscript Iz spotova / From the clips: “Rubber Soul”, “When I Come To Town”, “Four Nights in Moscow”

29 da se ne iznenadite ako se u dogled­ to me with the words: ‘Here, it is, duly noj budućnosti iz Dreamworks-a pojavi signed’. I was surprised, because I knew that neki SF blokbaster o izgubljenoj pesmi we did not make any contract. Then I real- Bitlsa. (“Sanjao sam Spilberga”, kaže ized that there were actually four on the first Goran, “kako mi vraća rukopis novele page there are actually personal signatures sa rečima: ”Evo, potpisano je”. Začudio of the four Beatles’ on the first page, and I re- sam se zbog toga, jer sam znao da nije member that I’d asked myself in this dream, u pitanju nikakav ugovor. Onda sam how did he get, for God’s sake, Lennon’s au- shvatio da se na prvoj stranici zapravo tograph. Then I woke up.”) nala­ze četiri potpisa Bitlsa lično, i sećam se da sam se u snu zapitao otkud mu, CREATING THE RSP 2 pobogu, Lenonov. Onda sam se probu­ dio). Following the same model as the original 15 the RSP 1 songs, in 1997 and 1998 Rastko STVARANJE RSP 2 and Goran wrote 13 more songs – each bear- ing one of the titles from the infamous list Po istom modelu kao i prvobitnih 15 in Russell’s book, and each having its im- RSP1 pesama, tokom 1997. i 1998. Ras­ aginary place in the oeuvre of the Beatles. tko i Goran napisali su još 13 pesama In some of the songs the end of the Sixties – svaka je nosila naziv neke od naslova was highlighted, the period of psychede- sa famoznog spiska iz Raselove knji­ lia and Lennon’s rebellion (“Pink Litmus ge, i svaka je imala svoje zamišljeno Paper Shirt”, “Zero is Just Another Even mesto u opusu Bitlsa. U par pesama Number”). Rastko had recorded home demo bio je naglašen kraj šezdesetih, period versions in the same way as before, on four- psihodelije i Lenonovog buntovništva channel porta studio cassette player, and (Pink Litmus Shirt, Zero Is Just Another the “only” thing left to do was to find the Even Number). Rastko je snimio kućne financing in order to record these songs in demo verzije na isti način kao i ranije, the same studio, with the same instruments na četvorokanalnom porta studio ka­ and the same participants. Meanwhile, setofonu, i potrebno je bilo “samo” what started as a game, has acquired en- 30 zatvoriti finan­sijsku konstrukciju­ kako tirely different connotations, and there were bi se i ove pesme­ snimile,­ u istom people who interpret the RSP in extremely studiju, istim instrumentima, sa istim unexpected ways – pointing out the concept, učesnicima. Ono što je započelo kao and the RSP was not considered to be a pop čista igra, u međuvremenu je poprimilo music product, but a conceptual branch of sasvim druge konotacije. Postoje ljudi the serious music. However, regardless of the koji tumače RSP na krajnje­ neočekivan interpretation, the most important thing for način – oni u prvi plan ističu koncept, pa the authors was that listeners of the similar RSP ne smatraju pop-muzičkim proiz­ sensibility, bent to the nostalgic spirit of the vodom, već konceptualnom granom Sixties, were pleased to listen to their songs. ozbiljne muzike. Međutim,­ bez obzira After completing these new songs, the au- na tumačenja, ono što je za autore thors were convinced that some Parlophone najvažnije jeste da slušaoci­ sličnog sen­ would, eventually, appear. zibiliteta, skloni nos­­talgičnom duhu šezdesetih, sa zadovolj­stvom slušaju nji­ hove pesme. Završivši ove nove pesme, autori su ostali u uverenju da će se neki Parlophone kad-tad pojaviti.

Iz štampe: tekst Branka Kockice u XZ Zabavi i Petra Janjatovića u Politikinom Zabavniku, 1996 / Press: texts by Branko Kockica in XZ Zabava and Petar Janjatović in Politikin 31 Zabavnik magazine, 1996 Deo četvrti: FILM, ITD. Dinko i Rastko na snimanju filma ispred Skupštine Dinko i Rastko na snimanju filma ispred of the Parliament Movie: Dinko and Rastko in front

Part four: THE MOVIE, ETC.

32 kao što to biva u svakoj dobroj priči nd as it happens in every good story – –I „neki PARLOPHONE“ se pojavio. Ali "someA Parlophone" did appear. But we had dotad je moralo da prođe još petnaestak to wait fifteen years for that... godina... In March 1999 Rastko and the band Fathers Rastko i Fathers & Sons, po ideji Pece & Sons, following the idea of Peca Popović, Popovića, marta 1999. organizuju seriju organized a series of concerts named “The RSP koncerata nazvanu Beogradska Belgrade Tour”, in various Belgrade venues. turneja,­ na lokacijama širom Beo­ Of seven concerts scheduled, only four were grada. Od sedam zakazanih koncerata performed – after the gig in the Yugoslav biva održano samo četiri – posle svirke održane u Kinoteci 23. marta, na radiju Film Archives on the 23rd of March, state je objavljeno vanredno stanje i početak of emergency was declared on the radio due NATO bombardovanja koje će trajati do to the beginning of NATO air-raids, which 10. juna. Ceo Beograd je bio oblepljen would last until June 10th. The RSP posters RSP plakatima, ali engleski jezik više were all over Belgrade, but English language nije bio omiljen. was not so popular any more. Krajem 1999. godine, posle višemeseč­ In late 1999, after several months of bombing nog bombardovanja i vremena zbrke and the period of confusion that came after koje je usledilo, autori projekta raz­ that, the authors discussed with movie direc- go­varaju sa režiserom Dinkom Tuca­ tor Dinko Tucaković and screenwriter Srđan kovićem i scenaristom Srđanom Ko­ Koljević the first version of the script for a lje­­vićem o prvoj verziji scenarija za documentary movie about the RSP. Rastko dokumentatni film o RSP-u. Rastko i and company performed several concerts družina nastupaju na još nekoliko kon­ more (at Belgrade Culture Center, Resume ce­rata (Kulturni centar Beograda, klub Club, Center Sava, Blue Moon Club, along Rezime, Sava Centar, klub Blue Moon, with the accompanying presentation of the uz prateće predstavljanje­ projekta RES­ ERVATION BLUES posvećenog životu RESERVATION BLUES project dedicated pod uzbunom zbog vazdušne opas­ to life under the aerial threat. In September nosti. Septembra 1999. bend sa ovom 1999 the band performed a concert with pesmom priređuje koncert u Rimu. 33 the eponymous song in Rome, Italy. Aprila 2000. Rastko u Pančevu održava In early 2000, in the town of Pancevo near poslednji koncert sa grupom Fathers & Belgrade, Rastko performed for the last time Sons, čiji frontmen, gitarista Boža ubrzo with Fathers & Sons, whose frontman, odlazi na operaciju. Sa ovog koncerta guitarist Boža soon had to go into surgery. ostaje zabeležen Božin gitarski solo u Boža’s guitar solo, recorded in this concert pesmi India, koja će se posle mnogo go­ for the song “India”, can be heard after dina naći na ploči RSP 2. many years, on the RSP2 record. Mediji su i dalje zainteresovani za RSP The media were still interested in the RSP, so tako da Rastko i Goran gostuju na Radio Rastko and Goran appeared on Radio Index. Index-u. Petog oktobra 2000. u Beogradu On the fifth of October 2000 the regime of se „događa narod“ i Milošević pada s Slobodan Milošević fell apart after the ral- vlasti posle protesta pred Skupštinom lies held in front of the Serbian Parliament. Srbije. Na povratku sa protesta Ras­ Returning from the protest Rastko and his tko i njegova kćerka Iva posećuju Božu daughter Iva visited Boža in the hospital. koji leži u bolnici. Njegovo stanje se ne poboljšava. Šesnaestog decembra, His condition was not improving. On the Božidar Škipić – Boža, sjajan muzičar i 16th of December, Božidar Škipić – Boža, a jedno vreme „motor“ RSP-a na nastu­ brilliant musician and for a period time the pima uživo, gubi bitku sa bolešću. RSP "engine" in live performances, lost his Posle promene režima, zemlju je za­ battle with the disease. pljusnuo talas optimizma i velikih oče­ After the fall of the old regime, the country kivanja. Diktatora je zbacila urbana, was hit by a wave of optimism and great ex- mlada populacija željna istinskih kul­ pectations. The dictator was overthrown by turnih i umetničkih sadržaja nasuprot the urban, young population eager for true institucionalizovanom primitivizmu cultural and artistic contents, opposed to koji je u prethodnoj deceniji ovladao institutionalized primitivism that had ruled medijima. Interesovanje za RSP ne the media over the past decade. The inter- jenja­va, pa se 2001. Rastko, Goran i est in the RSP was not waning, so in 2001 Nebe pojavljuju na više televizijskih i Rastko, Goran and Nebe appeared on several radio kanala, o RSP-u govore ugledni television and radio networks, prominent časopisi, a projekt je predstavljen i magazines wrote about the RSP, and the na Rastkovoj samostalnoj izložbi u 34 project was presented at Rastko’s solo Fathers&Sons: poslednji koncert Bože Škipića, aprila 2000. u Pančevu: solo u pesmi Indija / Fathers&Sons: the last Boža {Škipic‘s concert, April 2000 in Pančevo: solo in “India”

Rastko, F&S basista Dok, Nebe i Đorđe Petrović u Studiju FMU posle snimanja pesme Reservation Blues, 1999. / Rastko, F&S bassist Dok, Nebe and Đorđe Petrović at FMA Studio, after recording Reservation Blues, 1999

Plakat za Beogradsku turneju, koju je prekinulo bombardovanje 24. marta 1999. / Poster for the Belgrade Tour, stopped by the bombing on the 24th of March 1999

35 Iz filma The Rubber Soul Project Dinka Tucakovića (2004) / From the movie The Rubber Soul Project by Dinko Tucaković (2004)

