Savo Radusinović
Savo Radusinović (Serbian Cyrillic: Саво Радусиновић; 11 May 1954 – 29 October 2007) was a Serbian folk singer born in Podgorica, Montenegro (then part of Yugoslavia), renowned for his contributions to the Yugoslav folk music scene.[1][2] He debuted with the single "Šesnaest Ti Leta Beše" in 1978 and gained popularity through frequent appearances at music festivals across Yugoslavia.[2] His career spanned several decades, marked by a diverse discography of singles, albums, and compilations primarily released by prominent labels such as Jugoton and PGP RTB, until his death in Sacramento, California.[1] Radusinović's music was deeply rooted in traditional Serbian folk styles, often featuring emotional ballads and themes of love and heartbreak that resonated with audiences in the former Yugoslavia.[2] Key albums in his catalog include Srce Moje, Deli Se Na Dvoje (1981), Jedno Pismo Jedna Suza (1982), and Ko Te Noćas Miluje Po Ruci (1984), alongside later works like Gospodin (1995) and live recordings such as Savo Radusinović Uživo (1999).[1] He also released compilations like Hitovi (1989) and Najveći Hitovi (2006), which highlighted his enduring popularity.[1] Throughout his professional life, Radusinović was associated with the ensemble Ansambl Save Radusinovića, which supported his performances and recordings.[1] His work extended beyond Yugoslavia, as he continued his career in the United States later in life, reflecting the diaspora of Yugoslav artists.[3] Despite his relatively modest international profile, he remains a notable figure in the history of ex-Yugoslav folk music for his consistent output and festival presence.[2]Early life
Birth and upbringing in Podgorica
Savo Radusinović was born on 11 May 1954 in Podgorica, the capital of the Socialist Republic of Montenegro within the Socialist Federal Republic of Yugoslavia.[4] He was the son of Jovan Radusinović.[4] Radusinović's early years unfolded in a Podgorica undergoing significant post-World War II reconstruction during the 1950s, a period marked by the development of a new planned urban area that disrupted the historic fabric of the old town, Stara Varoš, through demolitions and an orthogonal grid layout.[5] The city's population began to double between 1953 and 1971 due to migration, fostering socio-economic growth and modernization efforts that laid the foundation for expanded infrastructure amid the broader Yugoslav socialist framework.[5] This environment of rebuilding and demographic shifts characterized the socio-economic context of his childhood, reflecting the challenges and opportunities of recovery in a war-ravaged region. The cultural landscape of Podgorica in the late 1940s and early 1950s, extending into Radusinović's formative years, was rich with Montenegrin folk music traditions, as evidenced by ethnomusicologist Miodrag A. Vasiljević's extensive fieldwork in the area starting in 1948, where he collected folk songs from central Montenegro, including Podgorica.[6] Vasiljević's expeditions highlighted the lyrical depth and metrical uniqueness of local songs, often performed in community settings, and his simultaneous development of educational materials like One-Voice Solfeggio (published in 1950) integrated these traditions into pedagogical efforts, potentially exposing young residents to folk heritage through schools and cultural exchanges.[6] Such activities underscored the vibrant role of folk music in preserving Montenegrin identity during the post-war era.Influences and entry into music
Savo Radusinović, born in Podgorica in 1954, developed an early interest in music shaped by the rich Serbian and Montenegrin folk traditions prevalent in his native region. While specific personal influences are not extensively documented, his style drew from traditional elements such as the emotive use of instruments like the accordion, which was central to Balkan folk expressions, as evidenced by his initial collaborations where composer Aca Stepić presented songs played on the accordion. This connection to regional folk sounds, including melodic structures common in Montenegrin and Serbian music, informed his soft, melodic vocal approach that emphasized themes of love and longing.[7] Radusinović received formal musical training, attending music school where he excelled in reading and writing musical notation, and he became proficient on the piano accordion, a staple instrument in Yugoslav folk ensembles. Although details of his amateur experiences in Podgorica during the 1960s and early 1970s are scarce, his trained background suggests involvement in local musical activities that honed his skills before professional pursuits. By the mid-1970s, he had begun engaging with professional circles, collaborating with established figures like Aca Stepić, who recalled presenting several songs to him, leading to his immediate selection of material that aligned with his folk-oriented style. This period marked his transition toward a professional career in folk singing, driven by his natural talent and formal education rather than purely self-taught methods.