Disco, a vital Trojan horse (in local notion: a pop music you can dance to), stayed quite a long time In Yugoslavia, refusing to be silenced and refusing to jump into the bandwagon of expected. It was influenced by American and European disco sound, for example, by the Boney M, Amanda Lear or Love Machine, who all visited Yugoslavia and had live concerts. The producers and the big record companies like Jugoton, PGP RTB, Diskoton or ZKP RTVL, noted the hype in music and they constantly probed the market with limited run of seven inchers or special performances. Some artists were quite successful. We had our version of John Travolta (Zdravko Čolić), we had Boney M in Mirzino jato and other musicians that climbed the charts, but the rest were in the single empire which was free enough to experiment with all things disco had to offer – genre hybrids, use of electronics, sexual innuendo, bizarre lyrics and most importantly, great musicians and major composers having fun. The no-restrictions policy of disco was there to evade the rules and surely it did. (extract from the Liner Notes)