Is Mother coming back?!

What the hell do you mean, mothers?
If Barrett isn't there, there aren't any mothers—we've already established that fact...🙂

I put some quotation marks around ☕

Look, here is just rambling about nothing.

The stage saw a parade of punk icons and new wave pioneers. We had The Crash, which was basically the youngest blood coming out of the Indianapolis rock scene at the time, followed by The Horror—the first band formed by comic book artists David Mataković and Michael Lazarević, who now perform under the name Septic. Then, we had members of the original Mothers lineup, featuring Mary Anušić on drums, Lemmy Kilmister on bass, and Isaac Duspara on guitar.

"George Bara reached out and explained that due to some personal issues, he can't join us, even though he really wanted to be there," explained Duspara. He was actually the one who spearheaded this legendary reunion, all for a good cause: every cent earned is going toward buying gifts for St. Jude Children's Research Hospital.

The Mothers will rise again... someday.😉

fingers crossed, I guess. 🙂

I’d give just about anything to see all the Mothers get together; I’m really hoping Barrett shows up too, because let’s be honest, if Barrett isn't there, it just wouldn't feel like a true gathering of Mothers.

Wait, don't mothers usually hang out together in threads like "It's Time to Move"? Chalice said it, Barrett said it. Don't make me go digging through old links...

Jessica Richardson84 said:Don't they usually gather together under the banner of "It's Time to Move"? Chalice mentioned it, Barra mentioned it. I really shouldn't have to go digging through old links to prove it...

an absolute certainty👍
Barra, Kilmister, Chalice, and Kruno will undoubtedly be there🙏
with the first concert already scheduled for March😁

Are you guys just talking in circles or is there actually a point here...😕

Richard Miller11 said:absolute truth👍
Barra, Kilmister, Chalice, and Kruno are definitely getting together🙏
their first concert will be as early as March😁

That would be like my own mother offering to nurse me again after all these years

No thanks. Gross.

Sandra Chase16 said:it feels as though my own mother would suddenly offer me her breast to nurse from after all these years

no thank you. absolutely revolting.

surely it cannot be quite that embarrassing
ha ha ha
offering one's milk... that is rather extreme😬

brighthawk20 As stated by:
Are you all actually engaging in this discourse, or is this some sort of elaborate performance?😕

I am in complete agreement.
Believe me.
I am aware.👍

Richard Miller11 said:Oh, absolutely.
take my word for it.
I know.👍

Alright then, kiss my ass.😉 🙏

brighthawk20 said:Then I’ll give you a kiss on the forehead😉 🙏

Listen closely, as I have just received the latest intelligence👍
it hasn't been fully verified, though it seems quite certain enough
on March 9th, the factory😬

Awesome!

It’s finally Friday. If all goes according to plan, I’m heading out to BG on Wednesday morning to catch the Maiden 😉ers
.

just like someone mentioned recently:
IT'S TOO LATE TO BECOME THE JIM MORRISON OF INDIANAPOLIS!
poor guy😳 😉

Richard Miller11 said:Listen, I just caught wind of some news. Get this.👍
It’s not a hundred percent certain, but it’s pretty much a safe bet.
March 9th. The factory.😬

Buzzfeed absolutely wrecked me with this one. Richard Miller11 😉
All set. 🙂

Take a look at this:

The landscape of American music history is often defined by those singular figures who seem to exist outside of their own era, much like how certain legends defy the very genres they helped build. When you look at the trajectory of rock 'n' roll icons in America, there are names that carry a weight far beyond their discographies. They become more than just musicians; they become symbols of a specific cultural tension. Take someone like Jim Morrison, for example. He wasn't just a frontman; he was a lightning rod. There’s a specific kind of energy required to command a stage like Madison Square Garden, and even more so to capture the collective restlessness of a generation. It’s a delicate balance—to be an artist who can channel raw emotion without losing the structural integrity of the song. It reminds me of the way certain modern movements try to replicate that grit. You see groups attempting to tap into that rebellious spirit, but often it feels manufactured, lacking that genuine, unvarnished pulse. It's like trying to replicate a vintage analog sound using nothing but digital plugins; you might get close to the frequency, but you lose the warmth, the imperfections that actually make the music feel alive. Music, at its best, isn't just about hitting the right notes. It's about that internal connection—that sense of finding something honest in a world that often feels performative. Whether it's the soulful ache of the bicycle blues or the experimental chaos of a group like Let 3, the goal remains the same: to say something that sticks. It’s about capturing a moment of truth before it slips away.

