| Bijelo Dugme |
Bijelo Dugme in 1974. Standing: Zoran Redžić; sitting, from left to right: Vlado Pravdić, Goran Bregović, Željko Bebek, Ipe Ivandić. On the upper right is Bijelo Dugme logo.
Bijelo Dugme in 1974. Standing: Zoran Redžić; sitting, from left to right: Vlado Pravdić, Goran Bregović, Željko Bebek, Ipe Ivandić. On the upper right is Bijelo Dugme logo. |
| Background information |
| Origin |
Sarajevo, SR Bosnia and Herzegovina, SFR Yugoslavia |
| Genres |
Hard rock, folk rock, New Wave, pop rock |
| Years active |
1971–1989, 2005 |
| Labels |
Jugoton, Diskoton, Radio Kruševac, Kamarad, Croatia Records |
| Associated acts |
Kodeksi, Jutro, Indexi, Smak, Formula 4, Teška Industrija, Amila, Armija B, Divlje jagode, Vatreni Poljubac |
| Past members |
Goran Bregović
Željko Bebek
Mladen Vojičić
Alen Islamović
Zoran Redžić
Jadranko Stanković
Ljubiša Racić
Sanin Karić
Ipe Ivandić
Điđi Jankelić
Milić Vukašinović
Vlado Pravdić
Laza Ristovski |
Bijelo Dugme (trans. White Button) was a highly influential former Yugoslav rock band, based in Sarajevo. Active between 1974 and 1989, it is widely considered to have been the most influential and popular band ever to exist in the former Socialist Federal Republic of Yugoslavia and one of the most important acts of the Yugoslav rock scene.
The band history begins in 1969 in Sarajevo, SFR Yugoslavia. At the time, the future leader of Bijelo dugme, Goran Bregović was the bass guitarist for the band Beštije. He was spotted by the Kodeksi (trans. Codexes) vocalist Željko Bebek. As Kodeksi needed a bass guitarist, on Bebek's suggestion Bregović became the member of the band. The band's lineup consisted of Ismeta Dervoz (vocals), Edo Bogeljić (guitar), Željko Bebek (rhythm guitar) and vocals), Goran Bregović (bass guitar), and Luciano Paganotto (drums). After performing in Dubrovnik (before these performances the only female member, Ismeta Dervoz left the band) Kodeksi were hired to perform in a club in Naples. After two months the band's guitarist Edo Bogeljić returned to Sarajevo, and Bregović switched to guitar. Local Italian musician was brought in to play the bass, but after he quit too, Bebek called up old friend Zoran Redžić. Redžić in turn brought along Milić Vukašinović as replacement on drums for Paganotto who also quit in the meantime. Vukašinović brought new musical influences along the lines of what Led Zeppelin and Black Sabbath were doing at the time. Additionally, he convinced the rest of the band on incorporating the new sound into their set. Within two weeks of his arrival, Kodeksi were fired from all the places they were playing.
The foursome of Bebek, Bregović, Redžić and Vukašinović stayed on the island of Capri. In 1970 they relocated back to Naples. At this time the other three members made Bebek stop playing the rhythm guitar reasoning that it is not fashionable any longer. Bebek also had trouble adapting to the new material vocally. He would sing the intro on most songs and then step back as the other three members improvised for the remainder of songs. After being a key band member only months earlier, Bebek was seeing his role gradually reduced. During the fall of 1970 he left Kodeksi to return to Sarajevo.
For their part, Vukašinović, Bregović, and Redžić continued to perform under the name Mića, Goran and Zoran. Eventually they returned to Sarajevo in the spring of 1971 when Goran's mother and Zoran's brother came to Italy to bring them back. Upon returning, the trio continued performing around Sarajevo, however not for long as in late summer 1971 Vukašinović decided that he would move to London.
In autumn of 1971 guitarist Ismet Arnautalić invited Bregović to form Jutro (Morning). The band's lineup featured, alongside Arnautalić and Bregović, Redžić, Gordan Matrak on drums and vocalist Zlatko Hodnik. As the member of Jutro Bregović wrote his first songs. In 1972 the band got an opportunity to make studio recordings, and Bregović invited Bebek. With Bebek the band recorded the song "Patim, evo, deset dana" ("I've Been Suffering for Ten Days"), which appeared on the B-side of the single "Ostajem tebi" ("I Remain Yours"), which was recorded with Hodnik. Right after the song recording Bebek left the band to serve compulsory military conscription duty, but the rest of the band decided to wait for his return.