36 Muzeju primenje­ne umetnosti, uz pro­ exhibition at the Museum of Applied Arts, jekciju spotova. Dvadeset osmog aprila with the screening of the video clips. On the se održava koncert Red Roses kada se twenty-eighth of April, a concert called Red promoviše i CD objavljen u čast premi­ Roses was held to promote the CD and hon- nulog Božidara­ Škipića. Na ovom disku our the late Božidar Škipić. On this disk, in u audiofilskom­ tiražu od oko 200 pri­ a collectors edition of 200 copies, the concert meraka objavljena je prvi put i koncert­ version of the RSP 2 the song “India” was na verzija RSP 2 pesme India. published for the first time. RSP – FILM THE RSP – THE MOVIE Godine 2002. Ministarstvo kulture odo­ In the year 2002, the Serbian Ministry of brava dodelu sredstava za snimanje Culture had approved allocation of funds for dugometražnog dokumentarnog filma shooting a feature documentary film about o projektu; predlog je pobedio na ot­ the project; this proposal won at the open vorenom konkursu kao prvi na listi. competition as the first on the list. The film- Snimanje počinje u tonskom studiju ing began in Košutnjak recording studio on u Košutnjaku 20. septembra, i nastav­ 20th of September, and continued with re- lja se snimanjem koncerta održanog 22. cording of the concert performed on the 22nd decembra u sali Muzeja jugoslovenske of December in the vestibule of the Yugoslav kinoteke, sa sedam kamera. U januaru 2003. Rastko počinje rad na animaci­ Film Archive Museum Theatre, with seven jama za film: do kraja februara završava cameras. In January 2003. Rastko started epizodu San sa Makartnijem (str. 57) i to work on the animations for the film: by polovinu uvodnog spota sa pesmom All the end of February he completed ”A Dream Together on the Wireless Machine. Snima­ with McCartney“ episode (p. 57) and half of nje filma se nastavlja 20. i 21. septembra the intro video with the song “All Together na više lokacija u Beogradu. U novem­ on the Wireless Machine”. The filming con- bru su završene sve animacije za film; tinued on the 20th and 21st of September at film se montira i sledi dorada zvuka. several locations in Belgrade. In November 12. avgusta 2004. film RSP prikazan je all animation for the film was complete; the na zatvorenoj projekciji na festivalu film was edited and the sound production u Vrnjačkoj Banji, izazvavši dobre 37 followed. On the 12th of August 2004 the kritike i reakcije. Na filmskom festivalu RSP movie was shown in a closed screening u Monpeljeu u Francuskoj 29. oktobra je at the festival in Vrnjačka Banja, causing pos- upriličena svetska premijera, uz prisust­ itive reviews and reactions. At the film festi- vo režisera Dinka Tucakovića, da bi film val in Montpellier, France, on October 29th, zatim bio predstavljen 23. novembra na the world premiere of the movie took place in beogradskom 11. festivalu autorskog the presence of its director Dinko Tucaković, filma „Pogled u svet“. and after that it was presented on the 23rd of Godina 2004. bila je ispunjena mnogim November at the 11th Belgrade Authors’ Film drugim aktivnostima u vezi s projek­ Festival "Looking Into the World." tom. U martu te godine animirani film The year 2004 was filled with many other ac- All Together on the Wireless Machine prika­ tivities associated with the project. In March, zan je u međunarodnoj konkurenciji na the animated film “All Together on the Wire- 51. festivalu kratkog filma u Beogradu, less Machine” was shown in competition at a 18. i 27. marta u Vesa studiju snimljena the 51st International Short Film Festival in je nova numera Zero (Is Just Another Even Belgrade, and on the 18th and 27th of March Number). Dana 17. aprila je u u velikom in Vesa Studio the new track “Zero (Is Just holu Sava centra, u okviru Guitar Art Another even Number)” was recorded. On the Festivala, održan koncert (svirali su Ras­ 17th of April, at the great hall of the Center tko Ćirić, Branimir Kosar, Maja Klisinski Sava, concert was performed at the Guitar Art i, kao gost, Dejan Cukić), gde su izve­ Festival (played by Rastko Ćirić, Branimir dene pesme Heather i I Should Like to Live Kosar, Maja Klisinski and, as a guest, Dejan up a Tree. Dana 8. maja Đorđe Petrović je Cukić), including “Heather” and “I Should završio miks pesme „Zero…“ da bi ubrzo Like to Live up a Tree”. On the 8th of May bio odštampan mali tiraž CD-a sa tom Đorđe Petrović made the final mix of the song dodatnom pesmom, namenjen promociji “Zero…”. Soon a small print run of CDs was na Kanskom filmskom festivalu. Sep­ made with the additional song, intended for the tembra 2004. u Rejkjaviku, na Islandu, u promotion at the Cannes film Festival. In Sep- okviru programa filmova Zapadnog Bal­ tember 2004 in Reykjavik, Iceland, within the kana prikazani su animirani spotovi All Western Balkans program, the animated clips Together on the Wireless Machine, Rub- ”All Together on the Wireless Machine”, ber Soul i Colliding Circles. “Rubber Soul” and “Colliding Circles” 38 were presented. TRST TRIESTE U teatru Miela u Trstu 12. Aprila 2005. On the 12th of April 2005 at Miela Theatre bila je održana projekcija filma RSP pos­ in Trieste, Italy, a screening of the RSP movie le koje su Rastko i Nebe “sišli sa platna” i was held, after which Rastko and Nebe “came održali koncert smenjujući se na klaviru out of the screen” and performed, switch- i gitari. U finalu cela beogradska ekipa ing between piano and guitar. In the grand na čelu sa Dinkom Tucakovićem popela finale the whole Belgrade crew led by Dinko se na binu i zapevala naslovnu pesmu Tucaković came to the stage and sang the All Together… Ceo Trst je ostao oblepljen song “All Together…”. The entire Trieste velikim plakatima Rubber Soul Projekta. was covered with huge Rubber Soul Project posters. PRAVAC: LIVERPUL ON TO LIVERPOOL Godine 2005, zahvaljujući tome što je Danko Ješić predstavio u Edin­bur­gu In 2005, thanks to Danko Ješić, the Serbian srpsku kinematografiju filmom The Rub- film "The Rubber Soul Project" was pre- ber Soul Project, jedan od organizato­ra, sented in Edinburgh; one of the organizers, Alan Foster, povezao je bend sa svo­ Alan Foster, contacted the band with his jim prijateljem iz Liverpula Fredom friend from Liverpool, Fred O’Brien. This O’Brajenom. Ovaj kontakt je za posle­ contact has resulted in an invitation from dicu imao poziv koji je grupa dobila O’Brien for the band to perform in Liverpool pozivno pismo od O’Brajena da nastupi within the anniversary dedicated to Lennon. u Liverpulu u okviru godišnjice vezane This trip was sponsored by TV Metropo- za Lenona. Ovo putovanje sponzorisali lis, the company Hipol Odžaci and dairy su TV Metropolis, kompanija Hipol iz company Muza, and the whole event was Odžaka i mlekara Muza, a ceo događaj covered by Dejan Cukić as a journalist and su propratili Dejan Cukić kao novinar i Marija Vukelić as camerawoman. On the Marija Vukelić kao snimateljka. Devetog ninth of December, 2005, Goran and Rastko decembra 2005, Goran i Rastko su otkrili unveiled a plaque on the wall of a building spomen-ploču na zidu zgrade u kojoj je erected on the site of the former hospital nekada bila bolnica u kojoj je Lenon where Lennon was born. In front of the rođen. Ispred ploče sa natpisom This 39 plate with the inscription “This is Not Fred O’Brajen, Rastko, Goran, Nebe, Cvele i Čeda u Liverpulu ispred otkrivene ploče This Is Not Here na zgradi u kojoj je Lenon rođen / Fred O’Brian, Rastko, Goran, Nebe, Cvele i Čeda in Liverpool in front of the “This Is Not Here” plate on the building where Lennon was born

83

Svirka u Kavern klubu, iz Rastkovog

78 dnevnika / The Cavern Club gig, from the 40 Rastko’s Diary, December 2005 is not Here, Rastko je odsvirao Lenonovu Here”, Rastko played Lennon’s song “Julia”, pesmu Julia, a zatim i novu RSP pesmu, and then the new the RSP song inspired nazvanu po napisu na ploči, a speci­ by the inscription from the plate and com- jalno komponovanu za ovu priliku. posed specially for this occasion. The same Iste večeri, u 22.00, bend je nastupio u evening, at 22:00, the band performed at legen­darnom klubu CAVERN, prvi put the legendary CAVERN Club, for the first u originalnoj postavi. Nastup su najavili time in the original lineup. The performance Fred O’Brien i Dejan Cukić. Odsvirano was announced by Fred O’Brien and Dejan je 11 pesama, od kojih 8 sa RSP albuma. Cukić. The band played 11 songs, 8 of which Specijalni gost bio je Dejan Cukić koji je from the RSP album. Dejan Cukić was a na bini Kavern kluba sam odsvirao pes­ special guest and he performed the song “In mu In My Life, a u izvođenju pesme This My Life” on the stage of the Cavern, and Is Not Here učestvovala je i Goranova Goran’s daughter Teodora, only 14 at the kćerka Teodora na alt-saksofonu, kojoj je time, played alto saxophone during the per- to bio prvi javni nastup. Posle ovog gos­ formance of the song “This Is Not Here” and tovanja u Liverpulu, u Srbiji je usledio it was her first public appearance. After the niz nastupa u medijima i na koncertima, Liverpool tour, a series of media appearances a u januaru 2006. godine na TV Metro­ and concerts followed in Serbia, and in Janu- polis premijerno je emitovana doku­ ary 2006 the TV Metropolis broadcasted De- mentarna emisija Dejana Cukića o liver­ jan Cukić’s documentary about the Rubber pulskoj ekspediciji Rubber Soul Project-a. Soul Project expedition to Liverpool. U septembru 2006. američka kompanija In September 2006, the American company Rise Media iz Mineapolisa koju je vodio Rise Media from Minneapolis, run by Ken Onstad, objavila je prvi tiraž CD-a Ken Onstad, published the first print run kao i DVD sa filmom Dinka Tucakovića, of CDs and a DVD with the film of Dinko sa distribucijom za ceo američki konti­ Tucaković, with USA distribution an- nent najavljenom za 2007. godinu. nounced for the year 2007. NOVI ZELAND NEW ZEALAND Preko Alistera Svejla, profesora sa Vai­ Rastko was invited in August 2010 by kato univerziteta, Rastko je bio poz­ Alistair Swale, Professor from the van da avgusta 2010. učestvuje na 41 Waikato University, to participate in Rastko, Cvele i Čeda u Vesa studiju na snimanju numere Zero, 2004. / Rastko, Cvele and Cheda at Vesa Studio, recording “Zero”, 2004

Omot za CD Belgrade 2020, 2011. / Cover for CD “Belgrade 2020”, 2011.

Teodora Skrobonja, Nebe, Cvele, Goran i Ras­ tko na snimanju pesme Belgrade 2020/ Teodora Skrobonja, Nebe, Cvele, Goran and Rastko Rastko svira e-dur u Belgrade 2020 / Ras- recording the song “Belgrade 2020” 42 tko playing E-mayor on “Belgrade 2020” medijskom festivalu Spark u Hamiltonu the Spark media festival in Hamilton, New na Novom Zelandu, gde je održao par Zealand, give a masterclass about his work predavanja o svom radu i predstavio and present The Rubber Soul Project. The The Rubber Soul Project. Prikazan je do­ documentary the RSP movie was projected, kumentarni RSP film, a publika je dugo and the audience asked a lot of questions about postavljala pitanja o projektu i okol­ the project and the circumstances in which it nostima pod kojima je nastao. was made. BELGRADE 2020 BELGRADE 2020 Aleksandar Peković, zadužen za kandi­ Aleksandar Peković, in charge of Belgrade’s daturu Beograda za evropsku prestonicu­ bid for European Capital of Culture in 2020 kulture 2020. i Petar Peca Popović pozvali and Petar Peca Popović invited Rastko to a su Rastka na sastanak. Želeli su da naruče meeting. They wanted to commission a song pesmu u stilu Bitlsa čiji bi naziv bio BEL­ in the style of The Beatles, with the title BEL- GRADE 2020. Ta bi pesma bila promovi­ GRADE 2020. The song was to be promoted sana oktobra 2012. u okviru zvanične in October 2012 as a part of the official Bel- manifestacije Beograd–Liver­ pul­ (koji je grade—Liverpool event (Liverpool being the bio evropska prestonica kulture 2008). Goran je napisao tekst ove pesme 27. European Capital of Culture in 2008). Goran wrote the lyrics of this song on April aprila 2011. a do kraja tog meseca snim­ th ljena je prva kućna demo verzija, da bi 11. 27 , 2011. By the end of the month the first maja bio gotov prvi demo miks. U petak, home demos were recorded, and on 11th of May 13. maja, na prijemu u vrtu kuće Pece the first demo mix was complete. On Friday, th Popovića, delegaciji­ iz Liverpula premi­ May 13 , at a reception in the garden of Peca jerno je emitovan ovaj snimak, na opšte Popović, a delegation from Liverpool heard the oduševljenje, prevashodno zbog toga što song for the first time, to general acclaim, pri- su gosti zaključili da Rastko peva s liver­ marily because the guests had found out that pulskim naglaskom. Usledilo je snimanje Rastko sang with the Liverpudlian accent. Soon u studiju Dobro Polje Dragana Petronića i the recording took place in the studio of Dragan odštampano­ audiofilsko izdanje diska sa Petronić Dobro Polje and the collector CD edi- pesmom Belgrade 2020 u 100 kopija, za tion edition with the song “Belgrade 2020” potrebe kampanje. 43 was printed in 100 copies, for the needs of the campaign for Belgrade’s candidacy. Rastko i Dinko u Trstu, 2005. / Rastko and Dinko in Trieste, Italy, 2005

Omot američkog izdanja prvog albuma, 2006. / USA edition cover for the first album, 2006

rieste concert, from Rastko’s Diary, 2005 Diary, Rastko’s rieste concert, from T Koncert u Trstu, iz Rastkovog dnevnika, 2005. / Koncert u Trstu, show about the R S P Liverpool trip, 2006 Dejan Cukić’s TV putovanju Liverpulu / Dejan Cukić’s 44 CD sa TV emisijom Dejana Cukića o RSP Deo teksta pesme This Is Not Here koji je Goran Omot srpskog i američkog izdanja filma / poslao Rastku kao SMS poruku / A part of the Serbian and USA cover for the movie, 2006 lyrics for “This Is Not Here” song, which Goran sent to Rastko as SMS message animated spot storyboard at Hamilton, N ew Zealand, 2010 All Together… All Together… Rastko’s page from A / Plakat sa predstavljanja RSP u Hamiltonu, RSP Plakat sa predstavljanja ogether… T P presentation Novi Zeland, 2010. / Poster for R S P presentation Stranica Rastkovog storiborda za animirani spot A ll Stranica Rastkovog storiborda 45 Deo peti: IGOR „PARLOPHONE“ KORDEJ I DRUGI RSP ALBUM gor Kordey, 2013 Design: I gor Kordey, Part five: IGOR "PARLOPHONE" KORDEY AND THE SECOND RSP ALBUM 46 reda, 14. januar 2012. datum je pre­ ednesday, 14th of January, 2012 is an- kretS ­nice u životu Rubber Soul Projecta: Wother milestone date in the life of the Rubber tog dana slavni autor stripova Igor Kor­ Soul Project: on that day the celebrated author dej iz Zagreba dolazi u Beograd kod of comics Igor Kordey came from Zagreb to Rastka i interesuje­ se da čuje RSP pesme. Belgrade interested to hear the RSP songs. Kada je čuo za postojanje neobjavljenog When he heard about the existence of the un- materijala koji je stajao u obliku demo published material in Rastko’s home, Kordey snimaka još od 1998, Kordej predlaže proposed to personally finance and produce da kao producent­ lično finansira snima­ the recording of the material for the RSP 2. nje tog materijala za RSP 2. U martu iste godine, Kordej se sastao sa ostalim In March of the same year, Kordey met with učesnicima i autorima projekta, a u ju­ other participants and the authors of the pro- nu Rastko je pozvao Damjana Dašića iz ject, and in June Rastko invited Damjan Dašić Bitls tribjut grupe Bestbeat sa predlogom from the Beatles tribute band The Bestbeat, da ova grupa učestvuje u snimanju­ tri offering him to participate in the recordings of rokenrol pesme za CD RSP2. Kada se three rock and roll songs for the CD RSP 2. javio na taj poziv, Damjan je Rastku re­ When he answered the call, Damjan told Ras- kao da upravo od jednog prijatelja ku­ tko that he had just visited a friend from whom puje violin-bas, isti kao onaj na kom je he was about to buy a violin–bass, the same svirao Makartni dok je bio u Bitlsima. as the one McCartney played while he was Ovom anegdotom istorija se ponovila, in the Beatles. With this anecdote the history što je grupa primila kao dobar znak. repeated itself, and the band interpeted it as a Iste večeri, Damjan je došao kod Rastka, good omen. The same evening, Damjan came uzeo note, tekstove i stare demo snim­ke to Rastko’s, home, took the sheet music, lyrics iz 1988, sni­mane na kasetofonu bez met­ and old demos from 1998, recorded on a cas- ronoma, zbog čega su bili neupotrebljivi kao podloga za studijski rad. Tokom av­ sette player without a metronome, which made gusta, u svom kućnom studiju, Damjan them useless as a basis for studio work. In Au- pušta oduševljenom Rastku obrađene gust, at his home studio, Damjan let excited demo snimke, koje je strpljivo us­ Rastko hear these same songs; Damjan peo da iseče takt po takt i postavi had managed to cut and paste patiently 47 na tajmlajn kompjuterskog programa. all the little segments and put them in the Uneo je i probno odsvirane bubnjeve timeline of a computer program. He also i udaraljke za gotovo sve pesme (osim recorded drums and percussions for almost pesama India, Sorrows i Winston’s Walk). all the songs (except for the songs “India”, Umesto samo tri pesme, Damjan je uz “Sorrows” and “Winston’s Walk”). Instead pomoć Marka Ćalića Ćakija, gitariste of only participating in three songs, Dam- Bestbeat-a uradio sve pesme na albumu, jan, with the help of Marko Ćalic Ćaki, the osim tri koje su već ranije bile završene bassist of the Bestbeat band, recorded all the (Zero, This Is Not Here i Belgrade 2020). songs for the album, except the three that U avgustu se nastavio grozničavi rad had been already made (“Zero”, “This Is Not na pesmama – od probnih linija kod Here” and “Belgrade 2020”). Damjana u kućnom studiju, kada je In August the feverish work on the songs snimljen klavir za Moonglow i eksperi­ continued – from the pilot lines at the mentalni zvuci klavira i hemonda za Damjan’s home studio, where the piano for Pink Litmus Paper Shirt, pa do Ćakijevih solo i bas gitarskih linija, za Moonglow, “Moonglow” was recorded and experimen- Everybody’s Rocking Tonight, The Years tal sounds of piano and Hammond for “Pink Roll Along, If You’ve Got Troubles i I Lost Litmus Paper Shirt” to Ćaki’s solo and bass My Little Girl. Potom je Damjan snimio guitar lines for “Moonglow”, “Everybody’s gitaru dvanaesticu za I Lost My Little Rocking Tonight”, “The Years Roll Along”, Girl. Šesnaestog avgusta snimljeni su “If You’ve Got Troubles” and “I Lost My kompletni Rastkovi vokali za Moon- Little Girl”. Then Damjan recorded twelve glow, Pink Litmus Paper Shirt i I Lost strings guitar for “I Lost My Little Girl”. MyLittle Girl. Ćaki je dodao električnu On the 16th of August the complete vo- i akustičnu ritam gitaru na If You’ve Got cals for “Moonglow”, “Pink Litmus Paper Troubles. Sutradan su postavljeni vokali Shirt”, and “I Lost My Little Girl” were za Everybody’s Rocking Tonight, Years Roll recorded. Ćaki added electric and acoustic Along i Hitch Hike, kao i klavir, bas i solo rhythm guitars on “If You’ve Got Troubles”. gitare… Do kraja avgusta 2012, dovršen The next day the vocals were placed for “Eve- je rad na postavljanju svih pesama. rybody’s Rocking Tonight”, “The Years Roll Za pesmu India iskorišćena je solo Along” and “Hitch Hike”, as well as pi- deoni­ca Bože Škipića sa koncerta 48 ano, bass and solo guitars… Until the Pera Džo svira usnu harmoniku za Old Hillbily Way / Pera Joe plays mouth harmonica for “Old Hillbily Way”

