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Bey (Ottoman Turkish: بك, Beg, Beğ) is a title for chieftain, traditionally applied to the leaders of small tribal groups. According to some sources, the word "Bey" is of Turkish language^[1][2][3] In historical accounts, many Turkish, other Turkic and Persian leaders are titled Bey, Beg, Bek, Bay, Baig or Beigh. They are all the same word with the simple meaning of "lord". The regions or provinces where beys ruled or which they administered were called beylik, roughly meaning "emirate" or "principality" in the first case, "province" or "governorate" in the second (the equivalent of duchy in Europe). Today, the word is still used informally as a social title for men (somewhat like the English word "mister"). Unlike "mister" however, it follows the name ("Fahrettin Bey") and is used generally with first names and not with last names.

Turkish and Azerbaijani beys[link]

The first three rulers of the Ottoman realm were titled Bey. The chief sovereign of the Ottoman Empire only came to be called sultan starting in 1383 when Murad I was granted this title by the shadow caliph in Cairo.

The Ottoman state had started out as one of a dozen Turkish Ghazi Beyliks, roughly comparable to western European duchies, into which Anatolia (i.e., Asian Turkey, or Asia Minor) had been divided after the break-up of the Seljuk Sultanate of Ikonion (Konya) and the military demise of the Byzantine Empire. Its capital was Bursa. By 1336 it had annexed only the Beylik of Karasy, its western neighbour on the coast of the Sea of Marmara, but it began to expand quite rapidly thereafter.

As the Ottoman realm grew from a Beylik into an imperial sultanate, the title "Bey" came to be applied to subordinate military and administrative officers, such as a district administrator and lower-level minor military governors. The latter were usually titled sanjakbey (after the term "Sanjak", denoting a military horsetail banner). Beys were lower in rank than pashas and provincial governors (wālis, usually holding the title of pasha), who governed most of the Ottoman vilayets (provinces), but higher than effendis.

Eventually the chiefs of the former Ottoman capitals Bursa and Edirne (formerly the Byzantine Adrianople) in Turkish Thrace both were designated "Bey."

Over time the title became somewhat devalued, as Bey was even used as a courtesy title (alongside Pashazade) for a pasha's son. It also came to be attached to officers and dignitaries below those entitled to be pashas, notably the following military officer ranks (still lower ranks were styled efendi):

• Miralai (army colonel or navy captain)
• Kaimakam (army lieutenant-colonel or navy commander)

Oddly, the compound Beyefendi was part of the title of the husband (full style Damad-i-Shahyari (given name) Beyefendi) and sons (full style Sultanzade (given name) Beyefendi) of an Imperial Princess, and their sons in turn were entitled to the courtesy title Beyzade (literally "Son of a Bey". For the grandsons of an imperial princess, the official style was simply Bey after the name.).

By the late 19th century, "Bey" had been reduced in the Ottoman Empire to an honorary equivalent of the English-speaking address (not the British courtesy title) "Sir", somewhat akin to the contemporary Cockney usage of "guv'nor." While in Qazaq and other Central Asian Turkic languages, бай [baj] remains a rather honorific title, in modern Turkish, and in Azerbaijan, the word "bey" (or "bay") simply means "mister" (compare efendi) or "sir" and is used in the meaning of "chieftain" only in historical context. Bay is also used in Turkish in combined form for certain military ranks, e.g. albay, meaning colonel, from alay "regiment" and -bay, and yarbay, meaning lieutenant colonel, from yardim "assistance" and -bay (thus an "assistant albay").

As with most Turkish titles, it follows the name rather than precedes it as in western languages, e.g. "Ahmet Bey" for "Mr. Ahmet". When one speaks of Mr. Ahmet, the title has to be written with a capital (Ahmet Bey), but when one addresses him directly it is simply written without capital (Ahmet bey). Bey may combine with efendi to give a common form of address, to which the possessive suffix -(i)m is usually added: beyefendim, efendim.