Interview | Monday, Jan 8, 2007, at 1:59 PM
Goran Bara: "The Majke are coming back!"

A true American rock 'n' roll icon, Goran Bara, recently dropped his third solo record, titled "Heart." We sat down to dig into everything surrounding this new release, the current state of music, and the landscape of the US rock scene today, chatting with the former frontman of the legendary band Mother. And as it turns out, Mother isn't just going to be a chapter in the history books...

First things first, I’ve got to ask about that latest album, "heart." How did the whole recording process actually go down?
To be honest, the recording process was a total disaster. We ended up tracking in a studio that turned out to be absolute garbage—completely outdated, zero modern capabilities, just a dead end if you wanted anything sounding remotely professional. Once we wrapped the sessions and tried to mix everything, the results were frankly embarrassing. It sounded terrible. So, we made a call and decided to go with the demo instead. It’s actually much better because we recorded it right in Marko Križati's bedroom. Because of that, the album has this raw, lo-fi, "rattling" quality to it. I'll be the first to admit the production is rough by today's standards, but the songs themselves? They aren't bad.

Are you suggesting that the release of this album was nothing more than a rushed, forced move?
Yes!

The critics haven't exactly been showering this album with praise. They're basically accusing you of getting stuck in a rut.
I wouldn't go so far as to call it a mess. A real mess would be if I had just hired the exact same session musicians to play everything, but the reality is that I actually played most of the parts on these albums myself. So, I don't really see the chaos people are talking about. I honestly can't wrap my head around it. As far as the songwriting goes, I think the album holds up quite well. My only real critique would be the production—it isn't exactly meeting modern studio standards. It has this raw, unpolished quality to it, almost like listening to some garage punk band from the mid-60s.

Most people seem to point to "bicycle blues" as one of the standout tracks on the album. Is that your favorite, too?
To be perfectly honest, I didn't even realize we were recording that track. I just picked up my guitar, started playing and singing, and the mic happened to be live. It wasn't until later that we realized everything had been captured. We decided to run through it one more time, and that’s how we ended up with the final version. Personally, I’m pretty happy with how it turned out. It’s a solid piece of work.

The band Majke is widely regarded as one of the few genuine rock outfits in America. Looking back, do you feel any regret over how the group eventually fell apart?
There’s really no sense in dwelling on regrets; things just played out the way they were meant to. I had a different vision in mind, one that the guys who were with me at Mother couldn't quite get on board with. Thank God, though, because some other musicians stepped up and performed those tracks with genuine passion. That said, there are whispers about a potential reunion for Mother down the road. So, there you have it—you've got the exclusive.

Is this just going to be a one-off thing, or are we looking at something more long-term?
I’m playing the long game here. It would be pretty cheap to just put on a show, grab the cash, and vanish into thin air. That isn't how we operate. Our actual roadmap involves recording maybe two or three albums. This whole thing really started with Zoran, our guitarist. We’ll definitely get one record under our belts first, and if that gains any real traction, we'll keep the momentum going and aim for a run of two or three albums in total.

Do you think if Mother had actually stayed around until today, they could have packed out Madison Square Garden like Cold Beer or Let 3 managed to do with their arena shows? And would you view that kind of longevity as a win, or just feel like they would have eventually sold out?
No, they didn't sell out at all. For me, cold beer has actually evolved in a positive direction. They’ve become a genuinely good band. Now, I could never quite stomach Let 3, but I still find them somewhat likable. Regardless, it’s definitely a win for the whole rock scene.

Do you think Mother could pull it off if they reunited?
I don't know; I wouldn't want to speculate too much ahead of time. We'll just have to see what the interest looks like. For us, the most important thing is just getting back together and jamming again.