Damjan, Ćaki i Damjanov sin Mihajlo u Studiju Dečja soba, 2012 / Damjan, Ćaki and Damjan’s son Mihajlo in Children’s Room Studio, 2012

Rastko snima vokale u studiju Strip / Rastko’s vocals in the Strip Studio

Rastkov crtež Damjana tokom rada na RSP2 Nik Felps na klarinetu u Winston’s Walk / Rastko’s drawing of Damjan working / Nik Phelps on clarinet in “Winston’s on RSP2 49 Walk” održanog, neposredno pre njegove sm­ end of August 2012, the work on the instal- rti, 2000. u Pančevu, po ugledu na način lation of all the songs was completed. For the na koji je Lenonov vokal iskorišćen za song “India” the guitar solo by Boža Škipić, pesmu Free As a Bird. Takođe, Rastko je from Pančevo concert of 2000, similar to razgovarao sa starim prijateljem Božom the way in which Lennon’s vocals had been Milinkovićem koji se bavi papagaji­ma, used for the Beatles song “Free As a Bird”. sa idejom da frazu Let‘s take a trip to In- Also, Rastko spoke with an old friend Boža dia, koja se ponavlja na završetku pesme, Milinković who deals with parrots, about the izgovori pravi papagaj. Milinković je prih­ idea of real parrot speaking the phrase “Let ’s vatio izazov: za par nedelja, sa suprugom take a trip to India” over and over during the Bebom naučio je afričkog sivog papagaja fade-out of the song. Milinković accepted the iz Gabona po imenu Tutti da izgovori challenge: he taught the African grey parrot tu frazu, i njegovo ime je sada uvršteno from Gabon called Tutti to say the phrase, and u spisak izvođača. U septembru, Igor his name was included in the list of perform- „Parlophone“ Kordej uplaćuje prvi iznos neophodan za početak rada u profesional­ ers. In September Igor "Parlophone" Kordey nom studiju. Kod Nebeta se održava sas­ paid the first amount required for the work to tanak koji će u istoriju ući kao „Prvi savet begin in a professional studio. A meeting took staraca“. Nebe i Cvele preslušavaju nove place at Nebe’s, which will be remembered demo snimke i daju mišljenja i primedbe. as the "first council of the elders". Nebe and U novembru, posle prepiske sa Rastkom Cvele had listened to the new demos and gave u vezi sa solo deonicom za Moonglow their opinions and comments. koja je na demo snimku odsvirana na In November, after conversation with Ras- kazuu, Nik Felps, profesionalni muzičar tko concerning the solo parts for “Moonglow” i prijatelj iz Belgije, mejlom šalje snim­ played on kazoo in the demo recording, Nik ljen solo na tenor saksofonu. U decemb­ Phelps, a professional musician and friend from ru 2012, kod Damjana se doteruje pesma Belgium, sent the recorded solo on tenor-saxo- Hitch Hike dodavanjem glasova, klavira i phone. In December 2012, at Damjan’s home, kantri gitare, a Čeda Macura i ovog puta the song “Hitch Hike” was adjusted by adding snima „Ringov“ glas. vocals, piano and country guitars and Čeda Početkom januara 2013, Rastko se Macura captured "Ringo’s" voice this time konsultovao sa Timotijem Džonom 50 as well. Rastkov crtež Saše Loknera dok radi na duvačkim linijama za Winston’s Walk / Rastko’s drawing of Saša Lokner working on the wind instru- Damjan za bubnjevima / Damjan on drums ments lines for “Winston’s Walk”

Saša Lokner u svom studiju u Zemunu / Saša Lokner in his studio in Zemun Filip Savić svira rokabili kontrabas za Old Hillbily Way / Filip Savic plays roccabilly double-bass for “Old Hillbily Way” 51 Milan Prokop svira Hemond u studiju Strip / Milan Prokop i Lesli pojačalo u studiju Strip / Milan Prokop plays Hammond in Strip Studio Milan Prokop and Lesslie amp in Strip Studio

Saša Janković, Damjan, Ćaki i Rastko posle sn­ imanja / Saša Janković, Damjan, Ćaki and Rastko after recordings

Nenad Vještica Khan svira sitar za pesmu India / Nenad Vještica Khan plays sitar for 52 “India” Bajfordom kome je odneo snimljene ma­ In early January 2013, Rastko consulted terijale na „peglanje akcenta“, a u petak Timothy John Byford to whom he had shown 4. januara, Saša Lokner je u svom studiju the recorded material for the "accent cor- snimio virtuozni klavir solo za Every- rections" and on Friday, January 4th, Saša body’s Rocking Tonight. A onda, u poned­ Lokner recorded the virtuoso piano for “Eve- eljak 18. februara, iznenada umire Dinko rybody’s Rocking Tonight” in his studio. Tu­ca­ković, režiser dokumentarnog fil­ And then, on Monday the 18th of February, ma The Rubber Soul Project. Krajem feb­ Dinko Tucaković, the director of the docu- ruara i početkom marta, Sanja Ilić šalje mentary The Rubber Soul Project, suddenly dva odlična sola na tereminu (jedinom passed away. In late February and early instrumentu koji se svira bez dodiri­ March, Sanja Ilić sent two perfect solos on vanja) za Pink Litmus Paper Shirt, dok se theremin for “Pink Litmus Paper Shirt”, kod Loknera snimaju probne duvačke while test brass lines for “Winston’s Walk” linije za Winston’s Walk – klarineti, fagot were recorded in Lokner’s studio – clarinets, i tuba. U subotu, 23. marta Filip Savić, bassoon and tuba. On Saturday, 23rd of specijalista za rokabili (slap-bass) snima March, Filip Savić, a specialist for rockabilly kontrabas za pesme Old Hillbilly Way (slap-bass) recorded double-bass for the song i Winston’s Walk. Snima se u novom, “Old Hillbilly Way” and “Winston’s Walk”. odlično opremljenom studiju R88, a This was recorded in the new, well equipped snimatelj je mlada Ana-Marija Srejić. U studio R88, by young cinematographer Ana- ne­delju 31. marta Pera Džo snima usnu Maria Srejić. On Sunday 31th of March, harmoniku za Old Hillbilly Way u studiju Pera Joe recorded the mouth harmonica for R88. Rastko spaja snimke na Pro Tools “Old Hillbilly Way” in the studio R88. Ras- programu i pravi probni demo. U aprilu tko merged the new recordings on the Pro sledi snimanje dva step-igrača u Studi­ Tools application and made a test demo. In ju R88 za pesmu Winston’s Walk koje, April, two step-dancers were recorded in Stu- nažalost, na kraju ne ulazi u pesmu. dio R88 for the song “Winston’s Walk”, but Krajem aprila snimljeni su bubnje­vi za in the end, unfortunately, this recording was četiri pesme, sa 16 mikrofona, kad je not included into the song. snimanje moralo da bude prekinuto At the end of April drums for four tracks usled havarije u komandnom stolu were recorded with 16 microphones. studija, tako da je sledeći termin za 53 The recording had to be canceled due to sni­manje bio zakazan za tek nekoliko failure of the command desk, so the next re- nedelja. Inženjer zvuka, Saša Janković, cording was scheduled in a few weeks. The godinama je radio na projektima u Ab­ sound engineer, Saša Janković, had been in- bey Road studiju u Londonu i čak je volved in projects at the Abbey Road Studios učestvovao u snimanju druge ploče Rut- in London, and even participated in the re- tlesa tokom devedesetih. On i Damjan cording of the second record by the Rutles in su se savršeno razumeli oko snimanja i the Nineties. He and Damjan had a perfect postavke mikrofona. Za to vreme, Ras­ agreement about recording and microphone tko je radio na omotu za RSP 2. settings. Meanwhile, Rastko designed the Snimanje se nastavilo u beogradskom cover for the RSP 2. studiju Strip. Hammond C3 iz 1954. je The work continued in the Belgrade studio deo studija, muzičar je Milan Prokop Strip. Hammond C3 manufactured in 1954 zvani Miki, inženjer zvuka u studiju. was a part of the studio, the musician was Snima se Hammond za pesmu Pink Lit- Milan Prokop called Miki, the sound en- mus Paper Shirt, dok je Damjan za kon­ gineer in the studio. The Hammond was zolom za snimanje. Dušan Živanović recorded for the song “Pink Litmus Paper svira harmoniku za pesmu If You‘ve Shirt” while Damjan was on the recording Got Troubles, potom Milan nastavlja console. Dusan Živanović played harmonica da svira Hemond za Hitch Hike i Years for the song “If You’ve Got Troubles”, then Roll Along. Posle toga, kroz Lesslie po­ Milan continued to play Hammond for ja­čalo propušteni su probni vokali za “Hitch Hike” and “The Years Roll Along”. Pink Litmus Paper Shirt s izvanrednim After that, demo vocals for “Pink Litmus rezultatom – dobijen je zvuk koji je Paper Shirt” were put through the Lesslie bezuspešno tražen propuštanjem kroz amplifier with excellent results – a sound flendžer i druge digitalne efekte. Odu­ was obtained that had been previously un- ševljen zvukom, Rastko je to nazvao successfully searched for, using different „Hemond terapijom“. digital effects. Amazed by the sound, Rastko U maju je od dva različita Goranova tek­ called it "Hammond therapy”. sta za pesmu Anyway napravljen jedan, In May, two different Goran’s texts for the i nju je Rastko komponovao za jedno song “Anyway” were combined in ​​one, veče. Ova pesma je bila osmišljena and Rastko composed it in one night. This da bude poslednja na albumu i kon­ 54 Cvele dosnimava akustični bas za Too Bad About Sorrows i Always and Only / Cvele over-records Boža Milinković uči papagaja Tutija frazu za accoustic bass in “Too Bad About Sorrows” and pesmu India / Boža Milinković teaching parrot Tutti “Always and Only” to speak a phrase for the song “India”

Ćaki snima gitarske solo deonice / Ćaki Ćaki se odmara na terasi kod Damjana / records guitar solos 55 Ćaki resting at Damjan‘s home terrace Gudački trio na Always and Only / String trio in Miksovanje: Damjan Dašić i Saša Janković u “Always and Only” studiju Strip / Mixing: Damjan Dašić and Saša Janković at the studio Strip

