The band started recording their first long play album during autumn 1981. The record was originally supposed to be produced by the band members themselves with the assistance of Dušan "Spira" Mihajlović, however, Mihajlović soon left the recording sessions so the album recordings were produced only with the help of Mile "Pile" Miletić and Goran Vejvoda. The band's initial plan was an album dealing with religion and tradition, which was a kind of rebellious effort as these topics were publicly s...
The band started recording their first long play album during autumn 1981. The record was originally supposed to be produced by the band members themselves with the assistance of Dušan "Spira" Mihajlović, however, Mihajlović soon left the recording sessions so the album recordings were produced only with the help of Mile "Pile" Miletić and Goran Vejvoda. The band's initial plan was an album dealing with religion and tradition, which was a kind of rebellious effort as these topics were publicly still a taboo in Communist Yugoslavia. This was the first release that included a lineup change as the band's drummer became Kokan Popović who used to play with Vlada Divljan and Zdenko Kolar in a band called Zvuk ulice.
The record was named after Borislav Pekić's book Odbrana i poslednji dani. Beside the guitar, Divljan also played the piano and Šaper played keyboards and synthesizers. Guest appearances featured Goran Vejvoda (Casio synthesizer on "Kenozoik" and "Odbrana" and guitar on "Gde si sad cica-maco"), Mile Miletić Pile (guitar solo on "Gde si sad cica-maco") and Bebi Dol (backing vocals on "Odbrana"). The track "Senke su drugačije" featured Vuk Vujačić (saxophone), Goran Grbić (trumpet) and Slobodan Grozdanović (trombone).
Since the recording process lasted too long and Jugoton wanted to release the album as soon as possible, the record came out very quickly in early 1982. Unlike the band's previous releases, which were well accepted both commercially and critically, the new album had the critics divided with reactions ranging from extremely positive to extremely negative. Since the band wanted to present the record as non-commercial, no promotional videos were recorded for the album. Fifty thousand copies of the album were sold in Yugoslavia, which was in sharp contrast to the band's previous release, the VIS Idoli EP, that sold roughly 200,000 copies. This resulted the style of the next album the band recorded. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply.