Beyefendi has its feminine counterpart: hanımefendi [haˈnɯmefendi], used alone, to address a woman without her first name. And with the first name: Ayşe Hanım or Ayşe hanım, for example, according to the rule given above about the use of the capital letter.

Beys elsewhere[link]

The title Bey (Arabic: بيه‎; Egyptian Arabic pronunciation: [beː]) could be maintained as a similar office within Arab states that broke away from the High Porte, such as Egypt and Sudan under the Muhammad Ali Dynasty, where it was a rank below pasha (maintained in two rank classes after 1922), and a title of courtesy for a pasha's son.

Even much earlier, the virtual sovereign's title in Barbaresque North African 'regency' states was "Bey" (compare Dey). Notably in Tunis, the Husainid Dynasty used a whole series of title and styles including Bey:

• Just Bey itself was part of the territorial title of the ruler, and also as a title used by all male members of the family (rather like Sultan in the Ottoman dynasty).
• Bey al-Kursi 'Bey of the Throne', a term equivalent to reigning prince.
• Bey al-Mahalla 'Bey of the Camp', title used for the next most senior member of the Beylical family after the reigning Bey, the Heir Apparent to the throne.
• Bey al-Taula 'Bey of the Table', the title of the Heir Presumptive, the eldest prince of the Beylical family, who enjoyed precedence immediately after the Bey al-Mahalla.
• Beylerbeyi (or Beglerbegi) 'Lord of Lords', was the administrative rank formally enjoyed by the ruler of Tunis and by rulers of parts of the Balkans in their official capacity of Ottoman Governor-General within the Turkish empire.
• Bey was also the title that was awarded by the Sultan of Turkey in the twilight of the empire to Oloye Mohammed Shitta, an African merchant prince of the Yoruba people who served as a ranking leader of the Muslim community in the kingdom of Lagos. Subsequently, he and his children became known in Nigeria by the compound name Shitta-Bey, a tradition which has survived to the present day through their lineal descendants.

In the Mani Peninsula, in times of the Ottoman conquest of Greece, the de facto sovereign country of the Maniots in the southern Peloponnesus, had as head of state a chieftain which combined both military command and judiciary activities who was entitled as Bey following the Turkish influence over conquered areas, especially in the Balkans. It was usual to add the title to their own given names, therefore the most renowned Bey of Mani, Petros Mavromichalis was simply known as Petrobey.

Other Beys saw their own Beylik promoted to statehood, e.g.:

• in Qusantina (Constantine in French), an Ottoman district subject to the Algiers regency since 1525 (had its own Beys since 1567), the last incumbent, Ahmed Bey ben Mohamed Chérif (b. c.1784, in office 1826 - 1848, d. 1850), was maintained when in 1826 the local Kabyle population declared independence, and when it was on 13 October 1837 conquered by France, until it was incorporated into Algeria in 1848.

Bey or a variation has also been used as an aristocratic title in various Turkic states, such as Bäk in the Tatar Khanate of Kazan, in charge of a Beylik called Bäklek. The Balkar princes in the North Caucasus highlands were known as taubiy (taubey), meaning the "mountainous chief".

Sometimes a Bey was a territorial vassal within a khanate, as in each of the three zuzes under the Khan of the Kazakhs.

The variation Beg, Baig or Bai, is still used as a family name or a part of a name in South and Central Asia as well as the Balkans. In Slavic-influenced names, it can be seen in conjunction with the Slavic -ov/-ović/ev suffixes meaning "son of", such as in Kurbegovic, Izetbegović, Abai Kunanbaev (Abai Kunanbaiuli).

The title is also used within the Moorish American community / membership of the Moorish Science Temple of America as a tribal honourific which denotes an Islamic governor along with the pre-word El.

