Tracklist:
01 - Yeremia
02 - Paradehtika
03 - Venzinatiko
04 - On the Back-Seat of My Car
05 - Imagine
06 - Truckers' Song
07 - Gas Gas Gas (Shantel Vs. Bregovic)
08 - Ruzica (Rose)
09 - For Esma
10 - Streets Are Drunk
11 - Kerna Mas
12 - Na'tan Ixara Oikopedo
13 - Tis Agapis Sou to Risko + Kallasnikov
1950年出生于波斯尼亚的萨拉热窝，父亲是克罗地亚人，母亲是塞尔维亚人，在随意学了几年小提琴后，Goran16岁时组了他的第一个乐队“The White Button”，做为乐队的领导人物，他负责作曲和弹奏吉他，他承认自己那时候非常热爱摇滚乐，摇滚乐在他生活中起了非常重要的作用，“它让我们可以听到自己真实的声音，也是那时候唯一可以不用坐牢又可以抗击政权的方式。”在15年的时间里，他的乐队：The white Button成为了前南斯拉夫最出名的摇滚乐队，是许多年轻人的偶像，乐队发行了很多畅销专辑，参加了各种大型的演唱会，直到他后来因病和对自己的音乐方式厌倦，他才开始了他的另一段音乐生涯。
1991/1992年，战争在南斯拉夫爆发，战火席卷他的家乡，Goran跑到巴黎，开始为很多欧洲电影作曲。他开始了对传统的巴尔乾民族音乐的改编工作，把东正教的宗教音乐与流行摇滚乐、现代流行节拍融合在一起，赋予了巴尔乾传统音乐以全新的韵味。在巴黎，他遇到了一个非常好的合作者，就是南斯拉夫著名的导演Emir Kusturica，他为Kusturica的电影：《The Time of the Gypsies》《The Undergurand》《Black Cat White Cat》创作了电影音乐，受到了众多影迷和音乐爱好者的喜爱。就像他的血统和所处的国家一样，在那里东正教、天主教、伊斯兰教三种文化互相影响，所以他接受到了各种音乐的熏陶，在Goran最著名的电影原声：The Time of the Gypsies里，他把巴洛克、爵士、探戈、斯拉夫民谣、土耳其曲调和保加利亚的人声、东正教神圣的咏唱以及现代节拍混合在一起，形成了多元素的音乐融合，成为真正的世界音乐专辑。
If you listen to music on headphones, this might get a bit overwhelming after a while. The tubas, trumpets and general exuberance harnessed by Goran Bregovic are intended to be heard out in the open, preferably at a wedding celebration, though a birthday party would be fine too.
The 59-year-old was one of the biggest rock stars in Yugoslavia as the guitarist and main songwriter for Bijelo Dugme (White Button) until he started writing music for a scene in the film Time of the Gypsies for director Emir Kusturica in 1988, just as the war in his homeland broke out.
As an exile in Paris, Goran was obliged to abandon all his possessions in Sarajevo and devote the next few years to writing scores for more of Kusturica's films, including 1995's award-winning Undergound, working not only with some of the Balkans' best singers and musicians, but Iggy Pop and Cesaria Evora too. In between those projects, he produced albums with some of the biggest stars in Greece, Turkey and Poland, often recycling the same songs for a new audience each time.
Alkohol is the first bona fide solo album by Goran since those pre-soundtrack days as a rock star, and as a collection of all-new material it hangs together very well. The trademark oompah horns of the Balkans are a common thread throughout, but the songs are all melodically distinct, and among the 13 tracks there is surely a theme for any mood you might wish to revel in or escape from.
On the Back-Seat of My Car may use a synth bass line that evokes an 80s disco but the horns leave no doubt about the music's regional origins. If you want to test the album's temperature, this is the track to dip your toes into first. But once you've started, let it run because the album's heart seems to beat strongest on tracks four to seven.
There are so many influences and associations floating in the air here, it is bewildering, if enjoyable, to try to isolate them. On Imagine (no, not the John Lennon song), the percussion could be Turkish or even Indian, while the horns could be from New Orleans.
Balkan music has been threatening to break into the mainstream of western pop for several years now and, though the gypsy rock of Gogol Bordello never quite lived up to the claims made on its behalf, this triumphant album doesn't require any advertising. Just play it, and it will do the rest by itself.