Đorđe Petrović snima gudački trio na Fakultetu Petar Janjatović, Đorđe Petrović i Igor Kordej muzičke umetnosti / Đorđe Petrović records the Petar string trio at the Faculty of Music Arts u studiju Fakulteta muzičke umetnosti / Janjatović, Đorđe Petrović and Igor Kordey at the Faculty of Music Arts studio 56 certima, kao što je to pesma The End na song was made to be the last on the album and Abbey Road albumu Bitlsa. in concerts, just like “The End” on the Abbey Posle pauze od dva meseca, rad se Road Beatles album. nastavlja u nedelju, 21. jula. Presluša­ ­va­ After the break of two months, the work con- njem dotadašnjih snimaka, zaključeno je tinued on Sunday, July 21st. Listening to the da su steperi neupotrebljivi i da njihova recordings, it was concluded that the step- deonica mora da se snimi drugačije, dancers could not be used and that their parts u studiju, pomoću efekata. U studiju should be recorded differently in the studio, as „Strip“ je u subotu 3. avgusta završeno well as other sound effects. In the Strip studio snimanje vokala. Posle dodatnih inter­ on Saturday the 3rd of August the recording vencija, u ponedeljak­ 26. avgusta počinje of vocals was finished. After further interven- miksovanje u studiju Strip. Na muzičkoj tion on Monday the 26th of August the mixing akade­ mi­ ji­ Đorđe Petrović snima gudački in the Strip studio started. At the Academy of trio po svom aranžmanu, za pesme Too Music Đorđe Petrović recorded a string trio Bad About Sorrows i Always and Only. arrangement for the songs “Too Bad About Prva violina je Gordana Matijević Ne­ Sorrows” and “Always and Only”. The first deljković, druga Martina Miler, a vio­ violin was Gordana Matijević Nedeljković, lončelo svira Danijela Milutinović, obe iz the second one Martina Miler, and cello was ansambla Skovran. Finalni potez dodaje played by Danijela Milutinović, all members Igor predlogom da se u pesmi Zero, koja of Skovran ensemble. The final touch was giv- će da otvori album, doda “žestoki” sak­ en by Igor with his suggestion that a “rough” sofon, koji je strasno odsvirao Ukrajinac saxophone should be added to the song Maks Košetov. Igor je takođe dopisao “Zero…”, and it was passionately played by “skrivene” reči u pesmi Hitch Hike, da bi the Ukrainian musician Max Kochetov. Igor je učinio malo “sablasnijom”, jer mu se also wrote some additional lyrics in “Hitch učinila previše naivno romantična, iako Hike”, to make it more “spooky”, as it seemed je bila namenjena “Ringu”. to him too naively romantic, although it was U ponedeljak 5. avgusta list Slobod­na Dal- meant to be “Ringo’s number”. macija objavio je da je Francus­ka vlada On Monday, the 5th of August, the Croatian proglasila Igora Kordeja za viteza reda newspaper Slobodna Dalmacija announced umetnosti i književnosti. „Napićemo that the French government had knighted se kao prasci“, odgovorio je Igor 57 Igor Kordey with the medal of the Order of Rastko predaje demo CD Knight of Hearts na Igor i Rastko u Zagrebu: selfi posle dodele poklon Igoru / Rastko hands demo CD “Knight of ordena Viteza, 16. 10. 2013. / Igor i Rastko in Hearts” to Igor as a gift Zagreb: a selfie after receving the Knighthood medal, 16. 10. 2013

Igor, Jana i Goran: proslava završetka posla u restoranu Lovac u Beogradu/ Igor, Jana and Goran: celebrating the end of job at Lovac Omot za demo CD Knight of Hearts / Cover restaurant in Belgrade 58 for the demo CD Knight of Hearts mejlom na čestitke. Početkom oktobra, Arts and Letters. "We’ll get drunk like swine", Rastko predlaže Goranu da se napra­ Igor e-mailed. In early October, Rastko sug- vi pesma posvećena Igoru. Goran je gested to Goran that a song dedicated to Igor sutradan već napisao reči, a Rastko­ should be made. Goran wrote the lyrics the very počeo da komponuje. Tako nastaje jedna next day, and Rastko began to compose. Thus a pesma kao plod neobične umetničke in­ song was made as a result of an unusual artistic terakcije majstora različitih umetničkih interaction between masters of different artis- disciplina. Dana 16. oktobra, u Amba­ tic disciplines. On the 16th of October, at the sadi Francuske u Zagrebu, Igor Kordej French Embassy in Zagreb, Igor Kordey official- svečano prima orden Viteza umetnosti. ly received the medal of the Order of the Arts. In U restoranu posle ceremonije Rastko the restaurant after the ceremony, Rastko sang, peva, kao zdravicu, pesmu Knight of as a toast, the song “Knight of Hearts”. A disk Hearts. Disk sa kućnim demo snimkom with the home demo recording was given to the je predat laureatu kao poklon. Konačno, pred kraj 2013, završava se laureate as a gift. rad na drugom disku Rubber Soul Pro- Finally, at the end of 2013, the work on the jecta. Dve jedine pesme čiji naslovi nisu second Rubber Soul Project disc came to an bili inspirisani naslovima neobjavljenih end. The only two songs with titles that had snimaka Bitlsa, Belgrade 2020 i Knight of not been inspired by the titles of Beatles unre- Hearts, i koje su bile komponovane za leased tracks, “Belgrade 2020” and “Knight of specijalne povode, na album su stav­ Hearts”, composed for special occassions, were ljene na kraju, kao BONUS. put at the end of the album, as bonus tracks. Igorova ideja je bila da se dva CD-a sa Igor’s idea was that two CD-s, with 32 songs ukupno 32 pesme, dokumentarni film sa in total, the documentary movie with the ad- pratećim spotovima i tekstualni materi­ ditional videos and text materials: Goran’s jali: Goranova novela Gumena duša i ova novella “Rubber Soul” and this booklet about knjiga o Projektu stave u jednu kutiju, the Project, should be put into one packaging kao boks izdanje. Kompletan materijal as a box-edition. ovog neobičnog projekta sada je spre­ The complete material of this unusual project man za predstavljanje­ publici, posle is now ready for presentation to the audience, nesvakidašnjeg putovanja dugog after the unusual journey, lasting more čitavih dvadeset godina… than twenty years… 59 Dodatak: SNOVI I SANJARENJA… San sa Makartnijem / Dream with McCartney San sa Makartnijem / Dream Addendum: DREAMS AND REVERIES…

60 SNOVI I SANJARENJA DREAMS AND REVERIES

Rastko već godinama iz hobija izučava feno­ For many years, Rastko had studied the phe- men snova, i za vreme nastanka i realizacije nomenon of dreams as a hobby, and during RSP projekta, nekoliko njegovih snova uk- the creation and implementation of the RSP lopilo se na zanimljiv način u čitavu priču project, some of his dreams became parts of – G. S. the story in a very interesting way. – G. S.

PRVI SAN, april/maj 1993 (nakon kom­ DREAM #1, April/May 1993 (after making ponovanja pesme Rubber Soul) Sanjam the “Rubber Soul” song): I am dreaming of kuhinju u mom imaginarnom stanu. the kitchen in my imaginary apartment. Mc- Makartni sedi za kuhinjskim stolom, Cartney is sitting at the kitchen table, I am ja stojim. Znam da su naše porodice standing. I know that our families are in the u drugoj sobi. Padne mi na pamet da other room. It occurs to me to show him my mu pokažem note moje pesme Rubber sheet music of the song “Rubber Soul”. He Soul. On uzima note, sa zanimanjem looks at it with interest, and hums a melody. gleda u njih i pevuši melodiju. Vidim I see that he is actually looking through the da on zapravo gleda kroz note, i pošto sheet, and since the melody is different, I re- je melodija drugačija, shvatam da je to alize it might be the original “Rubber Soul” ona prava pesma Rubber Soul. Mnogo je song. It is much more beautiful than mine. lepša od moje. THE SEANCE, in 1994. SEANSA, 1994. In order to remember the tune, I submit- U želji da se setim te melodije, podvrgao ted myself to hypnosis. A cassette–recorder sam se hipnozi. Magnetofon je bio spre­ was ready to record the lost melody I hoped man da snimi izgubljenu melodiju za koju to remember in the hypnotic trance. Unfor- sam se nadao da ću se setiti u hipnotičkom tunately, the session failed. Probably due to transu. Nažalost, seansa nije uspela. Ve­ intense rational inhibitions, I was not a good rovatno zbog suviše jakih racionalnih medium. kočnica nisam bio dobar medij. 61 DRUGI SAN, 31. 1. 1995. Another dream, 31th January, 1995 Sanjam da je izašao novi broj Džuboks I am dreaming that a new issue of the magazina. Šezdesetih, kad je ovaj časo­ Džuboks magazine in on the newspaper pis izlazio, u svakom broju nalazila se stand. In the Sixties, when this magazine mala plastična poklon-ploča, često sa was being published, in every issue there muzikom Bitlsa. Ovog puta časopis je was a small plastic gift – a record, often bio drukčiji. Kad bi se okrenula određena with the music of The Beatles. This time the strana na kojoj je bila Lenonova sličica i record looked differently. When one would kratki tekstovi o Bitlsima, čula bi se tiha turn a particular page, with Lennon’s pic- pesma kao iz muzičkih razglednica ili ture and short texts about the Beatles, a čestitki. Stavim časopis blizu uveta i quiet song would be heard, similar to mu- čujem da pesma liči na Bitlse. Ubrzo sical postcards or greeting–cards. I put the shvatam da to peva Ringo i na osnovu magazine near my ear and hear a song that reči na kraju strofe zaključujem da je to resembles the Beatles. Soon I realize that the ‘izgubljena’ pesma Thinking of Linking. singer is Ringo, and on the basis of words at Lagana stvar, kantri aranžman, slajd gi­ the end of stanzas I conclude that it is “the tara. Tražim od moje drugarice Snežane lost” song “Thinking of Linking”. A slow da zove urednika lista Džuboks i da ga one, arranged in country style, with slide pita odakle mu snimak. Ona ga zove guitar. I ask my friend Snežana to call the tele­fonom ali ne uspeva da ga dobije. Za editor of the magazine and ask him where the to vreme ja ‘puštam’ melodiju drugima. recording was found. She calls him by phone Goran sedi na nekom krevetu i pažljivo but fails to get him. Meanwhile, I let the oth- sluša. Neka deca jurcaju okolo i ometaju er people hear the melody. Goran is sitting nas u slušanju. Razočaran je što je to ob­ on the bed and listening to it with attention. javljeno, pravi kiselo lice. Neko kaže da Some children are scampering around dis- postoji još puno takvih pesama. U jed­ turbing our listening. Disappointed with the nom trenutku gubim tu stranu, ne mogu fact that it was already published, he makes a da je nađem. Šalim se kako sam to čuo ‘u real sour face. Someone says that there’s still zoni sumraka’ i da ta pesma ne postoji, a lot of songs like this one. At one point I ali uspevam ponovo da je nađem. lose the page, and cannot find it. Making Puštam ponovo pesmu bratu i još 62 a joke that I have heard it “in the Twi- light Zone” and that the song doesn’t exist, I manage to find it again. I play the song again to my brother and some other people. After getting up, as I am allowed to hear the song a couple of times, I am able to write down the note sheet. The melody looks too simple to me and I am convinced that I’ve nekima. Posle ustajanja, pošto mi je san heard it before and subconsciously remem- dozvolio da nekoliko puta čujem melo– bered it. Later, I play it to Nebe and others diju, uspevam da je zapišem. Melodija­ and all of them say that they’ve never heard mi izgleda previše jednostavna i ubeđen it before. (Even later, awake, I find in a book sam da sam je negde čuo i podsvesno that McCartney also had dreams about the zapamtio. Kasnije je sviram Nebetu i song “Yesterday” and that he also thought drugima i svi kažu da tu melodiju nisu upon waking it was written by somebody nikada čuli. (Na javi, u jednoj knjizi else). Goran replaced the final lines in the kasnije nalazim da je Makartni takođe lyrics that read “I’m thinking of linking sanjao pesmu Yesterday i da je nakon with you” with “If you dare to hitch-hike buđenja takođe mislio da nije njegova). with me” and so the song “Hitch Hike” was Goran menja završne reči pesme koje created (from the RSP 2). glase I’m thinking of linking with you sa If you dare to hitch-hike with me i tako nasta­ Pero papagaja Tutija, je pesma Hitch Hike (sa RSP 2) učesnika u pesmi India / Feather of Tutti the Parrot, the participant in the song “India”