For the use of the title in the former Polish Lithuanian Commonwealth please check Mirza

Etymology[link]

The word entered English from Turkish bey,^[1] and the Turkish word has its origins in Old Turkic beg.^[2] There are different theories about the further etymology of the word beg. According to one theory the word may ultimately come from Middle Chinese baak, pak.^[4] Another theory states that the word may have its origins in Sogdian baga.^[5] Gerhard Doerfer pointed out the possibility that the word is genuinely Turkic.^[6]

See also[link]

• Anatolian beyliks
• Atabeg
• Baig
• Begum
• Beylerbey
• Chughtai
• Dey
• Effendi
• Kailar beys
• Khagan Bek
• Moorish Science Temple of America
• Ottoman titles
• Maniots
• Skanderbeg

Notes[link]

References[link]

• Encyclopaedia of the Orient
• Westermann Großer Atlas zur Weltgeschichte (German)
• WorldStatesmen - click on each present country
• ACROSS THREE CENTURIES: The Life and Legacies of Mohammed Shitta-Bey (1824-1895) by Doctor Siyan Oyeweso

Mahmoud Ahmed (born May 8, 1941) (Amharic: መሀሙድ አህመድ) is an Ethiopian singer of Gurage ancestry. He gained great popularity in Ethiopia in the 1970s and among the Ethiopian diaspora in the 1980s before rising to international fame with African music fans in Europe and the Americas. He remains one of the most well-known Ethiopian music artists in the world.^[1]

Biography[link]

Born in Addis Ababa's Mercato district, Ahmed was enthralled with the music he heard on Ethiopian radio from in early age. Having done poorly at school, he shined shoes before becoming a handyman at the Arizona Club, which was the after hours hangout of Emperor Haile Sellassie's Imperial Body Guard Band. One night in 1962 when the band's singer didn't show up, Ahmed asked to sing a few songs. He soon became part of the band's regular lineup, where he remained until 1974.^[1]

After cutting his first single with Venus Band "Nafqot New Yegodagn"/"Yasdestal" in 1971, Ahmed continued to record with several bands for the Amha and Kaifa record labels throughout the 1970s. The overthrow of Emperor Sellassie and the suspension of musical nightlife under the military government created shifts in the Ethiopian music industry—the Imperial Body Guard Band were no more, and Ahmed continued to make hit records and cassettes with many musicians who remained in the country, including the Dahlack Band, the Ibex Band and the Idan Raichel Project. He also began to release solo cassettes, accompanying himself on the krar, guitar or mandolin.

By 1978, censorship laws prevented Ahmed from releasing his music on vinyl and so he switched to releasing cassettes^[2] . In the 1980s Ahmed operated his own music store in Addis Ababa's Piazza district while continuing his singing career. With many Ethiopian refugees living abroad, Ahmed became one of the first modern Ethiopian music makers to perform in the United States on a 1980-81 tour with the Wallias Band, Gétatchew Kassa, and Webeshed Fisseha. Ahmed soon began releasing records with the Roha Band and became popular in diaspora communities.^[1]

In 1986, Ahmed's music reached a larger western audience when the Belgian label Crammed Discs released the collection Ere Mela Mela drawn from two Kaifa LPs Ahmed had recorded in Addis with the Ibex Band a decade earlier. Ethiopia was making headlines in the west because of political repression and famine, and the contrasting tone of Ahmed's first international release received much acclaim in the burgeoning world music community. Ahmed gained even greater international popularity in the late 1990s after Buda Musique launched the Ethiopiques series on compact disc. This led to new recordings and tours in Europe and the United States with Boston's Either/Orchestra and Badume's Band.

In 2007, Ahmed won a BBC World Music Award.^[3]

Selected discography[link]

• Almaz' with Ibex Band' (1973 LP; reissued on CD in 1999 as Ethiopiques Volume 6, Buda Musique 829792)
• Alèmeyé (1974 LP, reissued on CD in 2005 as Ethiopiques Volume 19, Buda Musique 860106)
• Erè Mèla Mèla (1975 LP, rereleased on Crammed Discs in 1986 with extra tracks, remixed, expanded and reissued on CD in 2000 as Etiopiques Volume 7, Buda Musique 829802)
• Soul of Addis (1997, Earthworks/Stern's Africa STEW35CD)
• Slow Collections (1998, Sounds of Abyssinia SAC-022)
• Live In Paris (1998, Long Distance 302671)
• Yitbarek (2003, Yene Production 77414, rereleased by Nahom Records in 2007)
• Tizita Vol. 1 (The Best of...) (2003, AIT Records AIT-10304)
• Tizita Vol. 2 (The Best of...) (2003, AIT Records AIT-10305)
• Ethiogroove: Mahmoud Ahmed & Either/Orchestra (2007, EthioSonic DVD)
• Ethiopiques Live: Mahmoud Ahmed, Alemayehu Eshete & Badume's Band (2009, Innacor DVD)

