Eastern Bloc Disco at Centrala (Playlist for August 4, 2017)

8 Aug

Sarolta Zalatnay: Hadd Mondjam El (Pepita)

The latest version of Eastern Bloc Disco took place on August 4 at Centrala, Birmingham, as part of the regular Digbeth First Friday, a mix of soul, rock, psychedelia, disco, pop, folk and more, all released on the official state record labels of Hungary, Poland, Czechoslovakia, Yugoslavia, Bulgaria, Romania, East Germany and other Eastern Bloc states between the early 1960s and late 1980s. For this latest session – commissioned to accompany the launch of Terra Firma, an exhibition of work produced during a month on Birmingham’s canals by Italian resident Hungarian artist Barbara Mihályi – there was a particular (but by no means exclusive) emphasis on music from Hungary. An archival Eastern Bloc Songs exhibition is in development with Centrala for the summer of 2018.

Eastern Bloc Disco Playlist (August 4, 2017)

Raimonds Pauls & Margarita Vilcāne: Līgotāji (Latvia, 1974)
Karel Cernoch & Juventus: Procitnuti (Czechoslovakia, 1968)
Zsusza Koncz & Liversing Egyuttes: Jaj, Mi Lesz Velem Ezutan (Hungary, 1971)
Alibabki: Slonce w Chmurach Lazi (Poland, 1969)
Illés: Nehéz az Út (Hungary, 1968)
The Rebels: Definitivní Konec (Czechoslovakia, 1968)
Hungaria: Koncert a Marson (Hungary, 1969)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Hana Zagorová: Svatej Kluk (Czechoslovakia, 1968)
George & Beatovens: Dívky Z Perel (Czechoslovakia, 1969)
Sarolta Zalatnay: Fekete Beat (Hungary, 1971)
Halina Frąckowiak: Wodo Zimna Wodo (Poland, 1974)
Corvina: A Tüz (Hungary, 1974)
Kati Kovacs: Add Már Uram Az Esöt (Hungary, 1972)
Illes: Nekem Oly Mindegy (Hungary, 1972)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Sarolta Zalatnay: Hadd Mondjam El (Hungary, 1973)
NOVI Singers: Torpedo (Poland, 1969)
Vaclav Neckar/Golden Kids: Goo Goo Barabajagal (Czechoslovakia, 1970)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Karel Cernoch: Zlej Sen (Czechoslovakia, 1968)
Vera Spinarova: Den a Noc (Czechoslovakia, 1972)
Sarolta Zalatnay & Metro: Mostanában bármit teszünk (Hungary, 1967)
Yvonne Prenosilova: Zimní Království (Czechoslovakia, 1968)
Marcela Laiferova: Mlc (Czechoslovakia, 1968)
Filipinki: Nie Ma Go (Poland, 1968)
Hana Ulrychova & Bluesmen: Zpívej Mi Dál (Czechoslovakia, 1968)
Atlantis: Don’t You Break It Again (Czechoslovakia, 1968)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Chris Doerk: Glaub Nicht (DDR, 1974)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Valérie Čižmárová: Čekám (Czechoslovakia, 1969)
Kyri Ambrus: Ez a Szerelem (Hungary, 1970)
Mária Hoffmann: Mini Tini Panaszai (Hungary, 1974)
Metro: Ha Júliát Kérdeznék Meg (Hungary, 1970)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland, 1969)
Bergendy: Tramp – Részlet (Hungary, 1971)
Bonka Najdenova: Proletni Stypki (Bulgaria, 1975)
Beatrice: Gyere Kislány Gyere (Hungary 1977)
Die Caufner Schwestern: Komm Doch (DDR, 1978)
Judit Szucs: Urdiszkó (Hungary, 1979)
Koukeri: Брой До Сто (Bulgaria 1984)
Plexi & Frutti: A Vásár (Hungary, 1989)
Gigi: Divat a Fontos (Hungary, 1985)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia, 1978)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Bemibem: Podaruj Mi Trochę Słońca (Poland, 1973)
Marika Késmárki: Törött Szék (Hungary, 1971)
Bezinky: Polnočný Vlak (Czechoslovakia, 1975)
Emil Dimitrov: Scherazhade (Bulgaria, 1972)
Olympic: Tobogan (Czechoslovakia, 1971)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Corvina: A Mosolyomon Ordög Ul (Hungary, 1977)
Sarolta Zalatnay: Már Nem Tudom (Hungary, 1976)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Syrius: Hol Az Az Ember (Hungary, 1976)