During Bebek's absence 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", and "Hop-cup", the first two appearing on the 7" single. Dissatisfied with the music direction the band was moving towards Arnautalić left the band at the end of 1972 and took away the right to use the name Jutro from the rest of the members. The rest of the band and Arnautalić fought for the rights during 1973, when drummer Goran "Ipe" Ivandić and keyboardist Vlado Pravdić (a former Indexi member) joined the band. At the middle of the year Redžić left the band after an argument, and was replaced by Jadranko Stanković.
At this time the band chose the name Bijelo dugme. They decided to change the name partially because of another, Ljubljana-based band with the name Jutro. As the band was already known for the song "Kad bi' bio bijelo dugme", they choose the name Bijelo dugme. The band officially started working under this name on January 1, 1974.
During 1974 the band cooperated with Bata Kostić, guitarist for YU grupa, which were one of the pioneers in combining folk music elements with rock on the former Yugoslav rock scene, and Bregović would later state on number of occasions that this studio cooperation influenced Bijelo dugme's folk rock sound. Cooperating with Nikola Borota Radovan in producer's role, the band recorded "Top" ("Cannon") and "Ove ću noći naći blues" ("This Night I Will Find Blues"). Borota offered these recordings to the Sarajevo-based record label Diskoton. The music editor Slobodan Vujović refused them, stating that there was already a great number of signed acts and that Bijelo dugme would have to wait for at least six months for the single to be released. This is widely considered[by whom?] the greatest business mistake in the history of Yugoslav record publishing. On the same day the band were refused by Diskoton, they signed for Zagreb-based Jugoton. It the beginning the band performed mostly in smaller towns. Soon after Stanković was excluded from the band and Redžić was invited to return to Bijelo dugme. The following 7-inch single, featuring songs "Glavni junak jedne knjige" ("The Main Character of A Book"), with lyrics written by poet Duško Trifunović, and "Bila mama Kukunka, bio tata Taranta" ("There Was Mommy Kukunka, There Was Daddy Taranta"), was almost at the same time released by both Jugoton and Diskoton, as Bregović signed contracts with both of the labels. This brought huge press covering and helped the record sell. The band had their first bigger performance at the 1974 BOOM Festival in Ljubljana, where they were announced as "the new hopes". The band spent the summer performing in Cavtat and preparing songs for their first album. The band soon released their third single (also produced by Borota but recorded at Jugoton's Zagreb "Jadran film" 4 track studio facility) with songs "Da sam pekar" ("If I Was a Baker") and "Selma" (with lyrics written by poet Vlado Dijak). This single saw huge success.[citation needed]
During September the band performed as the opening band for Tihomir "Pop" Asanović's Jugoslovenska Pop Selekcija, and during the October, in studio Akademik in Ljubljana, they recorded their debut album Kad bi' bio bijelo dugme. The album, featuring a provocative cover designed by Dragan S. Stefanović's (who would also design covers for the band's future releases), saw huge success.[citation needed] 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. This term was (and still is) sometimes used by the Yugoslav critics in order to classify Bijelo dugme's sound. The album featured new versions of "Kad bi' bio bijelo dugme", "Patim, evo, deset dana" and "Selma", "Sve ću da ti dam samo da zaigram" ("I Will Give Everything to You Only to Dance"), previously released "Ove ću noći naći blues" and rock and roll-influenced hit "Ne spavaj, mala moja, muzika dok svira" ("Don't you sleep, baby, while the music is playing"). Immediately after the release the album broke the record held by YU grupa's 1973 debut album which was sold in 30,000 copies. In February 1975 the band was awarded a gold record at the Opatija Festival, as they sold the record in more than 40,000 copies. The final number of copies sold was about 141,000.
Several days after the album was released the band performed, alongside Pop Mašina, Smak and Crni Biseri, in Belgrade's Dom Sindikata at the Radio Belgrade show Veče uz radio birthday celebration and won the audience. At the time the band cooperated with manager Vladimir Mihaljek, who managed to arrange the band's appearance on Korni Grupa's farewell concert. About 15,000 members of audience were thrilled with Bijelo dugme's performance.