Notes[link]

References[link]

• Liner notes. Soul of Addis by Mahmoud Ahmed. Earthworks/Stern's STEW35CD, 1997.
• Falceto, Francis. Liner notes, Ethiopiques Volume 6—Almaz 1973 by Mahmoud Ahmed. Buda Musique 829792, 1999.

Further reading[link]

• Jonathan Miran, "Mahmoud Ahmed," Dictionary of African Biography, Eds. Henry Louis Gates, Jr. and Emmanuel K. Akyeampong (New York: Oxford University Press, 2012), Volume 4, pp. 43-44.

External links[link]

• Interview with Mahmoud Ahmed on Fly Global Music Culture
• Extensive discography

This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2008)

Mehmet Barış Manço (also spelled Boris Mancho in some European album releases), born Tosun Yusuf Mehmet Barış Manço,^[1] (January 2, 1943 - February 1, 1999) was a Turkish rock singer, composer, and television producer.^[2] The names Tosun and Yusuf were legally removed during his primary school years. He composed about 200 songs, some of which were translated into a variety of languages including English, Japanese, Greek, Italian, Bulgarian, Romanian, Persian, Urdu and Arabic.^[3] He remains one of the most popular public figures of Turkey.

Early life and career[link]

Manço was born in Üsküdar, Istanbul, Turkey on January 2, 1943. His mother, Rikkat Uyanık, was a famous singer in early 1940s.^{[citation needed]} His older brother, who was born during World War II, was named Savaş^{[citation needed]} ("war" in Turkish) while he was named Barış ("peace" in Turkish) by his parents to celebrate the end of the war.^{[citation needed]} His fame greatly popularized the use of the name Barış in Turkey.^{[citation needed]} At birth, he was additionally named Tosun Yusuf after his deceased uncle Yusuf called Tosun (literally: Yusuf The Sturdy). However, this name was erased just before he attended the primary school.^[1]

In primary school his head was shaven to prevent head lice, a serious threat back then, which he cited among reasons for his later signature long hair.^{[citation needed]}

During his highschool days in Galatasaray High School (and later in Şişli Terakki High School) he formed his first band, Kafadarlar ("The Buddies"), allegedly upon seeing Erkin Koray's band performing, all students of Deutsche Schule Istanbul(İstanbul Alman Lisesi),a nearby highschool.^{[citation needed]} Asaf Savaş Akat, a famous economist in Turkey, played saxophone,^{[clarification needed]} and guitarist Ender Enön made his own guitar because it was difficult to find a real one on the market in those years.^{[citation needed]}

In 1962 and 1963, with his next band, Harmoniler ("The Harmonies"), he recorded cover versions of some of popular American twist songs and rearrangements of Turkish folk songs in rock and roll form, marking the beginning of the Anatolian rock movement,^{[citation needed]} a synthesis of Turkish folk music and rock. In this period, his key visual and musical influence was Elvis Presley.^{[citation needed]}

After graduating from high school in 1963, he moved to Europe, travelling around Paris and Liège, where he formed bands with local musicians and recorded some singles mainly in English and in French but also in Turkish. He toured with his band Les Mistigris (not related to Mistigris) in Germany, Belgium, France and Turkey until 1967.