The all-Hungarian visuals from the night can be seen as a YouTube playlist here.

Illes: Illesek Es Pofonok... (Qualiton)

Eastern Bloc Disco at Centrala (Playlist for Feb 3, 2017)

4 Feb

Generic Sleeve [Pronit, Poland, 1960s]

The second Eastern Bloc Disco event took place yesterday evening at Centrala, Birmingham, as part of the monthly Digbeth First Friday, and this set ran from around 8pm until 10.40pm (after which a pre-prepared short mix featuring a few other songs, also listed below, saw the event through to its end, more or less). A further collaboration with Centrala, on an archival exhibition and series of events exploring the history, ephemera, design, film and wider political and cultural contexts surrounding some of these artists and sounds, is currently in development for the Summer of 2018. [Watch this space].

Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Koncz Zsuzsa & Illés Együttes: Fáradt Vagyok (Hungary, 1967)
Izomorf 67: Barwy Dzwieku (Poland, 1967)
Karel Černoch: Snídaně v Trávě (Help) (Czechoslovakia, 1971)
Marta Kubišová: Balada o Kornetovi a Divce (Czechoslovakia, 1969)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Polanie: Dlugo Się Znamy (Poland, 1968)
Karel Kahovec & Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Breakout: Pozlabym za Toba (Poland, 1969)
Illés Együttes: Nehez Az Ut (Hungary, 1968)
Janko Nilovic: Xenos Cosmos (Yugoslavia/France, 1974)
Czerwono Czarni: Lot na Wenus (Poland, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Hana Zagorová: Svatej Kluk (Czechoslovakia, 1968)
Chris Doerk: Glaub Nicht (DDR, 1974)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Jana Kratochvílová & Discobolos: Kyvadlo (Czechoslovakia, 1978)
Bemibem: Podaruj Mi Trochę Słońca (Poland, 1973)
Alibabki: Slonce w Chmurach Lazi (Poland, 1969)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Olympic: Tobogan (Czechoslovakia, 1970)
Emil Dimitrov: Scherazhade (Bulgaria, 1972)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Marta Kubišová: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Eva Pilarova: Ohen a Led (Czechoslovakia, 1970)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Manaam: Stoję, stoję, czuję się świetnie (Poland, 1980)

Prepared Mix:

Olympic: Ikarus Blues (Czechoslovakia, 1968)
Sarolta Zalatnay & Metro: Fekete Beat (Hungary, 1973)
Filipinki: Nie Ma Go (Poland, 1967)
Halina Frąckowiak: Wodo, Zimna Wodo (Poland, 1974)
Kovács Kati: Add Már, Uram, Az Esőt (Hungary, 1972)
Marta Kubišová: Svlikam Lasku (Czechoslovakia, 1969)
Czeslaw Niemen: Enigmatyczne Impresje (Poland, 1971)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Locomotiv GT: The Worlds Watchmaker (Hungary/Poland, 1974)
Tadeusz Woźniak: Zegarmistrz Światła (Poland, 1972)

Various Artists: Privni Pantoniada (Panton) [7

Eastern Bloc Disco Playlist (Nottingham Contemporary, 16 Jan 2016)

16 Feb

Generic Sleeve (Pronit)