At the end of February 1975 Mihaljek organised Kongres rock majstora (Congress of Rock Masters) which was intended to represent the four best Yugoslav guitarist. Although Radomir Mihajlović Točak was the unofficial winner, he was not pronounced one of the best, as his band Smak did not have a contract with Jugoton which supported the Congress. Vedran Božić (of Time), Josip Boček (formerly of Korni Grupa), Bata Kostić (of YU grupa), and Bregović were proclaimed the best. Every one of them recorded one side on the double album Kongres rock majstora. While the other three guitarists recorded their songs with the members of YU grupa, Bregović decided to work with his own band and Zagreb String Quartet. After the album was released the four guitarists went on a tour on which they were supported by YU grupa members. At the time Bijelo dugme released the single "Da mi je znati koji joj je vrag" ("If I Could Just Know what the Hell Is Wrong with Her") with cover designed by Bregović. The band went on a big Yugoslav tour, and in the spring of 1975 they were already considered the most popular Yugoslav band.
Before the recording of their second album the band went to the village Borike in Eastern Bosnia in order to work on the songs and prepare for the album recording. The album Šta bi dao da si na mom mjestu (What Would you Give to be in My Place) was recorded in London during November 1975. The album was produced by Neil Harrison. The bass guitar on the album was played by Bebek, as Redžić injured his middle finger just before the album recording. The lyrics for the title track were written by Duško Trifunović, while the rest of the lyrics were written by Bregović. The main album hits were "Tako ti je, mala moja, kad ljubi Bosanac" ("That's What You Get, Baby, for Kissing a Bosnian"), "Došao sam da ti kažem da odlazim" ("I Came to Tell You that I'm Leaving"), "Ne gledaj me tako i ne ljubi me više" ("Don't Look at Me like that and Don't Kiss Me Anymore") and "Požurite, konji moji" ("Hurry up, My Horses"). The band used the time spent in studio to record an English language song "Playing the Part", released on promo single which was given to journalists. The album was soon sold in more than 200,000 copies. This was the first Yugoslav album to be credited as Diamond Disc. After the album release the band went on a Kosovo and Metohija tour. During the tour injured Redžić was replaced by former Kamen na Kamen member Mustafa "Mute" Kurtalović. Bijelo dugme announced a big New Year concert in Belgrade's Sports Hall with Pop Mašina, Buldožer and Cod as the support acts, however the concert was canceled without explanation. The band was soon invited to perform for the Yugoslav president Josip Broz Tito in Croatian National Theatre in Zagreb. Their performance was, however, stopped after only several minutes, reputedly because of the loudness.
As Redžić had to leave the band due to his army obligations, Formula 4 leader Ljubiša Racić came to the band as his temporary replacement. This lineup of the band went on a Yugoslav tour. In Sarajevo the band performed in front of 15,000 people and in Belgrade they played in front of sold out Pionir Hall three times. The press coined the term "Dugmemanija" (Buttonmania) and the socialist public went into an argument over the phenomena. At the beginning of 1976 the band planned to hold an United States tour, however they gave up the idea. The band did go to United States, but only to record single with songs "Džambo" ("Jumbo") and "Vatra" ("Fire"), which were released as Ivandić's solo single, and "Milovan" and "Goodbye, Amerika", which were released as Bebek's solo single. In June the band members went to the youth work action Kozara 76, which was Bregović's response to the claims about the band's members' pro-western orientation. At the beginning of autumn Ivandić and Pravdić left the band due to their army obligations, and were replaced by Vukašinović (who joined Indexi in the meantime) and Laza Ristovski, whose moving from Smak (at the time Bijelo dugme's main competitors) saw large covering in the media.
The band prepared for the recording of their third album in Borike. The album's original title was Sve se dijeli na dvoje, na tvoje i moje (Everything Is Split in Two, in Yours and Mine) after the Duško Trifunović poem, which was later used as lyrics for the song recorded by Jadranka Stojaković. Bregović did not manage to write the music for the song, so he intended to name the album Hoću bar jednom da budem belsav (For Once I Want to Be Crazy), but Jugoton editors did not like the title, and the album was eventually titled Eto! Baš hoću! (There! I Will!). The album was once again recorded in London with Harrison as the producer and Bebek playing the bass guitar. The album was released on December 20, 1976. The album featured the ballad "Sanjao sam noćas da te nemam" ("I Dreamed that I Don't Have You"), "Loše vino" ("Bad Wine", written by Bregović and Arsen Dedić and originally performed by Zdravko Čolić), simple tune "Ništa mudro" ("Nothing Wise"), folk-oriented "Slatko li je ljubit tajno" ("It's so Sweet To Kiss Secretly") and "Dede, bona, sjeti, se, de tako ti svega" ("Come on, remember") and "Izgledala je malo čudno u kaputu žutom krojenom bez veze" ("She Looked a little bit Strange in a Yellow Coat Cut out Stupidly"). In the meantime Racić asked for higher payment, so he got fired. He was replaced by a former Teška Industrija member Sanin Karić. This lineup of the band went on a Polish tour on which they were announced as "the leading young Yugoslav band". They held nine successful concerts. After their return Redžić and Ivandić joined them.
