«Rire» (1), the opening track, introduced by fingerstyle guitar solo, gradually embraces other instruments and finally reaches the full band arrangement. The next one, «Open News» (2) was recorded in 1995 and it is the only piece with two guitars playing in unison. I tried to repeat what I did then for several times but without success. Namely, I succeeded in recording two identical guitars lines producing a "mirror image" sound without using a metronome. In later attempts, there was always a certain shift so that I finally decided to include this version. Although it might not be compared to the rest of the album in terms of production, it still contains one of those unique moments. Elements of Croatian ethno music can be heard in composition  »Dubrovnik» (3), titled after a south Croatian town of rich history and cultural heritage. The entire structure is based on "lindjo", a traditional dance from Dubrovnik surroundings. «Leo's Dance» (4) is a tribute to the American guitar player Leo Kottke, the pioneer of modern steel strings guitar. Although the first part includes ethno dance elements, the second part presents the typical Kottke drive, this time in full-band arrangement. «Speak To Me» (5) is the English version of the song  «Reci Mi», originally released on double album  «Gemini», featuring drums and bass. In concerts, this song is usually performed on guitar and vocals by Meri Trošelj, since it is only when the arrangement is reduced to the minimum that fingerstyle emerges.
     Bruno, Alba and Laura are members of the Italian ethnic group, which is quite numerous in Rijeka. Our collaboration resulted in «L'eta perfetta» (6) and «Lasciati portare» (11). Both songs have been chosen because they are performed on steel string guitar using fingerstyle technique and follow the «spirit» of the album, which is based on various steel strings guitar "phenomena", ranging from solo guitar compositions through pop/rock to different experiments. «Anderkaver Laver» (7) is unmistakably experimental by its nature. Marko recorded three loops, which made the basis for "somewhat weird" reflections. If I had to restrict my horizons and limit to a single style, this would probably be the one. I hope that once I will have a chance to record an album made exclusively of such songs. «If» (8) was based on one of my old instrumentals.  I gave Meri a master copy without the melody line assuming that she knew it, but she adapted the voice and lyrics to the "background" arpeggio since she simply had forgotten the melody line. After having heard the track several times, which was quite necessary for me to accommodate to the sacrilege of author's ideas, I eventually liked it. «Can’t Go Fast Enough» (9) continues with "weird" reflections. I remember when I was explaining to Douglas how I imagined this piece and what I expected from the interpretation and lyrics.
I played the master for him and said that I wanted to get Frank Zappa in that part and that I want him to try doing an impersonation of American TV show hosts.  Douglas looked at me dreadfully, with his eyes wide open, he was speechless for a few minutes and then took a piece of paper and wrote several lines of lyrics. Then he started to do the impersonation and it was a great fun. «Drunky Junky» (10)
was played on 12-string guitar using flatpicking technique. Sooner or later, any steel string guitar player reaches for the bottleneck and I am no exception either. «Under The Umbrella»
(12) was written after the memorable concert in Kastav, near Rijeka, on August 14, 2003,
where I performed before the great Tommy Emmanuel. The weather was rather unsettled, so as
I was playing my third composition, lightning started to flash and the first drops of rain were falling. After half an hour, it started to rain cats and dogs and the concert was cut short, yet, there was a strange excitement. There was something in the air and the audience did not run away. After a brief break, the rain stopped and Tommy jumped on the staged and started playing. It was then that the rain started again. A man from the audience, carrying a big umbrella, also jumped on the stage and sheltered Tommy and himself. The audience was fascinated, as if glued to their chairs. Everyone was wet to the skin, yet everybody enjoyed the spectacular concert, announced months before as a memorable show. The second part of the song introduces slight arrangement interplay, starting with Meri's "Irish" vocals, continuing with Douglas' funky background  while in finale, the entire band joins.  »Now I Know» (13) had a working title «Coverdale» because Meri deliberately phrased in David Coverdale style. Eventually, all that joking resulted with a composition. »Desejo» (14) is, along the «Open News», the only piece from the demo recordings made before releasing the first album. This one should have been included in the «Ocean» but, incredibly, I forgot to record it during my stay in Bologna, where the album was recorded. Desejo means desire in Portuguese.
«At Court»(15) was played on a very special nine-string guitar, called  «S.M. Gilg Croatica» invented by Velimir and Antonio Zwirn.  It is not in mere adding the three strings (double strings are the first, second and third - octave) that the secret is hidden  but in the innovative resonant box providing a unique sound  that cannot be compared to anything known, either in intensity or timbre. «Torrente»(16) was inspired  by the homonymous Spanish film (part 1). «Cartoon Rag» (17) leans on ragtime and it can be filed in the «American directory». «Tender Wagon Song» (18) follows the «High Noon Express» and «Mosquito» from the «Ocean». So, it is an «American» song, where you can feel blues and country roots like in «12 Strings Special» (19), played on 12-string guitar.