U tvojim očima

Žera okuplja novu škvadru i snima album kojim pokušava najaviti novu eru, kako za „čaršiju“ i ratom iscrpljeno Sarajevo, tako i za samog sebe. Međutim, pošto je u međuvremenu zaratio s Arslanagićem (koji se skrasio u Torontu bez ikakve namjere da se vraća na scenu ili u BiH), Crvena jabuka ostaje i bez zadnje prave karike. Ono malo kreativnog kontinuiteta što je preživjelo smrt Ričla, definitivno je nestalo.

Rupu su morali krpiti vanjski saradnici s tekstovima poprilično jeftinog karaktera. Žera je tu nešto otpjevao, a suša ideja bila je tolika da su morali ubaciti čak dvije obrade i uzdati se u Lošu i Fazlu da napišu većinu materijala.

I tako nastaje U Tvojim Očima, album koji je po kvalitetu na nivou poslijeratnih padova Prljavog kazališta ili Galije. Ipak, marketinški je savršeno iskoristio sam završetak rata za masovnu promociju. Jebi ga, narod u to vrijeme upijao je šta god mu se ponudi, pa makar to bilo i osrednje sranje. I teško da im iko to može zamjeriti.
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Žera gathers a new crew and records an album intended to herald a new era for both the čaršija and a war-torn Sarajevo, as well as for himself. However, having fallen out with Arslanagić in the meantime (who settled in Toronto with no intention of returning to the scene or to Bosnia), Crvena Jabuka lost its final true pillar. Whatever creative continuity had managed to survive Ričl's death vanished completely.

External collaborators were brought in to plug the gap with rather cheap lyrics. Žera offered some half-hearted vocals, and the drought of ideas was so severe that they had to include two covers while relying on Loša and Fazla to write the bulk of the material.

And so came U Tvojim Očima, an album whose quality sits on par with the post-war decline of Prljavo Kazalište or Galija. Yet, marketwise, it perfectly capitalized on the end of the war for massive promotion. Hell, an exhausted public at the time took whatever they were fed, even if it was mediocre shit. And you can hardly blame them.