The band went on a Yugoslav tour, but experienced difficulties during it. The concerts were followed by technical difficulties and the audience was not interested in the band's concerts as during previous tours. The band also suffered from clashes within the band, and when the Adriatic coast tour was canceled, rumors about the band's disbandment appeared in the media. The concerts in Zagreb and Ljubljana, for which the recording of a live album was planned, were canceled, and after four years the band saw a decline in popularity.
The band wanted to organize some sort of spectacle to help their decreased popularity. On the idea of the journalist Petar Popović the band decided to hold a free concert at Belgrade's Hajdučka česma (Bregović had already performed on this location in 1973 with Jutro on an event organized by Pop Mašina) on August 28, 1977. The concert was also the last concert before Bregović's departure from the band due to his army duty. Between 70,000 and 100,000 spectators attended the concert, which was the biggest number of spectators on a rock concert in Yugoslavia until then. After the opening bands (Zdravo, Tako, Leb i Sol and others) Bijelo dugme played a successful concert. Part of that atmosphere was recorded in Mića Milošević's film Nije nego. It was eventually discovered that the recordings of the concert could not be used for the live album, so the band, on October 25 of the same year, played a concert in Đuro Janković Hall in Sarajevo, recordings of which were used for the live album Koncert kod Hajdučke česme (Concert at Hajdučka česma). The album title was partially justified, as the recordings of the audience's reactions from the Hajdučka česma concert were used.
After Koncert kod Hajdučke česme was mixed, Bregović went to serve the army in Niš and the band went on hiatus. Redžić continued to work on the Koncert kod hajdučke česme recordings, and a live version of "Dede, bona, sjeti se, de tako ti svega" was later used as a B-side for the single "Bitanga i princeza" ("The Brute & the Princess") released in 1979. In June Bebek released his first solo, symphonic rock-oriented album Skoro da smo isti (We're almost the Same). Ristovski and Ivandić recorded the album Stižemo (Here We Come). The album was recorded in London with Leb i Sol guitarist Vlatko Stefanovski playing the guitar, and was released in September 1978. The album was well received, and Ristovski and Ivandić decided to leave the band. Just before the album Stižemo was released Ivandić was arrested for owning hashish, and the other musicians who participated in the album recording, with the exception of Ivandić's sister Gordana, Ristovski and Stefanovski were also accused. Ivanić was sentenced to spend three years in jail, but he went to serve the sentence in 1981.
In June 1978 Bregović went to Sarajevo to receive a plaque from the League of Communist Youth of Bosnia and Herzegovina in the name of the band. In autumn of 1978 drummer Điđi Jankelić (a former Formula 4 and Čisti Zrak member), who participated Bebek's solo album recording, became Bijelo dugme's new drummer, and Pravdić returned to the band to replace Ristovski. The band started preparing their new album in Niška Banja‚ but, as Bregović was still serving the army, the band definitely reunited in Sarajevo on November 1. The release of the album was followed by censorship. The cover designed by Dragan Stefanović, featuring female leg kicking male's genital area was refused by Jugoton as "vulgar"; instead, the album featured cover designed by Jugoton's designer I. Ivezić. The verse "Koji mi je moj" ("What the fuck is wrong with me") was excluded from the song "Ala je glupo zaboravit njen broj" ("It's really a Stupid Thing to Forget Her Number"), and the verse "A Hrist je bio kopile i jad" ("And Christ was a bastard and misery") from the song "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" ("All of That, My Dear, Will Be Covered by Rosemary, Snow and Reed") was replaced with "A on je bio kopile i jad" ("And he was a bastard and misery"). The album Bitanga i princeza (The Brute & the Princess) was released in March 1979 and praised by the critics as Bijelo dugme's finest work until then. The album did not feature any folk music elements, and brought songs "Bitanga i princeza", "Ala je glupo zaboraviz njen broj", "Na zadnjem sjedištu mog auta" ("On the Back Seat of My Car"), "A koliko si ih imala do sad" ("How Many of Them Have You Had Till Now"), and emotional ballads "Ipak poželim neko pismo" ("Still, I Wish for a Letter"), "Kad zaboraviš juli" ("When You Forget July") and "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš", all becoming hits. The album was produced by Neil Harrison, and several songs featured symphonic orchestra. The album broke all the records held by their previous releases. The tour following the album release was also successful. The band managed to sell out Pionir Hall for five times, and all the money earned from the concerts was dedicated to the victims of 1979 Montenegro earthquake. On some of the concerts they were followed by Branko Krsmanović Choir and symphonic orchestra. On September 22 the band organized a concert under the name Rock spektakl '79. (Rock Spectacle 79), which was held on JNA Stadium. The concert featured numerous opening bands, including YU grupa, Boomerang, Galija, Prva Ljubav, Prljavo Kazalište, Opus, Tomaž Domicelj, Generacija 5, Mama Rock, Metak, Siluete, Suncokret, and others. More than 70,000 spectators attended the concert.