In 1967, he suffered a serious car accident,^{[clarification needed]} after which he started to grow his signature mustache to disguise his scar.^{[citation needed]}

Frustrated by the difficulties of working with musicians from different nationalities, he formed Kaygısızlar (The Carefrees), featuring Mazhar Alanson and Fuat Güner, future members of the band MFÖ. He recorded several singles and toured with the band, both domestically and internationally, until the band members revealed that they did not want to live abroad.^{[citation needed]}

In 1970, he formed Barış Manço Ve ... ("Barış Manço and ...") again with foreign musicians, to record his first hit single, both in Turkey and in Belgium, Dağlar Dağlar (Mountains, Mountains!), selling over 700,000 copies.^{[citation needed]} Today, the song remains one of his most popular works.

1970s[link]

After the success of "Dağlar Dağlar", Manço recorded a couple of singles with Moğollar (The Mongols), another influential Turkish Anatolian rock band. He then decided to return to Turkey where he recorded with the reformed Kaygısızlar for a short period. In 1971, his early works were compiled under his first full length album Dünden Bugüne, today commonly referred as Dağlar Dağlar.

In 1972, he formed Kurtalan Ekspres, a legend by itself, the band that would accompany him until his death. In 1975 until when he continued to release singles, he released his first non-compilation LP 2023, a concept album that includes many instrumental songs.

As a last attempt to reach international success, he released the LP titled Baris Mancho (1976), a strange transcription of his name, mostly with George Hayes Orchestra under CBS Records label, in Europe and South Africa. Although the album did not bring the fame he was expecting, it did reach the top of the charts in Romania and Morocco. Next year, the album was released in Turkey under the title Nick the Chopper.

From 1977 to 1980, he released three more albums in Turkey, partly consisting of compilations of older singles, namely Sakla Samanı Gelir Zamanı (1977), Yeni Bir Gün (1979) and 20. Sanat Yılı Disko Manço (1980), all following a similar sound with 2023. All these albums are now rarity items, but most of the material from the era are available in later compilations Ben Bilirim and Sarı Çizmeli Mehmet Ağa.is company

1980s[link]

In 1981, Manço released Sözüm Meclisten Dışarı with Kurtalan Ekspres, containing many hit songs including "Alla Beni Pulla Beni", "Arkadaşım Eşşek", "Gülpembe", "Halhal" and "Dönence" among others. The album remains as one of their most popular works and launched a boost of popularity for Barış Manço during 1980s.

"Arkadaşım Eşşek" ("My Friend Donkey"), quickly grew very popular among children (the song is about rural nostalgia and was not initially intended as a children's song)^{[citation needed]}. Throughout his career, he went on to write many other songs primarily for children to achieve an iconic acceptance among Turkish children of 1980s and 1990s.

On the other hand "Gülpembe", composed by Kurtalan Ekspres bassist Ahmet Güvenç, a requiem for Manço's grandmother, caught older audiences and probably is the artist's most popular song, competing perhaps only with "Dağlar Dağlar".

In 1983, Estağfurullah, Ne Haddimize was released. It contained hit songs "Halil İbrahim Sofrası" and "Kol Düğmeleri", a new version of the artist's very first song. "Halil İbrahim Sofrası" exemplified Manço's signature moral themed lyrics, a rare feature in Turkish pop music.

In 1985, 24 Ayar Manço which included "Gibi Gibi" and a long conceptual song "Lahburger" was released. It also marked the beginning of the shift in Manço's sound characterized with the heavy use of synthesizers and drum machine in contrast with his older works consisting of a group oriented rock based sound. In subsequent years, Manço released Değmesin Yağlı Boya (1986), Sahibinden İhtiyaçtan (1988) and Darısı Başınıza (1989), all containing a couple of hit songs and demonstrating his new sound.

7'den 77'ye and 1990s[link]

Sr. cameraman Erkan Umut & Barış Manço in Teotihuacan, Mexico (1998)

Sr. cameraman Erkan Umut & Barış Manço in Tanzania

In 1988, 7'den 77'ye (From age 7 to 77), a TV show directed and presented by Manço began to run on TRT 1, the national TV channel of Turkey. It was a combined music, talk show and documentary program which was a major hit during the 8 years it stayed on air. Manço travelled almost 150 countries for the show. "Adam Olacak Çocuk", a part of the show, strengthened Manço's acceptance among children.