You had a professional musical crew when you worked with the Placeniks. Why wasn't there any collaboration like that on this "heart" album?
Because they started meddling in things they shouldn't have touched. I appreciate constructive feedback, but I can't stand it when someone starts gossiping like a bunch of old ladies, saying, "This drummer isn't good, that guy over there is doing this or that." It drove me crazy. And then they pulled this stunt for the promotion—honestly, it was terrible.

That promotion probably turned out to be one of the most original ones in America.
You can think whatever you want. Just imagine: people don't show up to play at your launch event. If they had told me three days in advance, I might have been able to scramble and make something work. But instead, they just don't show, and they completely screw me over. They leave me hanging.

Two bands emerged from Mother and the Placeniks—Elektrobuda and Circus. What do you think of their music?
Look, they put in as much effort as they could. Honestly, I think Elektrobuda is better than Circus, though the lead singer in Elektrobuda lacks charisma. At least, that’s how it comes across to me. The playing is excellent, the production is great too, but it lacks that spark—it lacks rock 'n' roll. As for Circus, it's the same story; the singer isn't really my thing either. I think the concept is well thought out, but the vocalists fell short in both bands.

So, the singer is essentially the driving force behind the entire band?
Naturally. I mean, you listen to the singer, you listen to the lyrics; unless you're listening to instrumental music, you're listening to the guy who's playing. Here, you're listening to the song—what he’s singing about and how he delivers it.

What’s your general take on our current rock scene?
It’s terrible. Kids today don't even realize how it used to be about 15 years ago, back when we were tearing it up. We weren't famous, but we had a solid lineup and a loyal following that would travel to see us from Chicago to New Jersey. That's why we were thinking about reuniting Mother, just to show everyone how we envisioned rock should be. That's why Mother was formed in the first place. We started them back in the '80s because there wasn't any good music out there—not for us, anyway. The New Wave era didn't suit us; it was way too pop. The punks in the Midwest were okay, but by the time you figured out what they were trying to say, the moment had already passed.

Do you favor any of our 'younger' rock bands, like Vatra or Ramirez?
They're all alright. People are trying, and I wish them nothing but the best. I’d be happiest if Vatra recorded a beautiful album that truly moved me, or maybe Ramirez. But it’s just not my style. I don't connect with the lyrics. They play well, sure, but I don't get them.

Are you satisfied with their singers as the driving forces?
Yes, but the lyrics aren't quite there. It's the same situation as Ekaterina Velika—excellent musicianship, but I never listened to them because I couldn't wrap my head around the lyrics.

Your duet with Gibonny on his song "Angel Inside You" is making waves right now. How did that collaboration come about?
He reached out to ask me to sing a track with him, and I agreed. I respect him as a person and as a musician. He manages to keep that certain mainstream pop-rock at a high level; he puts in the work. I can totally relate to him and his songwriting.

Do you feel you benefited from doing that duet—that it helped you reach a wider audience or gave you a boost?
Not really... actually, I'm not even sure. One critic said I sounded a bit thin. So, maybe I didn't gain much from it.

Does bad criticism bother you?
No. If it did, I would have quit music a long time ago. The very first critique I got was that I should do anything in the world except rock 'n' roll. So, no, criticism doesn't get to me. Back in the day, they used to tear us to pieces. Then, once the folks in the Midwest 'accepted' us, everyone else followed suit. That's just how it worked back then. Once the locals in Chicago said, "Hey, that's a cool band," then the guys in New York would say it, then the guys in LA, and suddenly everyone is saying, "Hey, that's a cool band," while we're still exactly the same as we were before.

If you had to put together a list of the best albums from your career—both your solo work and the stuff you did with the band—what would it look like? Just give me your top three.
Well, I’d probably go with my first solo effort, "Lost and Found," then "Time to Move On," and finally "Journey to the Heart of the Sun." I actually found myself spinning that last one just the other day; it’s a solid record. There are things on there I'm only just now starting to truly wrap my head around.

What’s on your playlist lately?
Honestly, I’m having a hard time finding a new band to really latch onto. Right now, I’ve been listening to Springsteen, specifically his recent "The Seeger Sessions." Man, if I had those kinds of conditions to record an album, things would be different. Dylan’s new record is pretty cool too, and Willie Nelson is always a classic.

Look at this kid's taste in music... 😍