At the time Bregović wrote film music for the first time. He wrote music for Aleksandar Mandić's film Lične stvari, and songs "Pristao sam biću sve što hoće" ("I Accepted to Be Anything They Want", with lyrics written by Duško Trifunović) and "Šta je tu je" were recorded by Bijelo dugme and released on single. During 1980 Bregović spent some time in Paris, and the band was on hiatus.
[edit] Doživjeti stotu: switch to New Wave
At the end of 1970s and the beginning of 1980s the Yugoslav rock scene saw the emergence of the great number of New Wave bands, closely associated to the Yugoslav punk rock scene. In 1981 Bijelo dugme released New Wave-influenced album Doživjeti stotu (Live to Be 100). This was the first Bijelo dugme album produced by Bregović. Only "Pristao sam biću sve što hoće" and "Pjesma mom mlađem bratu" ("The Song for My Baby Brother") resembled Bijelo dugme's old sound. Songs "Ha ha ha" and "Tramvaj kreće (ili kako biti heroj u ova šugava vremena)" ("Tram Is Going (or How to Be a Hero in These Mangy Times)") featured political lyrics for the first time in Bijelo dugme's career. Some critics accused Bregović of posturing and pandering to a younger audience, speculating that his motives for latching on to the fresh New Wave sound have to do with his fear of Bijelo dugme seeming out of touch.
The band started their Yugoslav tour on February 24 with a concert in Sarajevo, and ended it with a concert in the club Kulušić in Zagreb, on which they recorded their second live album, 5. april '81 (April 5, 1981). The album was released in a limited number of 20,000 copies, and featured a cover of Indexi song "Sve ove godine". Bijelo dugme performed in Belgrade several times douring the tour: After two concerts in Pionir Hall, they performed, alongside Iron Maiden, Divlje Jagode, and other bands, on the Rock Spectacle held at Belgrade Hippodrome, and on the New Year’s Eve and after it they held three concerts in Hala Pinki. At the beginning of 1982 they performed in Innsbruck, in Austria, on a manifestation on which the last host of the Winter Olympic Games (Innsbruck) hosted the following one (Sarajevo). On their return to Yugoslavia their equipment was deprived on the custom, as it was discovered that they had put new equipment into old boxes. Jugoton decided to lend 150,000,000 Yugoslav dinars to Bijelo dugme, in order to pay the penalty. To regain part of the money as soon as possible the record label decided to release two compilation albums, Singl ploče (1974-1975) (7" Singles 1974-1975) and Singl ploče (1976-1980). In order to recover financially, during July and August 1982 the band went on a Bulgarian tour, during which they held forty one concerts. As Jankelić went to serve the army in April, on the tour drums were played by a former Leb i Sol drummer Garabet Tavitjan. At the end of 1982 Ivandić was released from prison and joined the band.