Last month, to celebrate the opening weekend of Monuments Should Not Be Trusted (curated by Lina Džuverović) and expand on the display of Eastern Bloc 7” records included in Behold! The Markets Shall Erase Our History! (both exhibitions remain at Nottingham Contemporary until 04 March), an Eastern Bloc Disco was staged, featuring soul, rock, psychedelia, pop, folk and more, all released by the official state record labels of Poland, Czechoslovakia, Hungary, Yugoslavia, Bulgaria, Romania, East Germany and the USSR between the early 1960s and mid-1980s. The session also included a live set from UrBororo, Pil & Galia Kollectiv’s new venture into “skewed filing cabinet swamp blues for corporate inflight listening” – an “objectively boring” band whose songs are made from an unlikely merger between the sounds of surf, grunge and punk, and whose lyrics are borrowed from a 1970s Management Self-Help guide.

The all-vinyl playlist for the night ended up looking something like this:

Marek Grechuta: W Pochodzie Dni I Nocy (Poland, 1974)
Raimonds Pauls/Margarita Vilcāne: Līgotāji (Latvia/USSR, 1974)
Izomorf 67: Barwy Dzwieku (Poland, 1967/8)
Raimonds Pauls/Nora Bumbiere: Divpadsmit Asaras (Latvia/USSR, 1974)
Blackout: Powiedz Swoje Imie (Poland, 1967)
Grupa 220: Negdie Postoji Netko (Yugoslavia, 1968)
Vera Spinarova: Andromeda (Czechoslovakia, 1972)
Krystyna Pronko: Po Co Ci To Chlopcze (Poland, 1973)
Czeslaw Niemen & Akwarele: Baw Się W Ciuciubabkę (Poland, 1969)
Josef Laufer & Their Majesties: Útěk z Hladomorny (Czechoslovakia, 1969)
Flamengo: Kure v Hodinkach (Czechoslovakia, 1972)
C&K Vocal: Generace (Czechosolovakia, 1974)
Omega: Gyöngyhajú Lány (Hungary, 1969)
Romauld & Roman: Pytanie Czy Haslo (Poland, 1970)
Drugi Nacin: Zuti List (Yugoslavia, 1975)
Piotr Figiel: Dyplomowany Galernik (Poland, 1974)
Olympic: Ikarus Blues (Czechoslovakia, 1969)
Locomotiv GT: Ringasd El Magad II (Hungary, 1973)
Hungaria: Koncert a Marson (Hungary, 1969)
Blue Effect: The Sun Is So Bright (Czechoslovakia, 1969)
Olympic: Everybody (Czechoslovakia, 1969)
Breakout: Gdybys Kochal Hej (Poland, 1969)
Illes: Nehez Az Ut (Hungary, 1968)
Karel Kahovec/Flamengo: Poprava Blond Holky (Czechoslovakia, 1968)
George & Beatovens: Lez Blazniveho Basnika (Czechoslovakia, 1968)
Martha & Tena: Boure (Czechoslovakia, 1969)
Atlantis: Don’t You Break It Again (Czechoslovakia, 1968)
Petr Spaleny & Apollobeat: Kdybych Ja Byl Kovarem (Czechoslovakia, 1969)
Sarolta Zalatnay: Betonfej (Hungary, 1968)
Halina Frackowiak: Wodo, Zimna Wodo (Poland, 1974)
Stan Borys: Wyplakalem Oczy Niebieskie (Poland, 1969)
Koncz Szusza: Visz a Vonat (Hungary, 1970)
Emil Dimitrov: Scherazade (Bulgaria, 1972)
Marta Kubisova: Tak Dej Se K Nam A Projdem Svet (Czechoslovakia, 1969)
Hana & Petr Ulrychovi: A Co Ma Bejt (Czechoslovakia, 1970)
Angelika Mann: Wenn Ich Mal (DDR, 1974)
Arp-Life: Baby Bump (Poland, 1976)
Walter Kubiczeck: Tentakel (DDR, 1979)
Grupul Stereo: Coloana Infinită (Romania, 1984)
Izabela Trojanowska: Jestem Twoim Grzechem (Poland, 1981)
Grupul Stereo: Plopii Impari (Romania, 1984)
Chris Doerk: Glaub Nicht (DDR, 1974)
Vaclav Neckar & Golden Kids: Goo-Goo Barabajagal (Czechoslovakia, 1969)
Czerwone Gitary: Coda (Poland, 1970)
Grupa ABC: Za Duzo Chcesz (Poland, 1970)
Marta Kubisova: Cervanky (It’s Not Unusual) (Czechoslovakia, 1968)

