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The Bradley Dance Ac Group

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Hunter Sanders
Hunter Sanders

Bijelo Dugme-hajdemo U Planine !!LINK!!

The album's biggest hits turned out to be "Hajdemo u planine", "Noćas je k'o lubenica pun mjesec iznad Bosne", "A i ti me iznevjeri" and ballads "Te noći kad umrem, kad odem, kad me ne bude" and "Ružica si bila, sada više nisi".[2] The subsequent Yugoslavia-wide promotional tour was also very successful with sold-out sports arenas everywhere the band went.[2]

bijelo dugme-hajdemo u planine

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Bijelo Dugme was officially formed in 1974, although the members of the default lineup, guitarist Goran Bregović, vocalist Željko Bebek, drummer Ipe Ivandić, keyboardist Vlado Pravdić and bass guitarist Zoran Redžić, were previously active under the name Jutro. The band's debut album Kad bi' bio bijelo dugme, released in 1974, brought them nationwide popularity with its Balkan folk-influenced hard rock sound. The band's future several releases, featuring similar sound, maintained their huge popularity, described by the media as "Dugmemania", and the band's work, especially their symphonic ballads with poetic lyrics, was also widely praised by music critics. In the early 1980s, with the emergence of Yugoslav new wave scene, the band moved towards new wave, managing to remain one of the most popular bands in the country. After the departure of Bebek in 1983, the band was joined by vocalist Mladen Vojičić Tifa, with whom the band recorded only one, but memorable self-titled album. The band's last vocalist, Alen Islamović, joined the band in 1986, and with him Bijelo Dugme recorded two albums, disbanding, with the rising tensions in Yugoslavia, in 1989. In 2005, the band reunited in the lineup that featured most of the musicians that passed through the band, including all three vocalists, for three concerts, in Sarajevo, Bosnia and Herzegovina, in Zagreb, Croatia and in Belgrade, Serbia, the concert in Belgrade being one of the highest-attended ticketed concerts of all time.

During Bebek's short leave from the army, the band recorded four more songs: "Kad bi' bio bijelo dugme" ("If I Were a White Button"), "U subotu, mala" ("On Saturday, Baby"), "Na vrh brda vrba mrda" (the title being a traditional tongue-twister which translates to "Willow Tree Is Moving on the Top of the Hill") and "Hop-cup" ("Whoopsie Daisy"), the first two appearing on a 7-inch single.[1] Dissatisfied with the music direction the band was moving towards, Arnautalić left the band at the end of 1972, convinced that the right to the name Jutro should belong to him.[1] For some time, guitarist Miodrag "Bata" Kostić, a former member of YU Grupa, rehearsed with the band, but this cooperation was soon ended.[6] YU Grupa were one of the pioneers in combining elements of the traditional music of the Balkans with rock, and Bregović would later state on number of occasions that this cooperation influenced Bijelo Dugme's folk rock sound.[1] After Matrak left the band, he was replaced by Perica Stojanović, who was shortly after replaced by former Pro Arte member Vladimir Borovčanin "Šento".[7] Borovčanin tried to secure a record contract with Jugoton, but failed, soon losing faith in his new band.[7] He and Redžić neglected rehearsals, and both left the band after an argument with Bregović.[7]

At this time, the band decied to adopt the name Bijelo Dugme. They decided to change the name because of the conflict with Arnautalić,[11] but also because of the existence of another, Ljubljana-based band with the name Jutro, which had already gained prominence on the Yugoslav scene.[1] As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo Dugme.[1] The band officially started working under this name from January 1974.[1]

During September, the band performed as the opening band for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija, and during October, in studio Akademik in Ljubljana, they recorded their debut album Kad bi' bio bijelo dugme.[1] Several days before the album release, wanting to appear in the media as much as possible, Bijelo Dugme performed at the Skopje Festival, playing the song "Edna nadež" ("One Hope") by composer Grigor Koprov.[19] Bregović later described this event as "the greatest disgrace in Bijelo Dugme's career".[1] Bebek sung in bad Macedonian, and the band did not fit in well in the ambient of a pop festival.[1] On the next evening, the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Trade Union Hall, on the Radio Belgrade show Veče uz radio (Evening by the Radio) anniversary celebration, and managed to win the audience's attention.[20] At the time, Bijelo Dugme cooperated with manager Vladimir Mihaljek, who managed to arrange the band to perform as an opening band on Korni Grupa's farewell concert in Sarajevo's Skenderija, which won them new fans, as about 15,000 people in the audience were thrilled with Bijelo Dugme's performance.[20]