63 THE RUBBER SOUL PROJECT THE RUBBER SOUL PROJECT Izjava svedoka A Witness Statement Moj prvi susret sa Rubber Soul Projectom My first encounter with the Rubber Soul se dogodio kada je televizija Politika ‘95. Project occurred in 1995 when TV Politika godine emitovala razgovor sa autorima had broadcasted an interview with the au- i spot za ,,izgubljenu” pesmu po kojoj je thors of the video for the “lost” eponymous projekat dobio ime. Kao što se veoma song. As I very vividly remember the mo- živo sećam trenutka kada sam, kao đak ment when I had, as a schoolboy who has prvak koji je tek naučio da rukuje gra­ just learned how to handle the record player, mofonom, na gramofon spustio album Beatlesa, koji se gle čuda, zvao baš Rub- listened to the Beatles album titled, amaz- ber Soul i posle čijeg preslušavanja u ingly, Rubber Soul, and after listening to mom životu mnoge stvari više nisu bile it, many things were no longer the same in iste. Isto tako dobro sam zapamtio i prvi my life, I remembered also the first encoun- susret sa pesmom snimljenom na temu ter with the song recorded and based on what onoga što nisu stigla da nam odsviraju the four guys from Liverpool didn’t record. četiri momka iz Liverpula. Uskoro sam Thanks to my former girlfriend and now my zahvaljujući mojoj tadašnjoj devojci, a darling wife, I soon became the happy owner sadašnjoj supruzi, postao srećni vlasnik of The Rubber Soul Project CD, a copy prvog Rubber Soul Project CD-a, audiofil­ with hand written number 059. If it was a skog primerka na kome je flomasterom record, I'm sure I would have long known stajao upisan broj 059. Da je u pitanju every single scratch on it. Simply, the first bila gramofonska ploča, siguran sam da RSP album did not come out of the player, bih već odavno znao i gde krcka. Jed­ nostavno, prvi RSP album nije izlazio and as a hardcore Beatles fan, I could not iz plejera, a pošto kao tvrdokorni Bea­ find a single flaw, it has become one of my tles fan nisam mogao da mu nađem ni favourites. As The Rubber Soul Project jednu manu, postao je jedan od mojih could not be heard very often in a concert, omiljenih. Kako Rubber Soul Project I have enjoyed every opportunity when nije mogao da se čuje baš često u 64 I could hear Rastko singing the Beatles koncertnom izdanju, uživao sam u sva­ or the occasional Rubber Soul Project live koj prilici kada bih mogao da čujem Ras­ performance. At one of the concerts, which tka kako peva Beatlese ili poneku Rubber took place in the hall of the Culture Center Soul Project stvar uživo. Na jednom od in Kolarčeva street, during the break in the koncerata, koji se dogodio u dvorani show, Rastko and I met. Of course, he signed Kulturnog centra u Kolarčevoj ulici, u my copy of the disc. The date was 15th De- pauzi nastupa, Rastko i ja smo se upo­ cember 1999, and the name of the band he znali. Naravno, nakon što je potpisao was playing with was Fathers and Sons. moj primerak diska. Datum je bio 15. decembar 1999. a bend sa kojim je svirao zvao se Fathers and Sons. A few years later, with some friends, I started the Beatles tribute band – The Best­ Nekoliko godina kasnije, sa nekoliko beat, with whom I have played more and prijatelja, osnovao sam Beatles tribute more intensively. Cvele, the producer of the band – The Bestbeat, sa kojim sam sve first RSP record, was a frequent visitor to intezivnije nastupao. Cvele, producent our show, he gave us generous support and prve RSP ploče, bio je čest posetilac honest criticism, which he still does, and to naših nastupa, davao nam je nesebičnu my great joy Rastko repeatedly agreed to be podršku i iskrene kritike, što i dalje čini, a guest at our concerts and those gigs have a na moju veliku sreću Rastko se više always been phenomenal. After our rock performance of the Beatles, Rastko would remind the audience of their acoustic opus, songs like “Julia”, “Across the Universe” and “I Will”. The Belgrade Beatles family had great fun and used to hang out together. In this mood, the years after 2000 flew away, The Bestbeat u Kavern klubu, avgusta 2014, and then… jedan od 14 koncerata u Liverpulu u okviru tradicionalne Nedelje Bitlsa. I longed to buy a Höfner violin bass, but not The Bestbeat at the Cavern Club, in August 2014, the new Chinese replica which I owned one of 14 concerts in Liverpool within the for a long time. I wanted the one that traditional The Beatles Week. 65 puta odazivao da bude gost na našim was made fifty years ago, when McCartney koncertima i to je uvek bio fenomenalan bought his guitar, the one bass guitar, which spoj. Posle našeg rokerskog izvođenja is so rare in our country, like Halley's com- Beatlesa, Rastko bi publiku podsetio na et. It seemed like mission impossible. At the njihov akustični opus, pesmama poput time I was with a famous Belgrade jazz bass- Julia, Across the Universe ili I Will. Beo­ ist, Davor Draganić, testing a guitar that gradska Beatles familija se odlično za­ would later become mine, the phone rang, bavljala i družila. U ovakvoj atmosferi and there on the line was Rastko: su nam proletele dvehiljadite, a onda… “Hi, what's up?”, Rastko asked. Zaželeo sam da kupim Höfner violin “Here, I’m doing something downtown… bass, ali ne novu kinesku repliku, takav What's up with you, how are you? bas sam odavno imao. Želeo sam onaj “I'm always well” Rastko replied quickly koji je pravljen pre pedesetak godina, and said: kada je i McCartney kupio svoju gita­ “I wanted to ask you if The Bestbeat would ru, onu bas gitaru koja je u našoj zemlji like to play a few songs for the new Rubber retka k’o Halejeva kometa. Naizgled, Soul Project? We should schedule a some nemoguća misija. U trenutku dok sam studio time…" kod poznatog beogradskog džez basiste, “Of course, Rastko"I replied with undis- Davora Draganića, isprobavao gitaru guised delight, and then added, as if I have koja će se kasnije naći u mom vlasništvu, just wandered into a random shop: zazvonio je telefon, a sa druge strane je “Here, I’m just buing the Höfner from '66". bio Rastko: ,,Zdravo, š’a ima?” šaleći se pita Rastko. ,,Evo, tu sam nešto u gradu… Šta ima As soon as I finished with the shopping, I kod tebe, kako si? rushed to Rastko to brag with my new gui- ,,Ja sam uvek dobro’’ kao iz topa odgo­ tar. I took the demos and it officially opened vara Rastko i kaže: the recording of another RSP album. In this ,,Hteo sam da te pitam da li bi Bestbeat event, in a way, the history repeated itself, mogao da odsvira par pesama za novi because the recording of the first album had Rubber Soul Project? Trebalo bi da se also started with the search for the violin zakaže studio…” bass. ,,Naravno, Rastko!” odgovaram 66 ja sa neskrivenim oduševljenjem, a potom dodajem, kao da sam svratio do samoposluge: ,,Evo, upravo kupujem Höfnera iz ’66.”

Čim sam završio sa kupovinom, od­ leteo sam do Rastka da se pohvalim mojom novom gitarom. Preuzeo sam demo snimke i tako je zvanično počeo da se snima drugi RSP album. Ovim događajem se, na neki način, ponovila istorija, jer je potragom za violin basom počelo snimanje i prve ploče. Mogu da kažem da mi se učešćem na ovom projektu, ispunila velika želja, I can say that I have, with participation in koja se rodila mnogo godina ranije. this project, fullfilled my great desire, which Uživali smo svakog trenutka, snimajući was born many years ago. We enjoyed every novi album i izuzetna mi je čast i za­ moment during the recording of the new al- dovoljstvo što sam deo jedne ovakve bum, and it is my honour and pleasure to be družine. Nadam se da će nam obaveze included in such a company. I hope that our i životne okolnosti dozvoliti da uskoro everyday obligations and life circumstances snimimo i nešto novo, jer mi se svaki will soon allow us to record something new, put, kada sa nekim pričam o Rubber as every time when I talk to someone about Soul Projectu, na licu javi osmeh, koji je the Rubber Soul Project, smile appears on tu zahvaljujući prijateljskom odnosu, my face, due to friendly relations, support podršci i poštovanju koje smo svi ima­ and respect that we all had for each other dur- li jedni za druge tokom snimanja ove ing the recording of this material, in the same ploče, baš onako kako su to nekada way as the “Beetles” did it in their best days. radile ,,Bube”, u najboljim danima. Rubber Souls Forever! Rubber Souls Forever!

Damjan Dašić, septembra 2014. 67 Damjan Dašić, September 2014 BLURBOVI BLURBS AND I KOMENTARI COMMENTS RSP 1 snimci su tokom godina dospeli The RSP 1 material was heard over the years do mnogih manje-više poznatih ličnosti, by many more or less famous people, and i njihovi komentari bili su vrlo zgodni za their comments have been very convenient eventualne blurbove na zvaničnom RSP for blurbs on the official release of the RSP. izdanju. Evo najzanimljivijih: These are some of them: “Vrlo zanimljivo! Trebalo bi obratiti “Very interesting! One should pay attention pažnju na to područje”. (McCartney, na­ to that area”. (McCartney, allegedly, 1997) vodno, 1997) “Very well constructed songs“. (Richard “Very well constructed songs”. (Richard Huntingford – Chrysalis Records, 1996) Huntingford – Chrysalis Records, 1996) “Kad smo ovo snimili”. (navodno Har­ “When did we record this?” (Harrison, al- rison na nekoj žurci, 1996) legedly, on a party, 1996) “Beatles, but what?” (Cosmo, ex-T. Rex, “Beatles, but what?” (Cosmo, ex–T Rex, 1994) 1994) “This is a very impudent project” (Rastko) “Ovo je vrlo bezobrazan projekt”. (Rastko) “It’s really great. Especially the two songs, ”It’s really great. Especially the two “Rubber Soul” and “Thinking of Linking”. songs, “Rubber Soul” and “Thinking of (Niels Witte, Germany, 1996) Linking”. (Niels Witte, Germany, 1996) “Wow, fake Beatles! Sounds great!” (Emir “Jo’, lažni Bitlsi! Odlićno zvući”. (Emir Kusturica, 1995) Kusturica, 1995) “Masterpiece!” (Aleksandar Lokner) “Remek-delo!” (Aleksandar Lokner) “Unbelievable groove!“ (Čeda Macura) “Neviđena pržačina!” (Čeda Macura) “The Beatles are better” (Dragana Skrobon- “Oni su bolji.” (Dragana Skrobonja, pri­ ja, after listening to the BBC Live Beatles likom preslušavanja BBC Live albuma Beatlesa) Album) “Ja ipak više volim Stounse”. (Anoni­ “I still prefer the Stones” (anonymous listen- mni slušalac koji je promašio temu) er who had missed the point completely) 68 Deo šesti: REČI I PODACI Original design from 1995, by Rastko Ćirić Original design from 2013, by Rastko Ćirić Design for demo CD from

