Sa druge strane jastuka

"The very first time we played it live was in Kulušić. [...] I had had a good riff, and I wanted a song to open shows with. The riff goes first, then the drum, [...] then the whole band. We used to open and close concerts with '220' for a long time. I always loved songs like "Should I Stay or Should I Go", the ones with a good riff. Nele Stamatović played the solo that we didn't like straight away, so we made an agreement - he will play the solo, and we will play it backwards. The most interesting thing now is that when [Marko Nježić] Kića learned to play the solo, he, without knowing, played the solo like on the album."

The song is a cover of the 1970 song "What Have They Done to My Song Ma" by Melanie Safka. Bajagić commented:

"I loved that Melanie Safka song when I was a kid because it had a good melody and a stanza in French, which I thought was interesting. [Album producer] Bata [Kovač] did the arrangements, and I think he did great. He played the harmonica solo on the synthy, and it was great. It was among the first songs [from the album] to become a hit, because people knew it already. Cukić sings a part of it. Deša [Cukić] is great on stage, [...] he can't stay still."

"I loved reggae. Bob Marley, Peter Tosh and Eddy Grant. Around the time of the debut album I even used to wear a rastacap. The song was played by [Goran Grbić] Grba, Neša Petrović, and a young jazz crew, not by Stjepko and Mića. We thought they [Grbić and Petrović] weren't that perfect as these old guys [Stjepko Gut and Mića Marković]. Reggae is always played a little bit sloppy. We wanted to have something like brass players from Jamaica, which never sound like jazz musicians, but as amateurs playing trumpets. These guys [Grbić and Petrović] weren't amateurs, but were still young jazzers at the time. One of the dearest reggae pieces I made."

"A classic rock song we did in pop arrangement. That was the time when stuff like Billy Idol was very popular. [...] The guitar was played by Krle [Dragan Jovanović of Generacija 5]. [...] On concerts we adjusted 'Ti se ljubiš' to rock 'n' roll, because that's what it basically is. On Sa druge strane jastuka it was adjusted to the time."

"We all loved jazz, especially Vlajko [Golubović]. Within the Youth Center, where we rehearsed, there was a jazz club that stayed open until 2a.m., which wasn't customary at the time. We often hung out with jazzers because we used to keep our instruments in the same room and we often used to stay together until 3 or 4 a.m. [The verse] 'Dole ispod Slavije, kada šina savije' ('Down under Slavija, where the tram road turns') is a real experience from when we used to go home from the Youth Center. Later, one of the jazzers said to me: 'You're not even a jazz musician, but you made one of the rare domestic jazz standards'."

"A ballad that flirts with reggae a bit. [...] Mića and Stjepko played a very good theme here. Sounds great, although it wasn't easy to play. I think Sa druge strane jastuka is a good name for an album. All the love songs there are in a way on the other side of the pillow when you sleep. The name of the album should be something that can connect other songs as well."

"A funny anti-drug song. At the time, people used to take all sorts of things. I think the Miša Vukobratović-directed video, where Žika plays a bearded doctor, is the best explanation of the song. The song itself is half-punk with a melodic refrain. It's a small dig at psychiatry. Even during socialism psychiatrists used to resolve a lot of problems with pills instead of conversation. The easiest thing is to prescribe pills to someone. [The song is] a critique of that practice."

"I wanted to have a discothèque-friendly song. Disco rock with a slight influence of James Brown and of course of Beethoven's Symphony No. 9. I loved the film Twentieth Century, it was an interesting title, so I wrote the song. There's a little critique of playback. We thought it was crazy [...] Deception of the audience! I wrote a rap part for Žika to sing. Rap wasn't that popular at the time, but there were short forms in which someone talked. I thought it would be fun if there was another voice. I always did that, to have both male and female voices. I can only listen to Johnny Cash singing twelve songs alone."

"Bata thought that a French accordion would sound great there. Our friend Mita, a folker, knew to play some French stuff on the accordion. Žika was singing on a partly fictional French [...] Then I wrote new lyrics, and Bata and Žika agreed it should be followed by march. And it sounds great, a great act on the concerts. We played on some festival in Toulouse in 1985, and they thought it was interesting."

"I wanted us to have a classic twelve bar rock and roll, because it's always good for concerts. A fun song, with lyrics without much importance, like in the most of twelve bars."

"I wrote it in my Kosovska Street apartment. Slow tempo, my voice additionally low and only three chords, but I think it has a good atmosphere. The first song with the atmosphere I was completely satisfied with. Bata did the arrangements and we didn't interfere. I think he did great. Actually, it’s a very simple song where I showed that sometimes the simplest is the best. Somewhere between a ballad and a lullaby. For the Hit meseca [Hit of the Month] show, everybody used to select a song with which they would be represented. We chose "Zažmuri". If someone asks you: 'What should a song for Hit meseca be like', the answer is: 'Fast and with a hit potential'. That's why the guys from PGP-RTB [record label] went mad: 'Are you crazy, why didn't you send one of the fast ones?' But it happened that the guys from Hit meseca liked it. They gave us a great budget and two days to record a video, which was amazing. The videos were usually recorded in three hours... And we made the dumbest possible video. Me, with a dog, on the snow... And then we're hugging in some apartment. Totally crazy. Altogether, it was a piece of shit. That's what the director of the video, Milutin Petrović said later, so I can say it now. It was that bad that they played it on one show, on the second, and for the third one they called us to perform live, they didn't want to play the video, it was that awful. Before that, someone from Bijelo Dugme, I can't remember if it was Ipe Ivandić or Zoran Redžić, said to us: 'It isn't easy to go with the ballad first'. And we reached top of the Hit meseca's chart."

• Dragan Jovanović - guitar
• Branko Mačić - jazz guitar
• Nenad Stefanović - bass guitar
• Sava Medan - double bass
• Rade Radivojević - bass guitar
• Tihomir Jakšić - saxophone
• Milivoje Marković - saxophone
• Jovan Maljoković - saxophone
• Slobodan Grozdanović - trombone
• Goran Grbić - trumpet
• Vladimir Krnetić - trumpet
• Stjepko Gut - trumpet, flugelhorn
• Kornelije Kovač - keyboards, producer, arranged by
• Ljilja Sađil - backing vocals
• Marina Sađil - backing vocals
• Saša Habić - producer
• Đorđe Petrović - recorded by