Kad bi' bio bijelo dugme, featuring a provocative cover designed by Dragan S. Stefanović (who would also design covers for the band's future releases), saw huge success.[20] It brought a number of commercial hard rock songs with folk music elements, which were described as "pastirski rok" (shepherd rock) by journalist Dražen Vrdoljak.[20] This term was (and still is) sometimes used by the Yugoslav critics to classify Bijelo Dugme's sound.[21][22] The album featured the new versions of "Kad bi' bio bijelo dugme" and "Patim, evo, deset dana", "Sve ću da ti dam samo da zaigram" ("I'll Give You Everything Only to Dance"), ballad "Selma", blues track "Blues za moju bivšu dragu" ("Blues For My Ex-Darling") and rock and roll-influenced hit "Ne spavaj, mala moja, muzika dok svira" ("Don't You Sleep, Baby, while the Music Is Playing").[20] Immediately after the release, the album broke the record for the best selling Yugoslav rock album, previously held by YU Grupa's debut album, which was sold in more than 30,000 copies.[20] In February 1975, Bijelo Dugme was awarded a gold record at the Opatija Festival, as they, up to that moment, sold their debut album in more than 40,000 copies. The final number of copies sold was about 141,000.[20]

The new album, Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia), was released in 1986. Inspired by Yugoslavism, with numerous references to Yugoslav unity and the lyrics on the inner sleeve printed in both Cyrillic and Latin alphabets, the album featured the already familiar pop rock sound with folk elements.[58] Bregović originally wanted the album to contain contributions from individuals known for holding political views outside of the official League of Communists ideology. To that end he and the band's manager Raka Marić approached three such individuals who were effectively proscribed from public discourse in Yugoslavia: pop singer Vice Vukov, who represented SFR Yugoslavia at the 1963 Eurovision Song Contest before seeing his career prospects marginalized after being branded a Croatian nationalist due to his association with the Croatian Spring political movement; painter and experimental filmmaker Mića Popović, associated with Yugoslav Black Wave film movement, who got a dissident reputation due to his paintings; politician and diplomat Koča Popović who, despite a prominent World War II engagement on the Partisan side as the First Proletarian Brigade commander that earned him the Order of the People's Hero medal, followed by high political and diplomatic appointments in the post-war period, nevertheless got silently removed from public life in 1972 after supporting a liberal faction within the Yugoslav Communist League's Serbian branch.[74] Bregović's idea was to have Vukov sing the ballad "Ružica si bila, sada više nisi" ("You Were Once a Little Rose"). However, despite Vukov accepting, the plan never got implemented after the band's manager Marić got arrested and interrogated by the police at the Sarajevo Airport upon returning from Zagreb where he met Vukov.[74] Mića Popović's contribution to the album was to be his Dve godine garancije (A Two-Year Warranty) painting featuring a pensioner sleeping on a park bench while using pages of Politika newspaper as blanket to warm himself, which Bregović wanted to use as the album cover. When approached, Mića Popović also accepted though warning Bregović of possible problems the musician would likely face.[74] Koča Popović was reportedly somewhat receptive to the idea of participating on the album, but still turned the offer down.[74] Eventually, under pressure from Diskoton, Bregović gave up on his original ideas.[75] A World War II holder of the Order of the People's Hero still appeared on the record, however, instead of Koča Popović, it was Svetozar Vukmanović Tempo. He, together with Bregović and children from the Ljubica Ivezić orphanage in Sarajevo, sang a cover of "Padaj silo i nepravdo" ("Fall, (Oh) Force and Injustice"), an old revolutionary song.[58] Instead of Popović's painting, the album cover featured a photograph of Chinese social realist ballet.[75] Vukmanović's appearance on the album was described by The Guardian as "some sort of Bregović's coup d'état".[58] The album's main hits were pop song "Hajdemo u planine" ("Let's Go to the Mountains"), "Noćas je k'o lubenica pun mjesec iznad Bosne" ("Tonight a Moon Full like a Watermelon Is over Bosnia"), and the ballads "Te noći kad umrem, kad odem, kad me ne bude" ("That Night, When I Die, When I Leave, When I'm Gone") and "Ružica si bila, sada više nisi".[58] In 1987, Belgrade rock journalist Dragan Kremer, in the show Mit mjeseca (Myth of the Month) on the RTV Sarajevo, expressing his opinion about the band's new direction, tore the album cover, and made Bregović, who appeared in the following edition of the show, very angry, which was one of the larger media scandals of the time.[58] The incident however, did not affect the album sales. The tour was also very successful, and the concert at Belgrade Fair featured opera singer Dubravka Zubović as guest.[58] 041b061a72


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