Part five: LYRICS AND INFO

69 ALL TOGETHER ON THE LITTLE EDDIE I should like to live up a tree WIRELESS MACHINE But I won’t like you there with me One day, Little Eddie We are left, we are right bought a guitar You and me We are black, we are white He got a gig there in a public bar We think we’re free We are higher anyone But he couldn’t really get very far While others run has ever been And he fell down just like Oh so stubbornly All together on the wireless a shooting star But they all just refuse to see that machine Martha Davies Riding the branches so fearlessly We are fast, we are slow thought she knew how to sing Watching the leaves rusting We are real, don’t you know She knew she she’d do well ­endlessly We see further anyone she consulted I Ching Scrapbook of mem’ries has ever seen She dreamt about the fame there on my knees All together on the wireless and the big diamond ring I should like to live up a tree machine, All together, oh yeah And got surprised All together, oh yeah by what her life had to bring SHIRLEY’S WILD ACCORDION We are off, we are on Lucky people We are here if you want do you know where they are? I saw her standing You can join us now Lucky people if you know what I mean on the corner of a street I can’t see them around In the hot summer sun We are up, we are down Lucky people with no one there to meet We are red, we are brown in their brand new cars She nodded, smiled We are five, six, seven, Lucky people and played me a song eight, nineteen do you see them around? Of love, hate and passion All together on the wireless I listened to her machine Rev’rend Johnson then took her along has closed for the night Than he dropped in And even today when I listen HOME just to grab him a bite To the wind of winter And in the bottle, finally all alone Baby, let me take you home tonight he saw the light I think I hear You don’t wanna be alone tonight He tried to pray I think I still hear You know I will treat you right but he couldn’t Still I think I hear If you let me take you home just quite. Shirley’s wild accordion tonight Well, she stayed with me Baby let me take you home tonight I SHOULD LIKE TO LIVE UP A TREE only for a night or two Let me love you let me hold you Then left with no goodbye tight You and me, we’re drinking tea You know I will treat you right I swear this is true Beneath the clouds floating silently I ran around If you let me take you home And all I know, and all I can see tonight and I tried to bring her back is that But accordion music always I should like to live up a tree took me on Home is where you belong No better place for me to be Home where we’re never wrong the wrong track Home, you know my love’s still strong Home, home, home, home, home 70 COLLIDING CIRCLES Heather, Now what I have is BOUND BY LOVE just her letter I have seen you standing there I’ve made a mistake when I let her She’s lost, she’s found Golden light danced in your hair Take my heart away She’s so profound Beneath the sun She gives, she takes Then your eyes have captured mine I was looking for a girl She laughs, she brakes Girl out of space and out of time who’d fit into my world She runs, she hides That’s all you’ve done Now I don’t know what to do She takes no sides Do you, do you? She got no style Colliding circles, colliding circles But I like her smile Colliding circles all around me Heather, now it really doesn’t matter all night long Please, tell me how to forget her Oh, mister, Night and day, night and day Have you seen my baby Colliding circles, colliding circles She’s bound by love Colliding circles like the stars And I don’t mean maybe that shine so strong I’m still looking for a girl who’d fit into my world She’s bound by love Now I don’t know what to do Bound by love, oh yeah Our hearts are moving Have you seen my baby in colliding circles Do you, do you? Our lips are touching Heather, m-m, Heather, ooh She’s strong, she’s weak in an endless kiss She’s smooth, she’s slick Our love is burning The way she walks in colliding circles The way she talks There’ll never be WHEN I COME TO TOWN another love like this I left some years ago with an itch in my feet INDIAN ROPE TRICK WHAT’S THE NEW MARY JANE But I’m coming back to my old Mersey street When was the first time They tried to break my wings you tried to climb What’s the new Mary Jane? Above the clouds Doesn’t she feel the shame? tried to push me and shove But they couldn’t really do it, girl where the sun always shines Did she not forget my name? Did you feel happy What’s the new Mary Jane? because of your love Now, no one’s gonna touch me when the Lord made you quick Yeah, they won’t bring me down Teaching you how to do Many years went rolling by the Indian rope trick I forgot to laugh and cry There’s gonna be some action Still I really don’t know why When I come to town Many years went rolling by Souring up high We’re gonna have a party with strange word in your head What’s the new Mary Jane? we’re gonna have a ball Making you sorry Did she ever feel the pain? Call up all my neighbors, yeah, and wish you were dead Or the tears that fell like rain? invite them all Did you remember What’s the new Mary Jane? We’ll play some good old last month or last week lovesongs, To practise the Lord’s HEATHER we will sing, dance and cheer Indian rope trick. It’s time to tell the whole town that Heather, I really should have I’m finally here Climbing alone known better to the height of the heights Right from the moment I met her You might feel dizzy It’s easy now for you to say or feel a bit sick 71 But you must remember there is a safe way down You wonder what’s the fuss Watching rainbows If you don’t mess up doing What you’re gonna do all day long… the Indian rope trick. And when she will be coming back. Watching rainbows You think you’ve cross the line Girl you’ll always be my love FOUR NIGHTS IN MOSCOW And you’re feeling kind of blue No one else could be like you While the rain is painting And when the sun comes up You know, my baby well she whole world gray my love likes it a lot, To run away, You are waiting for the sign I’ll tell you what we’re gonna do leave me angry and hot You are waiting for the clue There’s always other places You are looking for the things to We’ll be waiting for the time she’s gotta see say. to come Whole lotta scenes she visits And we’ll know we wont be sorry ’lone without me Just when you think Watching rainbows all day long… there’s nothing left to do Watching rainbows But I’m still trying Nowhere left to go I won’t give up the fight Try thinking of linking Someday I’ll find her with somebody new RUBBER SOUL well you know that I might Somebody who will know I got a ticket, Remember the times I just bought it today Now you’re feeling like a clown When you were so small And when I catch her And you think it’s all in vain Your feelings she will ask me to stay And that no one ever can be right kept bouncing like Just because she let you down The ball on the wall Four nights in Moscow And you’re crying now in pain You didn’t know nothing or three days in Rome Remember, don’t give up the fight. Now you know it all Weekend in Baghdad But all you are left with is this well she wasn’t alone ’Cause when you think Rubber soul. Four nights in Moscow there’s nothing left to do I was losing my mind Nowhere left to go You dig Mother Mary Because she told me Try thinking of linking You dig Father Paul ’bout her tickets to ride with somebody new Sometimes you think that you Somebody who will know Can dig rock & roll I’m tired of planes But listen, my friend trains are making me sick Don’t whine, cry and call I think I know where WATCHING RAINBOWS You’ll never own nothing but this she’ll be going next week Rubber soul. I’ll call my agent There are places tell him book me the flight where I’d like to be Standing on the highest top I’ll found my honey After all is said and done You have to chose I’ll be holding her tight. There are people the flight or fall that I’d like to see If you ever wanna stop After all my songs are sung The hands that squeeze your THINKING OF LINKING I’m waiting for the time to come rubber soul. And I know I wont be sorry Waiting for the bus Standing in the queue Cold drizzle running down your neck. 72 1. ALL TOGETHER ON THE 4. I SHOULD LIKE TO LIVE Nebojša Ignjatović – 12-Strings, WIRELESS MACHINE UP A TREE Lead and Rhythm Guitar (2:31) (Ćirić – Skrobonja) (3:46) (Ćirić – Skrobonja) Čedomir Macura – “Ludwig” Rastko Ćirić – Lead and Rastko Ćirić – Lead and Drums Harmony Vocals, Piano, Backing Vocals Whistling, Laughter Miroslav Cvetković – “Höfner” 7. WHAT’S THE NEW MARY Miroslav Cvetković – “Höfner” Violin-Bass JANE Violin-Bass Nebojša Ignjatović – Rhythm (2:28) (Ćirić – Skrobonja) Nebojša Ignjatović – Cabassa, Guitar, Acoustic Guitar Rastko Ćirić – Lead and Synthesiser, Laughter Čedomir Macura – “Ludwig” Backing Vocals Čedomir Macura – “Ludwig” Drums Miroslav Cvetković – “Höfner” Drums, Percussion Zoran Božinović – Lead Guitar Violin-Bass, Maracas, Slide Dragan Petrović Čupa – Đorđe Petrović – Keyboards and Rhythm Electric Guitar Clarinet Nebojša Ignjatović – Rhythm Goran Skrobonja – Reading 5. SHIRLEY’S WILD Acoustic Guitar ACCORDION Čedomir Macura – “Ludwig” 2. HOME (2:45) (Ćirić – Skrobonja) Drums (2:23) (Ćirić– Skrobonja) Rastko Ćirić – Lead and Aleksandar Lokner – Piano Rastko Ćirić – Lead, Harmony Backing Vocals, Piano, ĐorđePetrović – Keyboards and Backing Vocals Maracas, Knees Miroslav Cvetković – “Höfner” Miroslav Cvetković – “Höfner” 8. HEATHER Violin-Bass, Tambourine Violin-Bass (2:10) (Ćirić – Skrobonja) Nebojša Ignjatović – Rhythm Nebojša Ignjatović – Harmony Rastko Ćirić – Acoustic Guitar, Guitar, Lead Guitar Vocal, Synthesiser Lead and Harmony Vocals Čedomir Macura – “Ludwig” Čedomir Macura – “Ludwig” Gordana Matijević Nedeljković Drums Drums – Violin Đorđe Petrović – Keyboards Biljana Kitanović – Violin 3. LITTLE EDDIE Rastko Roknić – Viola (2:40) (Ćirić – Skrobonja) 6. COLLIDING CIRCLES Dejan Mitrović – Cello Rastko Ćirić – Lead and (3:05) (Ćirić – Skrobonja) Čedomir Macura – Triangle Harmony Vocals, Piano Rastko Ćirić – Lead, Harmony Miroslav Cvetković – “Höfner” and Backing Vocals, Piano, 9. WHEN I COME TO TOWN Violin-Bass Acoustic Guitar, Xylophone (2:45) (Ćirić – Skrobonja) Čedomir Macura – “Ludwig” Miroslav Cvetković – “Höfner” Čedomir Macura – Lead Vocal, Drums Violin-Bass “Ludwig” Drums ĐorđePetrović – Keyboards Rastko Ćirić – Harmony Vocal, Nenad Petrović – Saxophone Backing Vocals, Acoustic Predrag Necić – Trumpet 73 Guitar, Kazzoos, Jingle Bells, Opera Voice 12. FOUR NIGHTS IN 15. RUBBER SOUL Miroslav Cvetković – “Höfner” MOSCOW (3:12) (Ćirić – Skrobonja) Violin-Bass, Harmony (2:20) (Ćirić – Skrobonja) Rastko Ćirić – Lead, Harmony Vocal, Tambourine Rastko Ćirić – Acoustic Guitar, and Backing Vocals, Piano, Nebojša Ignjatović – Rhythm Lead and Harmony Vocals Tambourine, Maracas Guitar, Harmony Vocal Miroslav Cvetković – “Höfner” Miroslav Cvetković – “Höfner” Boban Novaković – Piano Violin-Bass Violin-Bass, Electric Guitar Goran Skrobonja – Kicking the Nebojša Ignjatović – Lead Nebojša Ignjatović – Rhythm Piano Guitar, Rhythm Guitar, Guitar, Synthesiser, Piano, Tambourine 12-Strings Acoustic Guitar, 10. BOUND BY LOVE Čedomir Macura – “Ludwig” Lead Guitar (3:05) (Ćirić – Skrobonja) Drums Kumari Pradhan – Sitar Rastko Ćirić – Lead, Harmony Čedomir Macura – “Ludwig” and Backing Vocals 13. THINKING OF LINKING Drums Miroslav Cvetković – “Höfner” (2:30) (Ćirić – Skrobonja) Gordana Matijević Nedeljković Violin-Bass Rastko Ćirić – Lead and – Violin Nebojša Ignjatović – Rhythm Harmony Vocals, Piano Biljana Kitanović – Violin Guitar, Lead Guitar Miroslav Cvetković – “Höfner” Rastko Roknić – Viola Čedomir Macura – “Ludwig” Violin-Bass Dejan Mitrović – Cello Drums, Cow Bell Nebojša Ignjatović – Rhythm Guitar, Solo Guitar Arrangements: 11. INDIAN ROPE TRICK Čedomir Macura – “Ludwig” (4:28) (Ćirić – Skrobonja) Drums Miroslav Cvetković, Nebojša Rastko Ćirić – Lead and Ignjatović, Rastko Ćirić Harmony Vocals, Piano, 14. WATCHING RAINBOWS String Orchestra Arrangements: Acoustic Guitar (3:40) (Ćirić – Skrobonja) Đorđe Petrović Kumari Pradhan – Sitar Rastko Ćirić – Lead and Gordana Matijević Nedeljković,­ Narmani Pradhan – Tabla, Backing Vocals, Acoustic Fadeout Vocal, Counting Biljana Kitanović, Rastko Roknić Guitars, Block-Flute, Piano and Dejan Mitrović are mem- Jelena Isailović – Lead Esaraj Nebojša Ignjatović – Flute bers of “ Mahodari Takač – Tanpura, Čedomir Macura – Percussion Dušan Skovran” Mantra Vocal Zoran Božinović – Lead Guitar Chamber Orchestra, Darpada Milosavljević – Belgrade. Shwar-Mandal Miroslav Cvetković – Piano Mahodari Takač, Jelena Isailović Bass and Darpada Milosavljević are Nebojša Ignjatović – “Tibetan” members of “Nityananda” Voice 74 band, Belgrade. THE RUBBER SOUL PROJECT CD 1 / INFO

Total duration 40 min. Recorded at “VESA” Studio, Belgrade, from Dec. 1994 to March 1995 Sound Engineer: Miroslav Cvetković Mixing Engineers: Miroslav Cvetković and Đorđe Petrović Logo, cover and graphic design: Rastko Ćirić Thanks to: Dragan Ilić, Igor Ilić, Benoît Junod, Mili Joto, Gradimir Aleksić, Srđan Gojković Gile, Stefan Baldauf, Svetolik Zajc, Christine Garson, Tamara Jerković, Momčilo Bajagić Bajaga, Dušan Savić, Ivana Komadina, Cosmo, Miloš Rajčević, Feti Dautović, Vukan Ćirić, Aleksandra Dimić. Music Producers: Nebojša Ignjatović and Miroslav Cvetković Executive Producer: Dragan Ašanin © The Rubber Soul Project 1995.

PUBLISHED EDITIONS April 1996, PGP RTS, Belgrade, a tape cassette and a limited edition­ of LP vinyl record. March 1999, an audiophile limited CD edition, Belgrade, ­­on the occassion of the series of “The Belgrade Tour” concerts, abrupted by the NATO bombing. December 2005, an audiophile limited CD edition in 100 copies, Belgrade, ­­on the occassion of the trip to Liverpool and The Cavern Club concert. June 2011, an audiophile limited CD edition in 30 copies, for the “BELGRADE 2020” company. 2006, a CD edition published by RISE MEDIA, Mineapolis, USA, Editor Ken Onstad. 2007, edited by LOUD FOLK RECORDS, USA. 2015, as a part of the Complete Edition, produced by Igor Kordey.

