Subsequently, after topping the local music charts with "Študentská láska" (1978),[1] her debut set entitled Dievča do dažďa (1979) saw its eventual results on OPUS Records.

While her guitar-based double effort Mince na dne fontán (1983),[9] received the Gold Arms award as the best-selling record,[10][11] its successor called №5 (1984)[12] would find her experimenting with electronic music, giving Gombitová some of her strongest reviews, for a change.

Her consecutively running synthpop outputs, such as Voľné miesto v srdci (1986)[13] and Ateliér duše (1987),[14] they both enjoyed a series of airplay hits, being accompanied with a sold-out concert tour and a video album release, respectively.

Marika Gombitová was born on 12 September 1956 in the village of Turany nad Ondavou, east Slovakia, as the seventh child of Michal (19 December 1913) and Margita (19 August 1921, née Novotňáková).

Following the leaving exam she, therefore, moved to Bratislava[26] and got an initial exposure in Slovak Television with songs "Lúčenie" and "Túto pieseň spievam vám" (both co-written by Lehotský), performed in Chvíľa pre pesničku in 1976.

"[29] For the first time, her name appears in the national music poll Zlatý slavík, being ranked as the 46th Most Popular Female Singer in Czechoslovakia in 1977 (Modus scored at number #6).

[32] She also recorded four tracks on the Motion Picture Soundtrack of Smoliari (issued in 1979), and her position in annual Zlatý slavík skyrocketed to number #4 this time (Next year she scored at #3, while at #2 in 1980).

[33] Following her contribution to the Collegium Musicum's full length project entitled On a Ona, Gombitová along with Modus was headed in February 1979 to the recording studio to work on their self-titled debut album.

[35] In the early phase of her solo career, she underwent vocal training with coach František Tugendlieb,[36][37] whose supervision included a broad range of her peers recording artists.

Tugendlieb had become proverbial for dividing off head register from chest voice, allowing production of nasal tones, which resulted in a greasy-voiced sound distinctive for overtone singing, or rather children.

Peter Lipták praised Gombitová for "[her] beautifully metallic, a bit heavily-sounding voice",[2][41] while František Horáček from Populár went in his superlative review even further when compared "[her] original, metallic-sharp timbre" to "the tonal compression of organ pipes".

[45] In response to her second set Môj malý príbeh (1980), record producer Július Kinček stated that writing about "[her] original vocal, excellent technique, sound sense for rock genre, flawless phrasing and great musicianship... [it] has already become by now bringing the wood to the forest".

[46] Nevertheless, Marián Jaslovský as the only criticized most of the singer's vocal outputs from the soundtrack Neberte nám princeznú (1980), and reportedly for her "traditionally artificial exhibition", which he saw unsupportive toward fluidity of Ursiny's songs.

Populár music columnist Dagmar Kolářová complimented Gombitová on her "singing artistry", no less her attitude for "expressive style" she delivered on her comeback album Slnečný kalendár (1982).

[50] Miloš Skalka of Mladá fronta praised her ensuing live performances on Mince na dne fontán Tour (1983) for "[her] excellent vocal dispositions and secure intonation".

[29] In 1978, her "Letná pieseň" found a rapport on additional televised charts, such as Našich 9,[61] which she eventually topped with duet "S tou nádejou choď spať" featuring Lehotský.

[62] Needless to say, censorship had been a regular subject of intense debate during the red regime in her country[63][64] and the communist party maintained to supervise lyrical content of all public recordings by means of then devoted committees.

While the first she entered with "Muž Nula" (1984), its successor served as instrumental to support her continual popularity in the region through additional number-one hits; namely "Zem menom láska" (1985), "Chlapci v pasci" (1986), "Koloseum" (1988) and "Paradiso" (1995)[68] In an attempt to afford more visual liberties and enhance her recorded work with more striking video clips, Gombitová teamed up with director Ladislav Kaboš and Ján Ďuriš (credited as camera operator) in 1987.

[70] In addition and before the dissolution of the federal state in the 1990s, Gombitová became on 20 June 1990 the first local singer to appear on the Austrian video chart Die Großen Zehn, presenting for ORF "Babylónia", the lead single from her Kam idú ľudia?

[68] Her double win at the Bratislavská lýra in 1978 with "Študentská láska" became a significant milestone in her solo career,[1] which led to the award's Silver equivalent in 1979 (for "Vyznanie"),[79] and its Bronze in 1980 (in favor of her duet with Lehotský "Tajomstvo hier").

[80] Prior to surviving her car crash, she received an Intervision award from the East European International Radio and Television Organisation in response to her live performance of songs "Vyznanie" and "Chcem sa s tebou deliť", accomplished in 1980 in Sopot, Poland.

[18][20] Six of her solo studio albums were ranked as some of those best and the overall index features also her vocal contribution to additional nominated releases, such as co-recorded with Modus and Žbirka, or delivered for Neberte nám princeznú soundtrack.