At the beginning of 1983 Bijelo dugme recorded a children's music album A milicija trenira strogoću! (i druge pjesme za djecu) (And Police Trains Strictness! (and Other Songs for Children)). The lyrics for the album were written by Duško Trifunović. It was initially planned Seid Memić Vajta to sing the vocals, but eventually, vocals were recorded by the eleven year old Ratimir Boršić Rača, and the album was released under Ratimir Boršić Rača & Bijelo dugme moniker. In February 1983 the band released the album Uspavanka za Radmilu M. (Lullaby for Radmila M.). Bregović intended to release Uspavanka za Radmilu M. as Bijelo dugme's farewell album and to dismiss the band after the tour. The album was recorded in Skopje and featured Vlatko Stefanovski (guitar), Blagoje Morotov (double bass) and Arsen Ereš (saxophone) as guest musicians. The song "Kosovska" ("Kosovan") featured Albanian language lyrics and, although featuring simple rock music-related lyrics, became provocative as it was recorded during delicate political situation in Kosovo. Songs "Ako možeš zaboravi" ("Forget, if You Can"), "U vrijeme otkazanih letova" ("At the Time of Cancelled Flights"), "Polubauk kruži poluevropom" and "Ovaj ples dame biraju" ("Lady's Choice") featured different sound, illustrating various fazes in the band's career. The album title track is the only instrumental track Bijelo dugme ever recorded. Although Uspavanka za Radmilu M. did not bring numerous hits as the band's previous releases and is generally considered the least successful Bijelo dugme album, the tour was very successful, and audience's response made Bregović change his mind. After the tour the band went on a hiatus and Bebek recorded his second solo album Mene tjera neki vrag. He officially left the band on April 23, 1984, deciding to dedicate himself to his solo career.
The new Bijelo dugme vocalist became a former Top and Teška Industrija member Mladen Vojičić Tifa. The band spent summer in Rovinj where they practiced for the upcoming album recording. At the time Ivandić started working with the pop band Amila, whose singer Amila Sulejmanović often performed as a backing vocalist on Bijelo dugme concerts.
At the time Bregović, with Zdravko Čolić, formed Slovenia-based record label Kamarad, which co-released Bijelo dugme's new album with Diskoton. The album was released in December 1984, entitled simply Bijelo dugme, but is, as the cover featured Uroš Predić's painting Kosovo Maiden, also known as Kosovka djevojka (Kosovo Maiden). The album featured both Ristovski and Pravdić on keyboards, and after the album recording Ristovski became the official member of the band once again. Bijelo dugme featured folk-oriented pop rock sound which had, alongside a cover of Yugoslav anthem "Hej, Sloveni" featured on the album, influenced a great number of bands from Sarajevo, labeled as New Partisans. The album featured a cover of "Šta ću nano dragi mi je ljut" ("What Can I Do, Mom, My Darling Is Angry"), written by Bregović and originally recorded by Bisera Veletanlić, Bijelo dugme version titled "Lipe cvatu" ("Linden Trees Are in Bloom"), which became the album's biggest hit. Other hits included "Padaju zvijezde" ("The Stars Are Falling"), "Lažeš" ("You're Lying"), "Da te bogdo ne volim" ("If I Didn't Love You") and "Jer kad ostariš" ("Because, When You Grow Old"). The song "Pediculis pubis" featured Bora Đorđević, the leader of the competitive band Riblja Čorba, on vocals; he co-wrote the song with Bregović and sung it with Bregović and Tifa. The album sale and the tour were very successful. The band held a successful concert at Belgrade's Sajmište, but also performed in clubs on several occasions. Tifa, however decided to leave the band, and performed with the band for the last time on a concert in Moscow, where they, alongside Bajaga i Instruktori represented Yugoslav rock music on the Youth and Students World Festival. After leaving Bijelo dugme Tifa would first join Bebek's band Armija B, then hard rock/heavy metal band Vatreni Poljubac (formed by Milić Vukašinović in 1977), and eventually heavy metal band Divlje jagode (whose singer Alen Islamović replaced him in Bijelo dugme).
The new Bijelo dugme vocalist became Alen Islamović, the former vocalist for the heavy metal band Divlje jagode. He was previously, right after Bebek left Bijelo dugme, approached to join the band, but he refused fearing that Bebek might decide to return. The new album, Pljuni i zapjevaj moja Jugoslavijo (Spit and Sing, My Yugoslavia) featured similar folk-oriented pop rock sound and was another Yugoslavism-inspired album. Bregović wanted the album to feature Vice Vukov, Croatian singer branded for being a nationalist, but the idea was too provocative and Bregović gave up on it. The album cover should have featured the painting Dve godine garancije by Mića Popović, a dissident at the time, but eventually, an image of Chinese modern revolutionary dancing appeared on the album cover. The album's first track was a cover of old revolutionary song "Padaj silo i nepravdo", sung by Bregović, World War II hero Svetozar Vukmanović Tempo and children from the Sarajevo orphanage Ljubica Ivezić. 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"), 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" ("You Were a Rose"). In 1987 Belgrade rock journalist Dragan Kremer, in the show Šit mjeseca (Shit of the Month) on the RTV Sarajevo, tore the album cover and made Bregović (who also appeared in the show) angry, which was one of the larger media scandals of the time. The incident did not affect the album sales.The tour was also very successful, and the concert at Sajmište featured opera singer Dubravka Zubović as guest.
