"Moj Slatki Grad" by Ljupka Dimitrovska (1968)

Just heard that Ljupka Dimitrovska have passed away at the age of 71. 

Dimitrovska might have been away from public for some time now, but at the highlight of her career back in 1970s she was one of the biggest music superstars back home and her hit singles sold in huge quantities. In fact, she might have been that curious 1970s phenomenon that simply caught people's attention and reflected Zeitgeist - little children adored sunny, smiling blondie Dimitrovska who carefully created image of "perpetual little girl" and was constant mainstay of variety TV shows. For all that commercial success, her kiddie pop did not age well and never experienced revival or re-evaluation like some of her contemporaries. Her old records must be taken in the context of their time, when wholesome appeal was accepted by wide audiences not only at home but as far as Germany and Soviet Union, often in duets with Ivica Šerfezi and masterminded by husband/arranger/producer/composer Nikica Kalogjera who already had respectable career until finally he struck gold with string of easy listening, lively hits tailored for his young wife. Perhaps all that 1970s sweetness might dumbfound today's listeners used to more aggressive and bombastic approach, but don't forget that in her time Dimitrovska brought lot of love and music to people who lived trough "Čibu čiba", "Klik klak", "Zvoni zvon", "Ne igraj se sa mnom" or "Ostaje nam muzika". That public taste would eventually change was inevitable but occasional old song might still surprise you on oldies radio and it does uplift the spirits immediately, because Dimitrovska was all about the happiness and spark. 

One of the most interesting recordings in her discography is this old, forgotten EP created long before Dimitrovska came to attention of her future Pygmalion husband. It was released not by her future recording company "Jugoton" but by Belgrade's PGP RTB and presents young singer as potential 1960s pop songbird covering four hits from international charts - even back than, it was evident that she has potential in what would be the best described as "bubble gum" pop so her sunny image was matched with Lee Hazlewood's "Sugar town" and material originally recorded by Lulu and young Marianne Faithfull. It is still sugary, unmistakably Ljupka Dimitrovska record and much more contemporary (no wonder, as it covers British hits) than what followed, since later hits written for her by husband leaned more towards German "schlager" and he might even be responsible for coming up with that particular Adria sound that tourists forever associated with vacations on Adriatic sea. Because its so different from what she was doing later, this is perhaps the most interesting recording in her catalogue - it shows that with different collaborators she might have been more interested in the sound of girl groups and perhaps even Motown, however life had different plans for her and the music she left behind was firmly planted in central Europe, lot of it tailored specifically to German-language audiences. Never seriously taken by music critics, Dimitrovska's biggest crime appears to have been her sunny disposition and wholesome image but in hindsight, being remembered as happy and cheerful brave little person is not bad at all. In her own way, Dimitrovska might have shown far more strength and backbone than dozen of other people.