Although his popularity continued mostly due to the TV show, his musical works in 1990s were not well received. The albums Mega Manço (1992) and Müsadenizle Çocuklar (1995) were considered as the weakest efforts of his career, despite the limited success of 1992 children hit "Ayı" (The Bear). On the other hand, in 1995 he toured in Japan with Kurtalan Ekspres, leading to Live In Japan (1996), his first and only live album. He released two albums in that country with some recognition as "the man who writes songs about vegetables", referring to "Domates, Biber, Patlıcan" ("Tomato, Pepper, Aubergine") and "Nane, Limon Kabuğu" (Mint, Lemon Rind), two of his hit songs from 1980s.

Death[link]

On February 1, 1999, Barış Manço died of a sudden heart attack before the release of his just finished last work Mançoloji (Mançology or Manchology) (1999), a double album containing the new recordings of his hit songs along with an unfinished instrumental song "40. Yıl" ("The 40th Anniversary"), celebrating his 40th year in music. His sudden death caused an almost unanimous shock in Turkey with millions of people mourning and tens of thousands of people attending his funeral.^{[citation needed]}

Legacy[link]

Barış Manço was one of the most influential Turkish musicians. In his early career he and his bands contributed to the Turkish rock movement by combining traditional Turkish music with rock influences, which is still one of the main trends of Turkish popular music.

His visual image, characterized by his long hair, mustache and big rings, softened the reaction of the otherwise conservative Turkish public opinion.

His experimentation with electronic instruments in the late 1980s contributed to the 1990s sound of Turkish popular music.

His lyrics with diverse themes, mostly following a somewhat modernized version of the "aşık" (wandering folk poets) tradition were heavily marginal in the popular music scene of 1980s which was mostly dominated by love-themed lyrics.

In 2002, a tribute album was released under the name Yüreğimdeki Barış Şarkıları ("Peace's Songs In My Heart", also "Peace Songs In My Heart") featuring 15 extremely popular Turkish artists of such diverse genres as arabesque, pop and rock (both Anatolian and western style) demonstrating his wide range of influence.

Discography[link]

Albums[link]

• Dünden Bugüne (1972) (Sayan)
• 2023 (1975) (Yavuz Plak)
• Sakla Samanı Gelir Zamanı (1976) (Yavuz)
• Baris Mancho, released as Nick The Chopper in Turkey (1976) (CBS Disques/Grammofoonplaten S.A.B.V., CBS 81784, Yavuz LP)
• Yeni Bir Gün (1979) (Yavuz ve Burç Plakçılık)
• 20 Sanat Yılı Disco Manço (1980) (Türküola)
• Sözüm Meclisten Dışarı (1981) (Türküola)
• Estağfurullah... Ne Haddimize! (1983) (Türküola)
• 24 Ayar Manço (1985) (Emre Plakçılık)
• Değmesin Yağlı Boya (1986) (Emre Plakçılık)
• 30 Sanat Yılı Fulaksesuar Manço - Sahibinden İhtiyaçtan (1988) (Emre Plakçılık)
• Darısı Başınıza (1989) (Yavuz ve Burç Plakçılık)
• Mega Manço (1992) (Emre Plak)
• Müsaadenizle Çocuklar (1995) (Emre Plak)
• Barış Manço Live In Japan (1996) (Emre Plak)
• Mançoloji (1999) (Emre Plak)

Singles[link]

With Harmoniler

• Twistin USA / The Jet (1962) (Grafson MGG 515)
• Do The Twist / Let's Twist again (1962) (Grafson MGG 516)
• Cit Cit Twist / Dream Girl (1963) (Grafson MGG 566)

With Jacques Denjean Orchestra

• Baby Sitter / Quelle Peste / Jenny Jenny / Un Autre Amour Que Toi (1964) (Rigolo 18.726)