Double live album Mramor, kamen i željezo (Marble, Stone and Iron) recorded on the tour was released in 1987. The title song was a cover of the old Roboti hit. The album offered a retrospective of the band's work, featuring songs from their first singles, as well as from the last album. The track "A milicija trenira strogoću" begins with "The Internationale" melody, and during the intro to "Svi marš na ples" Islamović shouts "Bratsvo! Jedinstvo!" ("Brotherhood! Unity!"). After the tour Vlado Pravdić unofficially left the band, dedicating himself to the computer business. He performed with the band only several times more on bigger concerts.
At the end of 1988 the album Ćiribiribela, which featured Edward Hicks' painting of Noah's Ark on the cover, was released. The album's biggest hit was "Đurđevdan", a cover of traditional Romani song "Ederlezi", which featured Fejat Sejdić Trumpet Orchestra. The album featured a cover of national anthem of Croatia "Lijepa naša" combined with the Serbian traditional World War I song "Tamo daleko". The other hits included "Evo zakleću se" ("Here, I Swear"), "Ako ima Boga" ("If there Is God"), "Šta ima novo" ("What's New"), "Nakon svih ovih godina" ("After all These Years") and Dalmatian folk music-inspired "Ćirbiribela". At the beginning of 1989 the band went on a tour which should have lasted until April 1. However, Islamović checked into a hospital with kidney pains, not notifying anyone from the band. The tour was ended and concert in China and Soviet Union were cancelled. Bregović went to Paris, leaving the situation opened for speculations. In 1990 the compilation album Nakon svih ovih godina, which featured recordings made between 1983 and 1989, was released. After Yugoslav Wars broke out in 1991 it became clear that Bijelo dugme ended their career.
Bregović continued his career as a film music composer, cooperating mostly with Emir Kusturica. Redžić moved to Finland, and after the Bosnian War ended he returned to Sarajevo. After the war broke out Ivandić went to Belgrade, where he died in 1994. Ristovski continued to work as studio musician, at the same time recording solo albums and performing with Smak. Islamović, who recorded his first solo album Haj, nek se čuje, haj nek se zna in 1989, started a semi-successful solo career.
Bregović, who during the 1990s became one of the most internationally known modern composers of the Balkans, on numerous occasions stated that he will not reunite Bijelo dugme. However, in 2005 Bijelo dugme reunited with Bregović on guitar, Bebek, Tifa and Islamović on vocals, Redžić on bass guitar, Vukašinović and Jankelić on drums and Pravdić and Ristovski on keyboards. The band held three concerts sponsored by Coca-Cola: in Sarajevo (at Koševo stadium), Zagreb (at Maksimir stadium), and Belgrade (at Belgrade Hippodrome, attracting more than 250,000 fans, but criticized because of the weak sound). The reunion saw large covering in the media. The live album Turneja 2005 - Sarajevo, Zagreb, Beograd (2005 Tour - Sarajevo, Zagreb, Belgrade) recorded on the tour was released. After the concerts three vocalists continued to perform together outside former Yugoslav republics under the name Kad Bi Bio Bijelo Dugme.
Bijelo dugme is generally considered to have been the most popular act ever to exist in former Yugoslavia, inspiring many artists from different musical genres, from all countries of former Yugoslavia. In the 2003 rock documentary Sretno dijete, Jasenko Houra, the guitarist and lead songwriter for Prljavo Kazalište said that "whatever Bijelo dugme did, everyone else did".
There were several books written about the band: Istina o Bijelom dugmetu by Danilo Štrbac, Bijelo dugme by Duško Pavlović, Ništa mudro by Darko Glavan and Dražen Vrdoljak, Lopuže koje nisu uhvatili by Dušan Vesić, Kad sam bio bijelo dugme by Ljubiša Stavrić and Vladimir Sudar.
The chorus of their ska song "Ha, Ha, Ha" was used as the title of a compilation album by various artists Svi marš na ples! which was released by Jugoton in 1981.
