In the band which he had founded in high school, Edip Akbayram played and sang compositions containing folk poems by Pir Sultan and Karacaoğlan. Also throughout those high school years, together with a band named “Siyah Örümcekler”, he released his first LP, titled “Kendim ettim kendim buldum”. The record was released in two different editions, one titled “ Siyah Örümcekler-Gaziantep Orkestrası”, the other “Edip Akbayram ve Siyah Örümcekler".
After coming to Istanbul, Edip Akbayram participated in the 1971 “Golden Microphone” competition. Therein, he won with his first composition "Kükredi Çimenler", which had been inspired by a poem by Âşık Veysel. Then, in 1972, along with that song, he released a 45er record that also included the song “Boşuboşuna”.
Anadolu Pop is a genre that is open to being performed with a band and has an experimental style to it. Because of this, it is difficult to take the stage alone or sing alongside an orchestra. Edip Akbayram therefore urgently had to solve his band problem. Exactly during those days, Vecdi Ören, who had been having some problems in the music group “Dönüşüm”, came and proposed to form a band. Edip Akbayram agreed right away and after only a short time, Vecdi Ören (bass), Koral Sarıtaş (drums), Cudi Koyuncu (bağlama, cura) and Galip Kayıhan (guitar) had come together and formed “Dostlar”.
In 1974, Akbayram established “Dostlar Orkestrası” and became one of the leading names in Anadolu Pop music. Thereafter, he received awards for his 45er records, titled "Kara Kuzu", "Deniz Üstü Köpürür" and "Garip", while his fame was spreading throughout the nation. He further broke the sales records with his pieces “Aldırma Gönül" and "Eşkıya Dünyaya Hükümdar Olmaz", winning the golden record award. Over the years, Edip Akbayram and “Dostlar” underwent many band member changes. For example, although bass guitarist Vecdi Ören initially left the band, he rejoined them later on. During that time, Özkan Uğur had been included as a bass guitarist in the band.
Except for “Dostlar” accompanying Edip Akbayram, the “band atmosphere” could never be fully grasped, and he alone could not display a consistent line and integrity. For that reason, monetary issues began to come to the fore, weighing in more than the power of togetherness and music.
In the middle of 1976, a dispute then broke out between Vecdi Ören and Edip Akbayram, and Vecdi Ören, who had left the group several times before, left permanently.
Edip Akbayram explains what he had set out to do from the beginning in the following way: “I wanted to do something lasting. I took Fikret Kızılok’s and Cem Karaca’s way of singing Anatolian melodies on a pop line as an example. In colour and line, I completely developed as Edip Akbayram. I wanted to make socialist music. My music should include the life and problems of a wide mass of people. However, I tried to stay away from sharp, cheap heroism. Without compromising my beliefs, thoughts and policies, drawing on music technique, I wanted to reach large masses of troubled and distressed people; I wanted to do something more contemporary.”
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Illustration: Cihan Topçu
Translation: Necdet Çanım & Sami Umut Can
Analog Mastering: Arşivplak/Volga Çoban at Studio Arsivplak, London
Digital Remastering: Sinan Güngörer
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