75 1. ZERO (Is Just Another There’s a lot that you can do 4. IF YOU’VE GOT You can put it in the juke-box Even Number) and the beat’ll pull you through. TROUBLES So often I have not been heard If you’ve got troubles well you just So many times misunderstood You can hear it all around you call on me but someone told me it’s ringing like a bell If you’ve got troubles there’s a Zero is just another even number . You just need a heavy dose place where we can be, (yeah) to make you really sound and well. If you’re feeling sad and blue I often felt I’d had enough You just get down on the floor You can stay with me tonight So many times I’d been fed up But you better do it right, ’cause If you’ve got troubles, oh yeah, and I wonder everybody’s rocking tonight. I’ll make it right. if zero is just another even number. If you’ve got troubles you won’t I know ’cause I was lonely too need to pretend Digging through my dreams But pretty soon I found a cure If you’ve got troubles I’ll be there where nothing’s as it seems I heard the tune I saw the light to lend a hand (yeah) trying to find the way, the easy way I just got there on the floor When you’ve cried out all your out did my best to do it right and tears Soon I’m going to go away everybody’s rocking tonight. I would help to see the light Soon I’m going to be okay If you’ve got troubles, oh yeah. I know I’m going to find the way, the only way out. 3. INDIA Here I am, standing right by your side In spite of all that I have done Let’s take a trip to India, Here I am, baby don’t run and hide I’m sure I was to be the one Where lotus flowers grow I can’t stand to see you sad The odd thing is that Let’s take a trip to India, Where I won’t let you go tonight Zero is just another even number muddy rivers flow. If you’ve got troubles, oh yeah, Just another even number I’ll make it right. I want to show you India Another even number With warm and heavy rains If you’ve got troubles Even number I want to show you India you won’t need to pretend Number. And sunny, dusty days. If you’ve got troubles I’ll be there to lend a hand (yeah) I’ll let you light my incense stick 2. EVERYBODY’S When you’ve cried out all your And brush my hair aside tears ROCKING TONIGHT I promise you a jungle tour I would help to see the light Now if you’re feeling kinda lonely And a lazy elephant ride. If you’ve got troubles, oh yeah. And if you’re feeling kinda bad There’s a band down in the ballroom Let’s take a trip to India If you’ve got troubles, If you’ve got and they’ll never make you sad. There’s so much there to see troubles, If you’ve got troubles well Let’s take a trip to India you just call on me. They’ve got a heavy pumpin’ rhythm My sitar, you and me, My guitar, you and me, Running straight down to your soul 5. MOONGLOW Have you heard the latest news My mother, you and me, the people call it rock’n’roll. My Martha, you and me. Moonglow, shining on a river You just get down on the floor Moonglow turnin’ everything to silver But you better do it right, (parrot: Let’s take a trip to India…) I know her touch will make me ’cause everybody’s rocking tonight. shiver when I take her by the hand, oh, oh And if you’re only got a dime 76 Sunshine everytime I see her You’re holding my hand for our poor romance, Sunshine the moment when I kiss her while you’re thinking of him we know it’s true. Some time she’ll know I’ll never so it’s happening baby now, leave her to you and me Someday when you see me If I take her by the hand, oh, oh You’re dancing with me, walking by but your mind’s with him Give me your sweet smile, I know, moonglow, it’s happening to us, try not to cry won’t let me be It’s just plain to see. ’cause deep inside Moonglow, please show, So, hush now honey, I’m not very strong your love to me. don’t you say a thing As time goes by and years roll don’t try to explain, don’t try to along. 6. I LOST MY LITTLE GIRL talk just sway with me to this gen­ Someone had seen my baby talking tle swing 9. THIS IS NOT HERE (sha-la-la, talking to him) One step at a time Someone had seen my baby walk­ It’s the last time we’re doing the our world is falling apart ing (sha-la-la, walking with him). Winston’s Walk. without any sign of a fresh new start Someone had told me she was Used to be a step forward And life after life (life after life) doing alright (oh yeah, doing and one step back we’re pushing away alright) And another one to take us from trouble and strife to find Someone had told me he was hold­ off the track a brand new day. ing her tight So hush now baby don’t try to talk This is not here, this is not some­ (oh yeah, holding her tight). It’s the last time we’re doing the where else Winston’s Walk. No, this is not here But I still don’t believe, it’s all over the place Every word they say is a lie 8. THE YEARS ROLL This is not here But I still can’t conceive, ALONG it doesn’t make any sense The reason why I cry. This is not here, I feel there’s something more This is not here. I lost my little girl that I should say The only one in the whole wide I thought that you would never And life after life (life after life) world (sha-la-la-oo) go away we’re pushing away I lost her, and I don’t know Today I know how much I was wrong. from trouble and strife what I’ll do (what I will do) to find a brand new day. I lost my little girl, And I’m feeling I never will forget the sight of you like a broken man should I always will recall the things you do This is not here, This is not here… I lost her, and I know it’s true, oo. As time goes by and years roll along. 10. HITCH HIKE 7. WINSTON’S WALK We are the same, Everybody loves somebody else Now we finally see Tell me your name Everywhere I look, it happens just that we were worlds apart Come ride with me the same and there was nothing smart to fortune and fame Everyone is looking for somebody that we could do. I’ll make you strong. else, There’s no use in trying, I’ll make you belong they shuffle the faces, they forget there’s no second chance If you dare to hitch-hike with me. the names. 77 Hitch-hike, under the big starry sky my love for you was true Their little feet barely Hitch-hike forever, But you had lied when you said touching the street Just you and I on a hitch-hike… I was the only one for you. Print color’s bleeding all over the grass You’ll bring me up, So I will go, you broke my heart Is announcing another retreat. When I am down and now what’s done is done You’ll light a smile, Someday you’ll know, Pink litmus paper shirt. under my frown when we’re apart I’ll be there to hold, I really was the one. 14. ALWAYS AND ONLY In nights long and cold Someday when you see me, If you dare to hitch-hike with me. And I won’t feel too bad about standing there wasted & lonely sorrows Will you remember, will you recall (low voice: You’ll bring me up, There will be no sad tomorrows, The times when it was you for me When you’re pinned down I won’t feel too bad about sorrows, Always and only, I’ll crack a smile under your frown oh no, oh no will you remember, will you recall. I’ll be there to hold you twitching and cold There’s always something to hold on You close your eyes, pretend that If you dare to hitch-hike with me) And I not feeling sad and blue you were sleeping There’s always someone’s helping but I know you’re awake. 11. IN THE OLD HILLBILLY hand, but no you, no you, no you. But I know you’re awake WAY I sense the heavy secret that you’re Too bad about sorrows, oh no… keeping, Everything seems so fake. Come on, baby what you say Come on, will you ride with me 13. PINK LITMUS PAPER I see the end, today, let’s go and I’m so close to weeping To hear the band play SHIRT How much (more) can I take in the old hillbilly way. Down by the banks they are In the hour-glass our time Come on, baby come and get it Standin’ and starin’ silently seeping, Come on, you know you won’t Someone has buried it will soon have to break. regret it, yeah, oh yeah his pink limousine We’ll be rolling in the hay Rainbow dressed lady with Someday when you see me, (rolling in the hay-hay-hay) Titanic thumb, pickin’ standing there wasted and lonely in the old hillbilly way. the strangest fruits they’d ever seen. Will you remember, will you recall The times when it was you for me Oh honey you look so fine The shirt on my back has just Always and only, will you remem­ You’re just too good to be true Started to crack ber, will you recall. Oh honey you must be mine Changin’like litmus, My mind is set on you, oo. frail like her breath 15. ANYWAY So long, you know I could not stay Small paper saint, Good bye, I’m sure you’ll be okay, his wings covered with paint Every day, We put aside a word or who knows, who knows Shiny with big pearls of sweat. two. Every day, We write another We’ll be rolling in the hay line for you (rolling in the hay-hay-hay) Pink litmus paper shirt. It worked out better than we’d In the old hillbilly way. planned Little girls juggle money-bags full It feels so good now near the end 12. TOO BAD ABOUT Who’s to say of stained glass We only knew how to pretend SORROWS Anyway… You know I tried to show you that 78 Every day, We put aside a chord or more than 50:50 1. ZERO (Is Just Another two. Every day, We make another To show you this city Even Number) tune for you through and through It worked out better than we’d (3:27) (Ćirić – Skrobonja) planned, It sounds so good now See you, see you Rastko Ćirić – lead and back­ near the end See you in Belgrade 2020. ing vokals, electric guitar Who’s to say Miroslav Cvetković – We only knew how to pretend You’ve been gone and stayed too long Anyway, Anyway Now all I have is just this song for you “Höfner” violin-bass The chances are much Nebojša Ignjatović – lead guitar Anyway… Anyway… Anyway Čedomir Macura – “Ludwig” It feels so good now in the end! more than 50:50 Once again in Belgrade city for us two drums, percussions Andreja Bućan – saxophone See you, see you BONUS TRACKS See you in Belgrade 2020… 2. Everybody’s Rocking Tonight 16. BELGRADE 2020 (3:12) (Ćirić – Skrobonja) 17. KNIGHT OF HEARTS Rastko Ćirić – lead and back­ You’ve been gone Many have tried, ing vocals and stayed too long Leaving me to write Many have failed Aleksandar Saša Lokner – piano this song for you And it goes on like this Damjan Dašić – “Ludwig” The chances are more than 50:50 To this very day. drums, percussions Once again in Belgrade city But no one could do it Marko Ćalić – solo, bass guitar For us two. Win over our hearts

Well, I used to see your face The way that he did 3. India In every thing – the Knight of Arts. (3:28) (Ćirić – Skrobonja) and every place I know Rastko Ćirić – lead and back­ Now what else is left to do Master of figures, ing vocals, piano Than to sing this song to you Shadow and line Nice and slow. Marko Ćalić – rhythm and See you, see you, King of atmosphere bass guitar See you in Belgrade 2020. With vision divine. Nenad Vještica Khan – sitar Everywhere around Božidar Škipić (1969–2000) – Telling us stories solo guitar (recorded in April People come to join the song. Blowing our minds And noone seems to mind 2000) Drawing his magic if the chords are slightly wrong. Maja Klisinski – percussions The majestic sound like a drum So deep and sublime. Helping us along. Yes, no one could do it Damjan Dašić – “Ludwig” The Master of Arts drums, percussions, accoustic You’ve been gone The way that he did guitar and stayed too long Tutti the parrot – fadeout vocal Now all I have is just – the Knight of Hearts. this song for you Beba Obradović & Božidar Mi­ The chances are even lin­­ković – parrot training 79 4. IF YOU’VE GOT TROUBLES Damjan Dašić – “Ludwig” 11. IN THE OLD HILLBILLY (2:39) (Ćirić – Skrobonja) drums, percussions WAY Rastko Ćirić – lead and back­ (2:35) (Ćirić – Skrobonja) ing vocals 8. THE YEARS ROLL ALONG Rastko Ćirić – lead and back­ Marko Ćalić – solo, bass guitar (4:17) (Ćirić – Skrobonja) ing vocals Damjan Dašić – “Ludwig” Rastko Ćirić – lead and back­ Marko Ćalić – solo, bass guitar drums, percussions ing vocals, piano, accoustic Pera Joe – mouth harmonica Dušan Živanović – harmonica guitar Filip Savić – “slap” double-bass Marko Ćalić – solo, bass guitar Damjan Dašić – “Ludwig” 5. MOONGLOW Damjan Dašić – “Ludwig” drums, percussions (3:09) (Ćirić – Skrobonja) drums, percussions Rastko Ćirić – lead and back­ Milan Prokop – Hammond 12. TOO BAD ABOUT ing vocals, piano SORROWS Aleksandar Saša Lokner – 9. THIS IS NOT HERE (3:22) (Ćirić – Skrobonja) piano editing (3:32) (Ćirić – Skrobonja) Rastko Ćirić – lead and back­ Nik Phelps – tenor saxophone dedicated to John Lennon, first ing vocals, accoustic guitar Damjan Dašić – “Ludwig” time performed in the Cavern Miroslav Cvetković – accous­ drums, percussions Club, Liverpool, December 2005 tic bass guitar Marko Ćalić – solo and bass Rastko Ćirić – lead and back­ Damjan Dašić – “Ludwig” guitar ing vokals, accoustic guitar drums, percussions Miroslav Cvetković – Đorđe Petrović – string quar­ 6. I LOST MY LITTLE GIRL ”Höfner” violin-bass tet, arrangement (3:07) (Ćirić – Skrobonja) Nebojša Ignjatović – solo guitar Gordana Matijević Nedeljko­ Rastko Ćirić – lead and har­ Čedomir Macura –”Ludwig” vić – first violin mony vocals drums, percussions Martina Miler – second violin Marko Ćalić – solo, bass guitar Teodora Skrobonja – saxophone Danijela Milutinović – cello Damjan Dašić – “Ludwig” drums, percussions, accoustic 10. HITCH HIKE 13. Pink Litmus Paper and rhythm guitar (2:44) (Ćirić – Skrobonja) Shirt Čedomir Macura – lead vocal (2:51) (Ćirić – Skrobonja) 7. WINSTON’S WALK Rastko Ćirić – harmony vocals Rastko Ćirić – lead and back­ (3:31) (Ćirić – Skrobonja) Marko Ćalić – solo and bass ing vocals, piano Rastko Ćirić – lead and back­ guitar Damjan Dašić – “Ludwig” ing vocals, piano Damjan Dašić – “Ludwig” drums, accoustic and rhythm Aleksandar Saša Lokner – drums, percussions, accoustic guitar keyboard strings and electric rhythm guitar Marko Ćalić – accoustic solo Filip Savić – double-bass Milan Prokop – Hammond and bass guitar Marko Ćalić – solo, bass guitar organ Milan Prokop – Hammond Nik Phelps – clarinet organ 80 Sanja Ilić – teremin 14. ALWAYS AND ONLY Nebojša Ignjatović – solo gui­ April 2000, Sound Engineer (3:30) (Ćirić – Skrobonja) tars Goran Popa Džiz Rastko Ćirić – lead and back­ Teodora Skrobonja – saxophone 8, 9, 15 Sound producer Nebojša ing vocals, piano Ignjatović. Marko Ćalić – solo guitar 17. KNIGHT OF HEARTS 8, 9, 15 Sound engineer Miro­ Miroslav Cvetković – accous­ (2:50) (Ćirić – Skrobonja) slav Cvetković. tic bass guitar Dedicated to Igor Kordey’s 1–7, 10–14 Sound producers Damjan Dašić – drums knighthood. Damjan Dašić and Rastko Ćirić. ĐorđePetrović – string quar­ Rastko Ćirić – lead and back­ 1–7, 10–14 Sound engineer tet, arrangement ing vocals, classical guitar Damjan Dašić Gordana Matijević Nedeljko­ 1–7, 10–14 Sound engineer for vić – first violin drums Saša Janković. Martina Miler – second violin Teremin (1) recorded at the Danijela Milutinović – cello Sanja Ilić’s Studio, Belgrade. 15 Recorded at the Dobro Polje 15. ANYWAY Studio, Belgrade (3:03) (Ćirić – Skrobonja) Sound Engineer Dragan Rastko Ćirić – lead and back­ Petronić ing vocals Piano recorded at the Saša Marko Ćalić – solo, bass guitar Lokner’s Studio, Zemun. Damjan Dašić – “Ludwig” 9 Recorded in May 2004 at the Sax solo (6) recorded at the Nik drums, percussions Vesa Studio, Belgrade / Sound Phelps Studio, Gent, Belgium. Engineer Miroslav Cvetković / BONUS TRACKS Mixing Engineer ĐorđePetrović Members of the FATHERS 8 Recorded in November 2005 at AND SONS band: Božidar 16. BELGRADE 2020 the Vesa Studio, Belgrade Škipić (lead guitar), Branimir (3:34) (Ćirić – Skrobonja) Sound Engineer Miroslav Kosar (keyboards), Nedeljko Commissioned in 2011 from the Cvetković Kusić –Dok (bass guitar), Nikola City of Belgrade on the occassion 5, 7 Double-bass, mouth harmo­ Đokić (drums) of the candidature for the Euro­ nica and step dancers recorded pean City of Culture in 2020 at the R88 Studio. Nik Phelps (leader of the Sprocket Executive Producer – Alek­ Sound engineer Ana–Marija Ensemble group) is composer of san­dar Peković Srejić music for animation films and Rastko Ćirić – lead and back­ 3 Solo guitar recorded on the wind instruments specialist ing vokals RSP concert in Pančevo (with ­living in Gent, Belgium. Miroslav Cvetković –“Höfner” the Fathers and Sons band), violin-bass Damjan Dašić and Marko Ćalić Čedomir Macura – “Ludwig” are members of THE BESTBEAT, drums, percussions 81 the Beatles tribute band. THE RUBBER SOUL PROJECT CD 2 / INFO Total duration 54 min. Recorded from August 2012 to Dec. 2013 in: Vesa Studio, Damjan’s Children Room Studio, R88 studio, Strip Studio, Sanja Ilić’s Studio, Nik Phelps Studio, Gent, Belgium Sound Engineers: Damjan Dašić, Miroslav Cvetković, Saša Janković, Milan Prokop, Dragan Petronić, Ana-Marija Srejić, Đorđe Petrović, Nik Phelps, Aleksandar Saša Lokner, Sanja Ilić, Goran Popa Džiz Mixing Engineers: Saša Janković, Damjan Dašić, Miroslav Cvetković, Đorđe Petrović Mastering Engineer Milan Prokop Sound Producers: Damjan Dašić, Neboša Ignjatović and Miroslav Cvetković Executive Producer: Igor Kordey

