Ola, ola e
Struka · Other Songs - Struka
umacem krilca u szos dok kurave puderisu nzos
krecem se po gradu u svom letecem tanjiru
obracam se ovim droljama u pretecem maniru
Nekad broj'o ih na prste, sad kad ljube prsten
vide svoj odraz u mom svetlecem safiru
i nece da me ostave na miru
plavusa mi lici na Sakiru, crna na Asu Akiru
Moj bass u clip-u je, pa CD skipuje
je l' ovo tvoja riba na mojoj kiti, il' tripujem
mozda, mozda ne, mozda stvarno tripujem
ali u principu je sve kul i dalje pimpujem
Kako je dobro biti kralj
svaki moj pocetak reperima znaci kraj
samo laj i vidi sta ce da se desi
mislim da uopste niste svesni, pevajte sa mnom
Ref.
Ola, ola e
Siggy se vratio na mamojebni radio
ola, ola e
tol'ko sam zacadio da sam se unazadio
Ola, ola e
nekad se vozio u caletovoj Ladi-o
ola, ola e
a onda - onda sam zaradio
Pravimo dolare i jure, hejteri bolje da zazmure
dovedite u red svoje kurve
fokusiran na posao dok vozim se Firencom
sa Pablom Diablom i Bencom s Lorencom
Kapisi - planiram da zapalim na Sejsele
s egzoticnim kuravama radicu interrejsle
trosicu stare pare, al' nikad na stare 'rave
jer prave glave ne zive od stare slave
Gas do daske, brate, nemam vremena da sednem
moje sranje mora da jebe jer moram da jedem
zato, pile, skaci po kari bossu
dok jedem pile u kari sosu
Kaze voli moj rep, da sam joj cadak i jep
pala je na kolena, vezala kosu u rep
njena je guza moja vecera od secera
hladan mamojebac k'o da zivim ispod glecera
Ref.
La di da di, la di da di da di o
About Ola, ola e
"Ola, ola e" finds Struka in a pop-minded frame, where a clear central idea and emotional directness carry the song. The title gives the song a sharp center of gravity, but the mood is what stays with the listener once the first impression passes. There is a welcome sense of proportion in the way the music presents itself: the hook has room to land, while the surrounding moments support it instead of competing for attention. The best moments are the ones that let the central idea return with a little more weight each time, instead of forcing a bigger gesture. For listeners returning to Struka, the song offers a compact example of how mood, pacing, and a recognizable point of view can meet in one place. That patience gives the track replay value: it feels immediate, yet it leaves enough space for small details and shifts in feeling to register later. The clarity of that approach is its own strength, because it lets the feeling come through without turning every moment into a dramatic demand. Even when it aims for immediacy, the track avoids feeling disposable because its atmosphere remains distinct after the final note. Its emotional center stays firmly in view throughout. What gives the song its lasting pull is the relationship between focus and release. It does not need to announce every change; instead, the mood develops through repetition, contrast, and the confidence to let a phrase settle before moving on. That sense of control makes the performance feel more personal. The track can sit comfortably in a casual listen, yet it also rewards the extra attention that comes when a familiar line, turn of phrase, or change in energy begins to stand out. In that balance, Struka avoids both excess and understatement. The music stays close to its emotional core, which helps the song feel coherent from beginning to end. More importantly, the song does not rely on novelty alone. Its effect comes from the consistency of its mood and the way each return to the main idea deepens the sense of place. That steadiness makes it easy to revisit without losing its impact. The result is not simply a catchy moment but a complete mood, one that leaves a clear afterimage and gives the title more meaning every time it returns, again and again.