Generic Sleeve (Supraphon)

Through the evening, a muted playlist of videos also ran on a large screen, and everything shown at the event can be seen in the Eastern Bloc Disco playlist compiled here – between 2 – 3 hours of visuals in total, now available with their soundtracks intact.

Alibabki: Słońce w Chmurach łazi (Pronit, 1969)

3 Dec

Alibabki were an all-female vocal group formed around 1964, probably in an attempt to replicate the success of the by-then well established Filipinki, at the peak of their popularity that year with songs like Wala-Twist. It appears that Alibabki’s repertoire was initially controlled by the group’s producers and managers, Zbigniew Ciechan and Jan Rybiński, and they were generally used as  backing singers to a variety of groups and solo artists through the mid-sixties: after 1968 they seem to have won greater independence and embarked on material produced in their own name, alongside many far more adventurous collaborations. Among Alibabki’s most notable endeavours in the latter category are their contributions to recordings by Tadeusz Wozniak and Czeslaw Niemen, but it’s on their 1969 debut LP Kwiat Jednej Nocy that they really came into their own, and fully distinguished themselves from both the pop-orientated Filipinki and the more experimental NOVI Singers. Alibabki’s frequently changing line up, featuring core members Alicja Puk, Anna Dębicka, Anna Łytko, Ewa Dębicka, Krystyna Grochowska, Sylwia Rajchert and Wanda Orlańska, marked out its own territory in sound with a unique hybrid of folk-inflected harmonies applied to pop and jazz material. The arrangements on Kwiat Jednej Nocy range widely, from the title track’s 1920s pastiche cabaret-pop to the uptempo pop-psychedelia of Slonce W Chmurach Lazi (Sun Loafing in the Clouds), a song that was probably more responsible than most for sparking my interest in Polish music many years ago, when a copy of the LP featuring it turned up in a batch of Muza and Pronit LPs in a Nottingham charity shop. A version of the lyric in English, fudged as it might be in places, is therefore something I’m pleased to have had the opportunity to add here. The original Polish lyric can be read here and the song itself can be listened to here.

Słońce w chmurach łazi (Sun Loafing In The Clouds)

(after Józef Sikorski/Gregorz Walczak, 1969)

I know that tomorrow you’ll maybe come
and we might both be deep in love –
this world could be a coach with four horses,
sunlight glowing on my long white veil.

And look! The sun is lazing in the clouds
while I dream of doing the same,
or so I dream, or so I’ll dream.

But what if – when you fall back to earth –
you ask some other girl to marry you?
Then I’d cut a hair-switch of supple birch,
lash out at all this summer’s dark.

And look! The sun is walking in the clouds
while I dream of doing the same,
or so I dream, or so I’ll dream.

But I hope that tomorrow you’ll maybe come
and we could both be deep in love.
I’ll cross four worlds, with four horses,
my happiness, this long white veil…

And look! The sun is loafing in the clouds
while I dream of doing the same,
or so I dream, or so I’ll dream.

Yes, I know that tomorrow you’ll maybe come
and we could both be deep in love
but I’ll master my own fate, here on my own.
I’ll master my own fate all the same.

And look! The sun is walking in the clouds
while I dream of doing the same,
or so I dream, or so I’ll dream.

And look! The sun is floating in the clouds
while I dream of doing the same,
or so I dream, or so I’ll dream
now I’ve mastered my own fate, all the same.