The book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best albums of Yugoslav pop and rock music) features eight Bijelo Dugme albums: Bitanga i princeza (ranked #10), Kad bi bio bijelo dugme (ranked #14), Šta bi dao da si na mom mjestu (ranked #17), Bijelo Dugme (ranked #28), Eto! Baš hoću! (ranked #31), Doživjeti stotu (ranked #35), Pljuni i zapjevaj moja Jugoslavijo (ranked #53), and Koncert kod Hajdučke česme (ranked #74).[1]
The B92 Top 100 Yugoslav songs list fetaures three songs by Bijelo dugme: "Sve će to, mila moja, prekriti ruzmarin, snjegovi i šaš" (ranked #14), "Loše vino" (ranked #32) and "Ako možeš zaboravi (ranked #51).[2]
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TimeAxis = orientation:horizontal Period = from:1974 till:1989 ScaleMajor = unit:year increment:3 start:1974
ImageSize = width:1400 height:250 PlotArea = width:1300 height:210 bottom:30 left:70 AlignBars = justify
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id:Vocals value:rgb(0.7,0.7,1) # light yellow
id:Guitar value:rgb(1,0.7,0.7) # light red
id:drums value:rgb(1,0.7,1) # light purple
id:Keyboards value:rgb(0.7,1,0.7) # light green
id:Bass value:rgb(1,1,0.7) # light yellow
BackgroundColors = canvas:canvas
Define $dx = 0
plotdata=
- set defaults
align:center anchor:middle textcolor:black fontsize:9 mark:(line,white)
bar:Guitarist color:Guitar
from:1974 till:1989 shift:($dx,-5) text:"Goran Bregović"
bar:Vocals color:Vocals
from:1974 till:1984 shift:($dx,-5) text:"Željko Bebek"
from:1984 till:1985 shift:($dx,-5) text:"Mladen Vojičić"
from:1985 till:1989 shift:($dx,-5) text:"Alen Islamović"
bar:Drums color:drums
from:1974 till:1976 shift:($dx,-5) text:"Ipe Ivandić"
from:1976 till:1977 shift:($dx,-5) text:"Milić Vukašinović"
from:1977 till:1978 shift:($dx,-5) text:"Ipe Ivandić"
from:1978 till:1982 shift:($dx,-5) text:"Điđi Jankelić"
from:1982 till:1989 shift:($dx,-5) text:"Ipe Ivandić"
bar:Keyboardist color:Keyboards
from:1974 till:1976 shift:($dx,-5) text:"Vlado Pravdić"
from:1976 till:1978 shift:($dx,-5) text:"Laza Ristovski"
from:1978 till:1987 shift:($dx,-5) text:"Vlado Pravdić"
from:1984 till:1987 shift:($dx,-5) text:"Vlado Pravdić and Laza Ristovski"
from:1987 till:1989 shift:($dx,-5) text:"Laza Ristovski"
bar:Bass color:Bass
from:1974 till:1989 shift:($dx,-5) text:"Zoran Redžić"
</timeline>
- Uspavanka za Radmilu M. (1983)
- Ćiribiribela (1989)
- Nakon svih ovih godina (1990)
- Ima neka tajna veza (1994)
- Antologija 1 (2005)
- Antologija 2 (2005)
- Turneja 2005: Sarajevo-Zagreb-Beograd (2005)
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Bijelo dugme
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| Studio albums |
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| Live albums |
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| Compilation albums |
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| Singles |
- "Glavni junak jedne knjige"
- "Top / Ove ću noći naći blues"
- "Da sam pekar / Selma"
- "Ne gledaj me tako i ne ljubi me više / Sve ću da ti dam samo da zaigram"
- "Ima neka tajna veza / I kad prođe sve pjevat ću i tad "
- "Da mi je znati, koji joj je vrag / Blues za moju bivšu dragu"
- "Eto! Baš hoću!"
- "Džambo / Vatra"
- "Tako ti je mala moja kad ljubi Bosanac / Ne spavaj mala moja muzika dok svira"
- "Milovan / Goodbye, Amerika"
- "Bitanga i princeza"
- "Lične stvari"
- "Dobro vam jutro Petrović Petre / Na zadnjem sjedištu moga auta"
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| Related articles |
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![BIJELO DUGME - AKO IMA BOGA [HD]](http://web.archive.org./web/20130929140139im_/http://i.ytimg.com/vi/oxfY0TaBWUA/default.jpg "BIJELO DUGME - AKO IMA BOGA [HD]")
![Bijelo Dugme - Kad bi bio bijelo dugme [LIVE] (1977)](http://web.archive.org./web/20130929140139im_/http://i.ytimg.com/vi/L03dYMAkFlI/default.jpg "Bijelo Dugme - Kad bi bio bijelo dugme [LIVE] (1977)")
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