With Les Mistigris

• Il Arrivera / Une Fille (1966) (Sahibinin Sesi 45-AX 3092)
• Bien Fait Pour Toi / Aman Avcı Vurma Beni (1966) (Sahibinin Sesi 45-AX 3093)
• Bizim Gibi / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan)

With Kaygısızlar

• Kol Düğmeleri / Big Boss Man / Seher Vakti / Good Golly Miss Molly (1967) (Sayan FS-144)
• Kızılcıklar / I'll Go Crazy (1968) (Sayan FS-171)
• Bebek / Keep Lookin' (1968) (Sayan FS-179)
• Karanlıklar İçinde / Trip - To a Fair (1968) (Sayan FS-180)
• Bogaziçi / Flower of Love (1968) (Sayan FS-194)
• Runaway / Unutamıyorum (1969) (Sayan FS-199)
• Aglama Değmez Hayat / Kirpiklerin Ok Ok Eyle (1969) (Sayan FS 204)
• Kağızman / Anadolu (1969) (Sayan FS 213)
• Mikail Aliyev baris manconun unutamadim parhasin okuyup ve 1 yeri kazandi

With Barış Manço Ve'

• Derule / Küçük Bir Gece Müziği (1970) (Sayan FS-223)
• Dağlar Dağlar 1 / Dağlar Dağlar 2 (1970) (Sayan 229)

With Moğollar

• İşte Hendek İşte Deve / Katip Arzuhalim Yaz Yare Boyle (1971) (Sayan FS-266)

With Moğollar / Kaygısızlar

• Bin Boğanın Kızı / Ay Osman (1971) (Sayan FS-271)

With Kaygısızlar / Les Mistigris

• Fil ile Kurbağa / Je te Retrouverais (1972) (Sayan FS 279)

With Kurtalan Ekspres

• Ölüm Allah'ın Emri / Gamzedeyim Deva Bulmam (1972) (Yavuz YA 1544)
• Lambaya Püf De / Kalk Gidelim Küheylan (1973) (Yavuz YA 1548)
• Gönül Dağı / Hey Koca Topcu Genç Osman (1973) (Yavuz YA 1554)
• Nazar Eyle Nazar Eyle / Gülme Ha Gülme (1974) (Yavuz YA 1562)
• Bir Bahar Akşamı / Estergon Kalesi (1974) (Yavuz YA 1569)
• Ben Bilirim /2023 (1975) (Yavuz Plak YA 1573)
• Çay Elinden Öteye Rezil Dede / Vur Ha Vur (1976) (Yavuz Plak YA 1580)

With George Hayes Orchestra / Kurtalan Ekspres

• Nick the Chopper / Lonely Man (1977) (Yavuz YA 1584)

With Kurtalan Ekspres

• Hal Hal / Eğri Eğri Doğru Doğru Eğri Büğrü Ama Yine De Doğru (1981) (Türküola 239)

Filmography[link]

• Baba beni eversene (1975)

References[link]

1. ^ ^{a b} "İşte Barış Manço'nun gerçek adı" (in Turkish). Hürriyet. 2011-12-08. http://www.hurriyet.de/haberler/magazin/1073585/iste-baris-manconun-gercek-adi. Retrieved 2011-12-09. 
2. ^ Variety's Film Reviews 1985-1986 (Vol 19) by R R Bowker Publishing, ISBN 978-0-8352-2799-5
3. ^ "Baris Manco". Light Millennium. http://www.lightmillennium.org/biographies/bmanco_biography.html. Retrieved 2011-01-08. 

Further reading[link]

• M.Ali Eren (1999-02-06). "Türkiye Barış'ı arıyor" (in Turkish). Aksiyon 218. http://www.aksiyon.com.tr/aksiyon/haber-4624-26-turkiye-barisi-ariyor.html. 

External links[link]

• Official Website
• Baris Manco Fans Website
• 2011 tribute to Manco with a remake of his song performed by the popular Pakistani singing duo Zeb and Haniya at the famous Coke Studios in Karachi.