Thanks to: Jana Adamović, Timothy John Byford , Darko Veličkovski, Predrag Milošević, step dancers Mirko Knežević and Nebojša Gromilić, Petar Janjatović, Petar Popović, Moma Rajin, Ljiljana Spasojević, Dragan Stamenović, Dejan Cukić, Dragana Nešić, Isidora Žebeljan, Petar Stamenković, Branko Citlik, Selena Pješivac, Zoran Predin, Željko Savić…

82 Adamović, Jana 58, Ćirić, Vukan 75 Janković, Saša 6, 52, INDEX 82, 86 Dašić, Damjan 6, 47, 54, 56, 81, 82 Aleksić, Gradimir 14, 48, 49, 51, 52, 54, 55, Jerković, Tamara 75 75 56, 64–67, 79, 80, 81, Joto, Mili 75 Ašanin, Dragan Aške 82, 86 Junod, Benoît 75 5, 15, 16, 75 Dašić, Mihajlo 49 Kitanović, Biljana 73, Bajagić, Momčilo Dautović, Feti 75 74 Bajaga 5, 75 Dimić, Aleksandra 75 Klisinski, Maja 38, 79 Baldauf, Stefan 75 Dević, Aleksandar 28 Knežević, Mirko 82 Borges, Horhe Luis 9 Draganić, Davor 66 Kochetov, Max 57 Božinović, Zoran 73, Đokić, Nikola 81 Koljević, Srđan 33 74 Ellison, Harlan 21 Komadina, Ivana 75 Bućan, Andreja 81 Foster, Allan 39 Kordej, Igor 6, 46, 50, Byford, Timothy John Garson, Christine 75 56, 57, 58, 59, 75, 82, 50, 51, 82 Gojković, Srđan Gile 86-87 Citlik, Branko 82 18, 20, 75 Kosar, Branimir 38, Cosmo 64, 75 Gromilić, Nebojša 82, 81 Cukić, Dejan 38, 39, Grujičić, Pavle 28 Kovačić, Goran 27 41, 44, 82 Harrison, George 68 Kusić, Nedeljko Dok Cvetković, Miroslav Huntingford, Richard 35, 81 Cvele 4, 15, 16, 17, 68 Kusturica, Emir 68 18, 40, 42, 50, 55, 65, Ignjatović, Nebojša Lennon, John 12, 30, 73, 74, 75, 79, 80, 81, Nebe 4, 14, 16, 17, 23, 39, 41, 50 82, 86 34, 35, 36, 39, 40, 42, Lokner, Aleksandar Ćalić, Marko Ćaki 6, 50, 63, 73, 74, 75, 79, Saša 5, 51, 53, 68, 73, 79, 48, 52, 55, 79, 80, 81, 80, 81, 82, 86 80, 81, 82 86 Ilić, Dragan Ilke 16, Macura, Čedomir 5, Ćirić, Iva 34 24, 75, 14, 16, 40, 42, 50, 68, Ćirić, Rastko 4, 8–17, Ilić, Igor 75 73, 74, 79, 80, 81 20– 22, 27, 29, 30, Ilić, Sanja 53, 81, 82, Marković, Srđan 26, 32–45, 47–54, 58–64, Isailović, Jelena 74 28 65, 66, 73–75, 79–82, Janjatović, Petar 25, Martin, George 24 86-87 31, 56, 82, Matijević Nedeljković,

83 Gordana 57, 73, 74, Peković, Aleksandar Skrobonja, Dragana 52, 79 80, 81 43, 81 68 Vukelić, Marija 39 McCartney, Paul 21, Petronić, Dragan 43, Skrobonja, Goran 4, Vukobratović, 36, 37, 47, 61, 63, 68 81, 82 10–14, 21, 22, 27, 28, Mihajlo Miša 28 McKemmon, Robert Petrović, Dragan 30, 34, 36, 40, 42, 45, Zajc, Svetolik 75 R. 21 Čupa 73 54, 58, 59, 62, 63, 73, Žebeljan, Isidora 82 Miladinović, Petar Petrović, Đorđe 5, 74, 86-87 Živanović, Dušan 49, Pera Džo 49, 53, 80 19, 35, 38, 56, 57, 73, Skrobonja, Teodora 54, 80 Miler, Martina 57, 75, 80, 81, 82 41, 42, 80, 81 Witte, Niels 68 80, 81 Petrović, Nenad 73 Spasojević, Ljiljana Milutinović, Phelps, Nik 49, 50, 82 Danijela 57, 80, 81 80-82 Spielberg, Steven Milićević, Branko Pješivac, Selena 82 28, 30 Kockica 31 Popa, Goran Džiz Srejić, Ana-Marija 53, Milinković, Božidar 81, 82 81, 82 50, 55, 79 Popović, Petar Peca Stamenović, Dragan Milosavljević, 33, 43, 82 82, Darpada 18, 74 Pradan, Kumari 17, Stamenković, Petar Milošević, Predrag 18, 74 82 82 Pradan, Narmani Starr, Ringo 20, 50, Mitrović, Dejan 73, 18, 74 57, 62 74 Predin, Zoran 82 Swale, Alistair 41 Necić, Predrag 73 Prokop, Milan 52, Škipić, Božidar, 34, Nešić, Dragana 82 54, 80, 81, 82 35, 37, 48, 79, 81 Novaković, Boban Radišić, Branislav Takač, Mahodari 23, 74 Bane 82, 86 74 Obradović, Beba 50, Rajčević, Miloš 75 Tucaković, Dinko 79 Roknić, Rastko 71, 32, 36, 38, 39, 41, 44, Obradović, Jelena 74 53 26, 28 Russel, Geoff 8 Tutti 50, 55, 63, 79 O’Brian, Fred 39, 40, Savić, Dušan 75 Veličkovski, Darko 41 Savić, Filip 51, 53, 80 82 Onstad, Ken 41, 75 Savić, Željko 82 Vještica, Nenad Khan

84 R(in)PP R(ie)AQ RETKO (ili nikada) PITANA PITANJA RARELY (if ever) ASKED QUESTIONS

1) Koliko je ukupno muzičara 1) How many musicians participated učestvovalo u Rubber Soul Project-u? The Rubber Soul Project? 2) Koliko je tonskih snimatelja bilo na 2) How many sound engineers were RSP2? involved with the RSP2? 3) Koliko je životinja učestvovalo na RSP? 3) How many animals participated RSP? 4) Koliko je životinja povređeno na RSP? 4) How many animals were hurt on RSP?

(Odgovori: 35 / 11 / 1 / nijedna) (Answers: 35 / 11 / 1 / none)

85 Edicija THE RUBBER SOUL Edition THE RUBBER SOUL PROJECT / INTEGRALNO IZDANJE PROJECT / COMPLETE

Za izdavača Goran Skrobonja For the publisher Goran Skrobonja

Ilustracija na kutiji i RSP logo Igor Kordej Box cover illustration and RSP logo Igor Kordey Ilustracije na koricama i “leteće“ vinjete Igor Kordej Cover illustrations and “flying” vignettes Igor Kordey Dizajn korica knjiga i diskova Kordej i Ćirić Books and discs cover design Kordey & Ćirić Popap ilustracije i dizajn Rastko Ćirić Pop-up illustrations and design Rastko Ćirić Priprema za štampu Rastko Ćirić Pre-press Rastko Ćirić Fotografija unutar kutije Branislav Bane Radišić Inner box photo Branislav Bane Radišić Duhovna i profesionalna podrška Jana Adamović Spiritual and professional support Jana Adamović

Izdavač PALADIN d.o.o Published by PALADIN d.o.o. Vojvode Stepe 139/71, 11000 Beograd 139/71 Vojvode Stepe, Belgrade 11000 tel 011 3982 600 tel +381 11 3982 600 www.paladin-beograd.com www.paladin-beograd.com email: [email protected] email: [email protected]

U saradnji sa KORPUS, Igor Kordej In collaboration with KORPUS, Igor Kordey Štampa Beopres, Beograd Print Beopres, Beograd Tiraž 2000 Edition2000

© The Rubber Soul Project 2015. © The Rubber Soul Project 2015

Na fotografiji unutar kutije: On the inner box photo: Marko Ćalić Ćaki, Igor Kordej, Damjan Dašić, Marko Ćalić Ćaki, Igor Kordey, Damjan Dašić, Nebojša Ignjatović Nebe, Goran Skrobonja, Nebojša Ignjatović Nebe, Goran Skrobonja, Miroslav Cvetković Cvele i Rastko Ćirić (sedi). Miroslav Cvetković Cvele and Rastko Ćirić (sitting).

86 Goran Skrobonja THE RUBBER Goran Skrobonja THE RUBBER SOUL PROJECT: PUTOVANJE SOUL PROJECT JOURNEY Deo edicije RUBBER SOUL PROJEKT A part of the edition THE RUBBER SOUL / INTEGRALNO IZDANJE PROJECT / COMPLETE

Za izdavača Goran Skrobonja For the publisher Goran Skrobonja Urednici Rastko Ćirić i Goran Skrobonja Editors Rastko Ćirić and Goran Skrobonja Prevod Goran Skrobonja Translation Goran Skrobonja

Ilustracija na koricama i “leteće“ vinjete Igor Kordej Cover illustration and “flying” vignettes Igor Kordey Dizajn korice knjige Kordej i Ćirić Book cover design Kordey & Ćirić Oblikovanje knjige Rastko Ćirić Book design and layout Rastko Ćirić

Izdavač PALADIN d.o.o Published by PALADIN d.o.o. Vojvode Stepe 139/71, 11000 Beograd 139/71 Vojvode Stepe, Belgrade 11000 tel 011 3982 600 tel +381 11 3982 600 www.paladin-beograd.com www.paladin-beograd.com email: [email protected] email: [email protected]

U saradnji sa KORPUS, Igor Kordej In collaboration with KORPUS, Igor Kordey Štampa Beopres, Beograd Print Beopres, Beograd Tiraž 2000 Edition 2000

© The Rubber Soul Project 2015. © The Rubber Soul Project 2015

87 CIP - Каталогизација у публикацији, Народна библиотека Србије, Београд 784.011.26 РАБЕР СОУЛ ПРОЏЕКТ”1993/2013” 78.071.1/.2(497.11)”19/20”:929 СКРОБОЊА, Горан, 1962- Rubber Soul Projekt: putovanje : alternativna muzička istorija : konceptualni eksperi- ment = The Rubber Soul Project Journey : alternative music history : a conceptual ex- periment / Goran Skrobonja ; [prevod Goran Skrobonja = translation Goran Skrobonja ; vinjete Igor Kordej = vignettes Igor Kordey]. - Beograd = Belgrade : Paladin : Korpus, 2015 (Beograd : Beopres). - 87 str. : ilustr. ; 12 x 12 cm. - (Edicija The Rubber Soul Pro- jekt : integralno izdanje = Edition The Rubber Soul Project : complete) Uporedo srp. tekst i engl. prevod. - Tiraž 2.000. - Dramatis personae: str. 4-6. - Str. 64-67: Izjava svedoka / Damjan Dašić. - Blurbovi i komentari: str. 68. - Registar. ISBN 978-86-87701-49-6 (Paladin) a) Рабер Соул Проџект (вокално инструментални састав) - 1993/2013 b) Музичари - Србија - 20в-21в COBISS.SR-ID 21316609 ISBN 978-86-87701-52-6 (za kolekciju)

“Everything from the album would be imagined from the perspective of these

people. So it doesn’t have to be US, doesn’s have to be the kind of song YOU want RSP PUTOVANJE to write, it could be a song THEY might wanna write.“ (Paul McCartney about the making of Sgt. Pepper album, 1992)

»Sve na tom albumu bilo je zamišljeno iz perspektive tih ljudi. Dakle, to ne moramo da budemo MI, ne mora da bude pesma koju JA želim da napišem, treba da bude pesma koju bi ONI napisali.« (Pol Makartni o stvaranju Sgt. Pepper albuma, 1992) Goran Skrobonja RSP JOURNEY Ovo je knjiga o umetničkom projektu grupe domaćih stvaralaca inspirisanom muzikom Bitlsa. Projekt obuhvata 32 originalne pesme, više video spotova, novelu Gorana Skrobonje i film ­Dinka Tucakovića. Prvi put na jednom mestu mogu se naći pomenuti materijali koji su plod dvadesetogodišnjeg rada.

This is a book about the artistic project created by a group of local authors, inspired by the music of The Beatles. The project includes 32 original songs, several video clips, novella by Goran Skrobonja and film directed by Dinko Tucaković. For the first time these materials can be found in one exclusive package, after two decades of incessant creative endeavour.

ISBN 978-86-87701-52-6