Prljavo kazalište (Dirty Theater) is a rock band from Zagreb, Croatia. Since its formation in 1977, the group changed several music styles and line ups but remained one of the top acts of both the Croatian and Yugoslav rock scenes.
Biography
Davorin Bogović fronting and departure (1977–1980) Prljavo kazalište was formed in 1977 in Dubrava, part of Zagreb, the capital of the then SR Croatia. Founding members included: Jasenko Houra (rhythm guitar), Zoran Cvetković a.k.a. Zok (lead guitar), Nino Hrastek (bass guitar) and Tihomir Fileš (drums). Its first vocalist became Davorin Bogović, although they were thinking about taking Davor Gobac (later of Psihomodo pop) instead. All of them, except Houra, previously played in another band called Ciferšlus (Zipper), but after he joined them to form a new group, they opted for the name Prljavo kazalište (meaning 'Dirty Theatre' in Croatian) after an episode of the satirical Italian comic book Alan Ford, which was very popular in the former Yugoslavia.
In its early beginnings, Prljavo kazalište was a punk rock band, although they initially wanted to sound like The Rolling Stones for whom they maintained a great admiration. The group performed live for the first time in 1978 at a gig organized by the magazine Polet where they were noted for their furious punk image and stage performance. In the same year, Prljavo kazalište released its first single, the punk rock sounding Televizori for the major record label Jugoton. It featured three songs: Televizori, Majka and Moje djetinjstvo. In 1979, Suzy Records released their second single Moj je otac bio u ratu. That song was included in the compilation album Novi Punk Val compiled by Igor Vidmar, along with Pankrti, Paraf and other prominent artists of the former Yugoslav punk rock scene .
In 1979, they released their first eponymous album, produced by Piko Stančić, for Suzy Records. It was promoted when the group performed as a support act of the Yugoslav band Bijelo dugme at a concert held at the JNA Stadium. During the recording sessions, Zoran Cvetković left the band and was replaced by Marijan Brkić. The album soon came to prominence all over the former Yugoslav federation for its social commentary and provoked the then-ruling one-party system, additionally because it also featured probably the first gay-themed song in Yugoslavia titled "Neki dječaci (Some Boys)" (followed later by "Retko te viđam sa devojkama" by Idoli). The authorities valuated the album as "šund" ("kitsch") and hence they imposed higher taxes on its sale price, while the records considered "truly artistic" enjoyed a reduced tax rate. Despite that, the group was not banned and it could freely continue to work and sell records, because non-aligned Yugoslavia was not so strict regarding censorship as the other communist states. Although the band played on the album in a rudimentary manner, the media and the public proclaimed it one of the best debut albums ever released in Yugoslavia. The record sleeve was designed by Mirko Ilić and featured a parody of the famous John Pasche's Tongue and Lips design with an added safety pin, representing the band's equal respect for both punk rock scene and old rock bands like The Rolling Stones.
On their second album titled Crno bijeli svijet (Black and White World) released in 1980, Prljavo kazalište affiliated with the new wave music, accepting a more polished image and sound. The album, again produced by Piko Stančić and released for Suzy, was recorded in Milan, Italy. The album included several Ska and Two Tone songs such as the main single Crno bijeli svijet and Mi plešemo, meaning We Dance, although the original title was supposed to be Mi pijemo (We Drink). Also, it featured a cover version of Sedamnaest ti je godina tek by the notable retro traditional pop singer Ivo Robić. The record was a major success and Prljavo kazalište became one of the leading acts of the former Yugoslav new wave scene (called "Novi val" in Croatian).
Jasenko Houra fronting, Bogović's return (1981–1983) Soon afterwards, Davorin Bogović left the group. Reasons included disagreements with the other band members or his inability to withstand the pressure of extensive touring and recording, as the band was already in the top of the Yugoslav rock scene and had tight schedules.