Alibabki: Kwiat Jednej Nocy (Pronit)

Klan: Automaty (Pronit, 1970)

29 Nov

The first line-up of Klan formed in Warsaw in the latter half of the 1960s and featured singer-guitarist Marek Ałaszewski, bassist Roman Pawelski, percussionist Andrzej Poniatowski and keyboard player Maciej Głuszkiewicz. They quickly gained attention for their improvised progressive music and often idiosyncratic songwriting. Their original recorded catalogue is fairly small, consisting of one full-length LP, Mrowisko [Anthill], issued on Muza in 1971and a self-titled 7″ EP, Klan (1970), which features Automaty, the song presented here. The band’s line-up changed during 1971, to include Krzysztof Dłutowski and Wojciech Morawski in place of  Głuszkiewicz and Poniatowski, but this brief second incarnation soon disbanded, and remained out of circulation until a new Ałaszewski-led Klan (in truth, a quite different band that happens to be led by the same singer-guitarist) emerged in 1992 with a second full length CD, Po co mi ten raj [Why Do I Need Paradise].  The Klan material released in the late 60s and early 70s is notable for a more committed psychedelic rock influence than was commonplace among other bands at the same time, and for a vein of explicit, if somewhat generalised, social comment – of which the impassioned refusal to become a cog in the machine expressed in Automaty is a prime example. The song itself can be heard here and the Polish lyric can be read here.

Klan: Automaty (Automation) 

(after Marek Ałaszewski, 1970)

The machines are counting, counting, counting,
counting, counting, all the time,
automatically cogs are counting, counting,
mechanically counting human programs through.

Programs run together our captive laughter,
counting, counting, on and on – from zero to oblivion –
while automata hope their calculations fail,
automatically pray this automation stops.

This mechanisation might yet destroy us
will count us, count us as we reproduce.
We’ll pretend we don’t know, counting, counting,
counting down to the sleep of efficiency.

We’ll pretend we don’t see, counting, counting,
leave the machines to work and count alone.
We’ll find out that one day, one day, one day,
we’ve been counted through as cogs ourselves –

counted rows of numbers in machines that count us,
that measure us, weigh us, still segregate us…
Will the young keep up all this counting, too?
Keep these numbers scrolling in automated lines?

Or will they become new numbers, counting, counting,
beyond the cogs of these vast machines?
Become unknown numbers, brand new symbols,
transform equations with the sign of X?

020

Czeslaw Niemen: Kwiaty Ojczyste (Muza, 1970)

14 Apr

Czeslaw Niemen’s Enigmatic (1970) was a recording whose songs were all settings of poems by Polish authors, two of which – Cyprian Norwid’s Bema pamięci żałobny-rapsod (Funeral Rhapsody in Memory of General Bem) and Adam Asnyk’s Jednego Serca (One Heart) have already featured here, along with some background on the recordings and Czeslaw Niemen himself. This further song is Niemen’s setting of Tadeusz Kubiak’s Kwiaty Ojczyste (Native Flowers), a poem that reads as follows on the sleeve of the original Polish LP release:

Kwiaty nad Wisłą mazowieckie
Stokrotki, fiołki i kaczeńce
Zielone wierchy nad Warszawą
Kwieciste nad domami wieńce.
Kwiaty znad Odry, gąszcze, róże,
Stukolorowe pióra pawie
W parkach Szczecina i Opola
W małych ogródkach pod Wrocławiem…

Kaliny, malwy białostockie,
Lubelskie bujne winogrady,
Dziewanny złote pod Zamościem
I w Kazimierzu białe sady.
Kwiaty nad Wisłą, Narwią, Bugiem,
Zbierane w słońcu, przy księżycu
Kocham was kwiaty mej ojczyzny
Nad Odrą, Wartą i Pilicą…

Mostly the version that follows has tried to remain true to this, with the proviso that some details have been added here and there to elucidate some of the place names and locations that may not be immediately recognised by non-Polish readers as, for example, rivers, or towns in particular regions. This has formally altered the poem by in effect, adding an extra line to it, but hopefully it otherwise remains reasonably close to its source both formally and in meaning. The song can be heard here, accompanied by film of Niemen in performance with the vocal group Alibabki, and a stellar line-up of Polish jazz musicians that includes Zbigniew Namysłowski, Czesław Bartkowski and Michał Urbaniak.

