Roughly three years ago (already!) I wrote essay here about traditional folk music from Bosnia called Sevdah - its a kind of hard-core traditional music dating centuries back and usually associated with Bosnian folk singers who created art form from it. In its purest form it was also immensely popular in post-WW2 years everywhere in Balkans, when local singers cherished this kind of music, however during 1960s and 1970s new composers came with their own material hence the whole new generation of musicians started recording new Sevdah-inspired hits, until eventually it metamorphosed into completely new music sub genre. You could always tell pure Sevdah because it sounded more serious and melancholic, while new songs (simply called folk music but that was very generic description) were more upbeat, or this is just the way I hear it. I never cared for Sevdah while growing up, because as a kid I was more interested in foreign pop music (and it was something always associated with rural tradition) but unconsciously I must have picked on some vibes and atmosphere of our kitchen radio, because nowadays I truly enjoy this kind of music, out of sheer comfort that it gives me - like Proust's Madeleine cake, it suddenly makes me feel cocooned, protected and comfortable in my own kitchen. Its my kitchen music and I have no problem whatsoever switching from opera to Sevdah when inspiration takes me.
"Beba Selimović" (1971)
First proper LP album by Bosnian first lady of traditional folk music is actually compilation of her best known work up to that point and collects tracks recorded mostly in previous decade. Majority of these songs were originally recorded either on EP or singles, so its interesting to note how the music changed during 1960s - earliest "Tugo Moja" (from 1964) was still mournful but later songs, while always preserving some lilting quality, slowly became more upbeat, even though lyrics were mostly always serious. Selimović might have started with traditional Sevdah but was very well served with the whole list of new composers who tailored hits for her, particularly notable was Jozo Penava whose music always stands out amongst competition. Very much adored and idolised in Bosnia, Selimović was a role model of how female folk singers should sound, look and behave - in traditional society, where position of professional musician who constantly travel might have been looked upon as something frivolous, she managed to project stately dignity, sophistication and elegance, her talent being undoubtedly recognised and loved. Not every girl singer managed this feat and quite large number of them relied on provocative dresses, hairstyles and such, however Selimović (although very attractive woman) was always first and foremost singer with naturally beautiful and expressive voice that was her God's given talent and she took it seriously, hence her career went on forever.
"Nada Mamula" (1971)
This is one of cornerstones of Bosnian traditional folk music and its place cannot ever be underestimated - because of its artistic merit and influence, it grew to represent iconic status and was amongst many homes treasured possessions. Amongst all the titans of Sevdah, there is undoubtedly one woman who will be forever remembered as the most important female singer of all times and her name was Nada Mamula. Strangely enough, Mamula was not Bosnian at all - she was born, raised and educated in Belgrade where she started singing on the local radio, before marriage took her to Sarajevo. Embracing rich Bosnian culture, tradition and music, she was also embraced by Sarajevo where audiences just couldn't get enough of her soulful singing - there were other singers who knew and cherished tradition, but Mamula was exceptional.
There is a song on this album, "Ah, meraka u večeri rane" that was actually very song Mamula sang for radio Sarajevo - it represents her spiritual rebirth, as from this moment on she started towards the path leading to her true destiny as voice of Sevdah. If until that point she was just one of the many talented folk singers back home, here in new surroundings she blossomed into trailblazer who awed listeners and represented the best of the genre. What made Mamula so significant was her total command of emotional impact on listeners - not only that she was born with naturally beautiful, majestic alto voice but she sang from the heart, with conviction and feelings unmatched anywhere around. When Mamula sings, you listen with attention because she seriously meant every word she sang.
Around 1971 Jugoton started to seriously focus on LP albums by single artists and released several albums which were actually compilations of greatest hits up to that point, previously known and loved from single and EP recordings, so this album is not only representation of some of the absolutely classic music in Sevdah (and Sevdah influenced newly composed songs) but also testament to Mamula's work that will never be forgotten. She was hugely important and beloved in her time, in my opinion this is kind of singer born once in generation.
"Safet" by Safet Isović (1972)
Slightly younger than Nada Mamula, Safet Isović basically belongs to the same generation of post-WW2 singers who made a huge career out of continuing tradition of Bosnian traditional folk music and promotion of new composers who wrote songs in that style. Isović had not only natural talent (spectacularly beautiful, instantly recognisable and strong tenor voice of great flexibility) but also a great love and understanding of this kind of music, in fact he is a perfect example of artist born and raised in this culture, who intuitively knew all the nuances Sevdah demands of any singer.
Like many other classic Sevdah singers, Isović actually goes way back to 1950s and he had already been superstar when this LP compilation was released, bringing some of his most famous recordings from previous decade. "Sinoć dođe tuđe momče" and "Sa jablana crven listić pao" for example, are from 1963 and 1964 respectively, while "Jablani se povijaju" was one of the hits from folk music festival Ilidža in 1964. "Vrbas voda nosila jablana" is even older, dating from 1962 - later recordings show elegant move from strictly traditional Sevdah to repertoire written by composers like Jozo Penava and Safet Kafedžić who basically kept the exactly same spirit like ancient music but these were new songs. In a way, this album represents changes in folk music and how it metamorphosed with time. New generations of singers will eventually follow this path even more prominently (to the point that folk music will eventually split into two branches, traditional and newly composed) but Isović will never be challenged as his place on the throne was deserved, assured and constantly re-affirmed in subsequent decades.
"Ima jedna cura" by Nedžad Salković (1967)
Nedžad Salković was a perfect example of younger generation of 1960s Bosnian folk singers who eventually found success with completely fresh written songs by new composers working in the same spiritual style as ancient Sevdah music genre. They all knew, loved and understood Sevdah but needed fresh material and this is where Sevdah slowly metamorphosed into relatively more modern sub genre - at least, this is how I understand it - popular folk festivals like Ilidža promoted these new faces and this kind of music was immensely popular in Bosnia, where it surprisingly flourished in perfect harmony with other music genres - Sarajevo brimming with music talents, had at the same time rockers like "Indexi" and singers like Salković, they happily worked rubbing shoulders next to each other and there was never any problem with that. You could in fact see both of them usually in the very same TV show.
Although known and loved locally, Salković will actually have to wait almost two decades until in 1980s he found himself with mega spectacular hit "Ne klepeći nanulama" that became his signature song and finally brought him national recognition on previously unprecedented level. That song was actually embraced by such huge audiences all over the country that it became phenomenon, as it obviously touched a nerve with people who never before cared for this kind of music, including rock critics and radio DJs who played it to death next to current foreign hits.
"Naj - Najlepši" by Silvana Armenulić (1967)
This cute, little EP recording by late Armenulić might have been just perfect sign of the times back in 1967 but to my ears it sounded so absolutely Greek that I didn't know what to make of it. Not that anything is wrong with it, its just that I didn't expect that Greek influence spread so much into our traditional folk music to such large degree - I knew and understood that during 1960s Bosnian Sevdah experienced changes and new composers brought fresh ideas, but this is completely Greek. And no wonder, as music recorded here is actually all Greek covers with translated lyrics by Aleksandar Korać. This kind of music was apparently very much loved and accepted by audiences and since I heard some of Greek artists from the same time, it came as a surprise to find it transplanted into completely different country.
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