[engl] The music you are about to hear defies categorisation. But for all intents and multi-purposes, this record is a folk album. Embodying all the aesthetic watermarks of a private press country LP, Selda Bağcan’s debut long player from 1976 has masqueraded as lamb dressed as mutton, throw- ing many a discerning wolf from the gourmet scent. Behold! Space age, Anatolian, electronic, progressive protest psych folk funk rock from the Middle East! All of the above ingredients are presented immaculately with utmost authenticity and conviction to create a delectable hybrid con- coction that has never been replicated or equalled in the three mutant decades since it’s record- ing. When Selda first released her long-awaited LP (the first of two confusingly eponymous titles in the same year), she was enduring/enjoying her halcyon as one of the most politically outspoken pop- ular folk singers to hail from Turkey. In the previous decade she had made a household name for herself as a traditional Anadolu protest singer with a spectacular emotive vocal capacity (for idle argument's sake, begging comparison to a Turkish Joan Baez). A figurehead and poetic driving force for a radical generation of politically motivated creative revolutionaries, her raw, stripped- down folk songs yearned for political change with heart-wrenching earnestness; embodying a uni- fying traditional sound which mainlined the veins of a free-thinking, united Turkey. Selda had, and still has, a reputation as an individual omnipresent strength who was willing to brave grave con- sequences in the name of change and humanity which would later see her serve time in prison on account of her vociferous attitudes on behalf of her like-minded but seldom outspoken peers. Until now, Selda played the role of musical martyr in a lonely void, but by early 1975 (when Ms. Bağcan was given an unexpected opportunity to commit a collection of ten new songs to an LP for the for- ward-thinking Türküola label) the silent free-thinking cognoscenti of musical Istanbul came to her aid in droves, thus creating one of the most extraordinary hybrid folk albums you are ever likely to hear. Fusing Selda's radical prose with equally radical musical gestures from some of the most lauded musical mavericks was a match made in psychedelic heaven. Artists such as Anadolu beat combo Moğollar (also known to a growing French audience as Les Mogol) had previously recorded a run of singles with the singer in a traditional folk style but in recent years had enjoyed critical acclaim after releasing two progressive albums fusing jazz, funk and electronically treated instruments with typical Anatolian styles. Selda would also utilise the talents of popular backing band Dadaşlar under the guidance of Anatolian rock stalwart Arif Sağ and master electronic producer and pioneer Zafer Dilek (who would later gain critical acclaim amongst collectors of Turkish library music such as the TRT releases that he recorded alongside Okay Temiz). The bands were assembled at mul- tiple sessions at both Yeni Studios and the über legendary Studio Elektronik where the record was finally completed and mastered. Released in 1976 to huge critical acclaim and skepticism in equal parts, the album smashed new boundaries both lyrically and musically. Sonically the LP begs comparison to the second LP by post folk, sibling three-piece Üç Hürel who used a balance of electronically treated saz and proto- polyphonic synthesisers to similar effect (exemplified here on tracks such as Gitme and Yaz Gazeteci Yaz). However, the fact that Selda was one of the few female voices to adopt the use of such cutting edge techniques put the LP in a league of its very own. Frowned on by the paranoid Turkish authorities, songs like Meydan Sizindir and Ince Ince were viewed as a call to arms for the working classes - little did Selda know that now her songwriting was available to a wider market (and soon to be available to an unlimited audience via the introduction of the compact cassette) she would face the threat of imprisonment due to her unwaning desire for freedom of speech and demands for a better quality of life. Selda would face future jail sentences and travel restrictions as her popularity spread amongst Turkish communities in Europe and America. Luckily Türküola arranged the immediate release of a second album that was released in late 1976 (some songs recorded in the same sessions are presented on this release as bonus tracks). Selda's second LP retained some of the psychedelic touches found on her debut but the passing phase of Turkish electronica (which began to manifest in popular music such as disco and pop) was less prevalent. Selda still performs songs from her extensive repertoire all over the world with many cassettes and CDs released under her singular name. Each of the artists involved in the recording of this LP continued to record radical and experimental music and are considered the cream of the crop among Eastern psych aficionados. In recent years the legacy of Anatolian progressive rock has gone from strength to strength, gaining popularity amongst DJs, producers and record collectors as an unrivalled source for unique sounds rarely found in other genres of international music and, until now, rarely heard outside their native environment Thirty years down the line, the Anatolian Invasion is on its way to a record store near you.

[engl] First album by Selda Bagcan, originally released in 1976. A collection of well-known poems and folk-songs, recorded in cooperation with the most progressive Turkish musicians / arrangers of the 70s: Mogollar, Dadaslar, Zafer Dilek & Arif Sag. Combining traditional instrumentation from Anatolia with Western psychedelic grooves: fuzz-wah guitars, electric saz, funk drums and above all, Selda's passionate vocals.

[engl] Imagine if Julia Child had marched against Vietnam, stood on the steps of the Pentagon & placed a flower in a gun barrel. Selda Bagcan's later records have that same cross of easygoing motherly warmth & righteous anger. This 1979 album (technically her 4th, although 6 of these songs were also released on her 3rd), was recorded when Turkey was at its most politically polarized. Selda was sentenced to a total of over 500 years in prison right about the time it came out. A pile of acoustic guitars & baglamas all going off at once under a blanket of reverb, with lyrics about blood, wood, mountains, families, and desperate troubles, so it's a thick squirt for a folk album. Selda's voice can either be sultry or really surge with emotion, and when she does belt one, it's oddly high & completely unique. Her reward was the love of Turkey's people, but also 9 trials and 3 prison terms from the right wing military government of the 80s.

[engl] There were female Turkish folk singers before Selda Bagcan, but none whose hot- blooded voice carried such righteously angry words & none who also accompanied themselves on guitar. She began her career singing at her brothers' Beethoven nightclub in Ankara while she went to school for physics during the day. Her 1st album had help from the cream of the crazy Istanbul pop scene, and cuts from the same sessions were also released on this 2nd one. While the direction is folky overall, there's fuzz, zooming synthesizers, and heavy flute to be found. When Selda performed the title track in 1977 in a coastal town not far from Istanbul, her protest lyrics, though taken from an old poem, got her heckled by audience members who screamed that she should go back to Moscow! Find out why this brawny mama couldn't be stopped by a military government that put her on trial 9 times, and could call herself the bitter voice of the Turkish people.