Kwiaty Ojczyste (Native Flowers)

(after Czeslaw Niemen/Tadeusz Kubiak, 1970)

There are flowers on the Masovian Vistula,
white daisies, blue violets and marigolds.
Flowers crown the green peaks over Warsaw,
lay floral wreaths on all the houses’ roofs.
There are roses, flowers from the thickets of Odra,
like hundred-coloured peacock feathers
in all the parks of Szczecin and Opole,
in all the small gardens tended near Wrocław.

Mallows strike root in Kalina and Bialystok,
grow in Lublin’s lush vineyards and wineries.
Golden clementines flower in Zamosc,
the orchards of Kazimierz turn white with blossom.
There are flowers on the banks of the Vistula,
flowers by the waters of the Narew and Bug,
flowers I love, gathered under the sun and moon,
bright in the shadow of Pilica’s castle wall,
flowers where the Oder and Warta rivers flow.

Czeslaw Niemen Enigmatic (1970)

Illés Zenekar: Nehéz Az Út (Qualiton, 1968)

29 Mar

A swirling psychedelic road song perfectly attuned to whatever traces of the Summer of Love had managed to cross the Iron Curtain, Nehéz Az Út (Hard Road) was the title track on the first Illés LP,  Nehéz Az Út: Illés Story (Exmusic), released on Hungary’s Qualiton label in 1968. The band’s earliest roots lie in a family cabaret and folk outfit formed around 1957 but the classic Illés line up came together in 1965, at which time they also started to write their own songs. Some of these appeared on the soundtrack of the semi-documentary film Ezek a Fiatalok (These Young People) in 1967. That film also featured two other key Hungarian bands of the late 1960s, Metro (often found backing Sarolta Zalatnay) and Omega, often considered a Hungarian Rolling Stones to Illés’ Hungarian Beatles: in the film, Illés perform both by themselves and on several numbers with the renowned singer Koncz Zsuzsa. Illés released five LPs between 1968 and their eventual dissolution in 1973, but returned in the early 1980s and have remained active, one way and another, ever since, despite the death of founding member Lajos Illés in 2007. Their distinctive sound often incorporates folk elements into pop songs and hard rock structures and in their time they toured and recorded in East Germany and much of Western Europe, including the UK. It was while on a UK tour in 1969 that the band made mildly critical comments about Hungary’s government during a radio interview, leading to a 12 month ban on further recording and touring on their return – but if anything, this forced absence ensured even greater popularity than before when their next recording finally appeared in 1971. Nehéz Az Út itself seems to skirt ambiguous territory, part standard song of hard travelling, part suggestive dream of flight into exile. The Hungarian lyric can be read here and the song can be heard here

Nehéz az út (Hard Road)

(after Bródy János/Szörényi Levente, 1968)

The sky is grey. I’m tired of traveling with this wind.
Light streams in my windscreen, rushes me along a road
where distances endlessly open out to a far horizon.
Give me strength to leave. No one can help me now.

I have long since lost all the friends I once knew.
I’m leaving, though it’s hard, and keep driving on.
Hope lives in me, but, oh, I need all your help.
Give me strength to leave. I need you to help me now.

It’s so hard to keep driving with the wind at your back.
This journey ends only when I get somewhere.
If I arrive? Who knows? I might be there then gone.
Give me strength to leave. I need all the help you have.

All I know are these thoughts that rush through my head,
the grey sky, exhaustion, traveling with this wind.
I aim for horizons, hold a steering wheel tight in my hands.
Give me strength to leave. No one can help me now.

Illes - Nehez az ut (1968)