[7][8] The broader cultural context of Yugoslavia in the 1970s provided a fertile ground for emerging folk artists like Radusinović, as folk music—particularly "newly composed folk music"—gained immense popularity across the federation, blending traditional regional sounds with modern influences to promote socialist ideals of unity. State policies, including decentralization under the 1974 constitution, encouraged regional expressions like those from Montenegrin and Serbian traditions, while radio broadcasts and music markets facilitated widespread accessibility and career opportunities for singers. This environment, characterized by a divided yet thriving music industry encompassing folk alongside pop and rock, supported the rise of artists who could connect emotionally with diverse audiences, setting the stage for Radusinović's debut in 1978.[9][8][10]Musical career
Debut single and early recordings
Savo Radusinović entered the Yugoslav folk music scene with his debut single in 1978, marking his professional breakthrough as a recording artist. Released by the prominent label Jugoton, the 7-inch vinyl single titled "Šesnaest Ti Leta Beše / Otišla Je Moja Draga" featured two tracks centered on themes of youthful love and romantic loss, typical of the era's folk ballads.[11] The A-side, "Šesnaest Ti Leta Beše," was composed by A. Stepić with lyrics by B. Cvetinović, while the B-side, "Otišla Je Moja Draga," shared the same creative team; the recording was engineered by A. Radojčić and backed by the Ansambl Ace Stepića ensemble, produced by GIP "Beograd."[11] This release, cataloged as SY 23464 under Jugoton, represented Radusinović's initial foray into the competitive late-1970s Yugoslav folk market, where vinyl singles served as key vehicles for emerging artists to gain airplay and festival exposure.[11] The single's production highlighted the technical standards of the time, including matrix runouts stamped for quality control (SY-23464-1 and SY-23464-2), and it was distributed across Yugoslavia with rights managed by SOKOJ.[11] Building on this debut, Radusinović followed with another Jugoton single in 1979, "Pomirenja Više Nema / Ja Bih Hteo Da Oprostim Tebi," which explored themes of irreconcilable relationships and tentative forgiveness in the folk tradition.[12] Released as a 7-inch vinyl under catalog SY 23590, the A-side was arranged by D. Aleksandrić with music by D. Ivanković and lyrics by S. Spasić, while the B-side was written by D. Ivanković and arranged by B. Đorđević; production was handled by Slobodan Nikolić, recorded by A. Radojčić at CFS "Košutnjak," and supported by the Ansambl Dragana Aleksandrića.[12] This effort underscored his growing association with Jugoton, a leading label in Yugoslavia known for promoting folk talent through polished ensemble recordings and widespread distribution.[12] By this point, Radusinović was establishing himself in the folk scene, facing the challenges of breaking through in a genre dominated by established performers, yet benefiting from Jugoton's resources for professional production.[13] In 1980, he released yet another single on Jugoton, "Nesrećna Ženo, Ljubavi Moja / Nismo Bili Od Sreće Daleko" (catalog SY-23705), continuing his focus on emotional narratives of misfortune in love and distant happiness.[14] The A-side featured music and arrangement by S. Radusinović himself with lyrics by R. Vučković, backed by the Orkestar Tomice Miljića, while the B-side had music by D. Ivanković, lyrics by S. Spasić, and arrangement by S. Radusinović, supported by the Orkestar Stevice Spasića; it was produced by GIP "Beograd" with editorial oversight by Dubravko Majnarić.[14] These early vinyl releases, all in the 7-inch format, exemplified the technical aspects of Yugoslav folk production, including etched matrix runouts for pressing (SY 23705-1 and SY 23705-2) and SOKOJ rights society affiliation.[14] Through these singles, Radusinović navigated the late 1970s folk landscape, achieving initial recognition that paved the way for broader festival appearances.[13]Festival appearances in Yugoslavia
Savo Radusinović gained significant exposure through his participations in prominent Yugoslav folk music festivals during the 1990s, where he performed original songs that resonated with audiences and were later compiled on official releases. These events served as crucial platforms for folk artists to showcase new material and connect with fans across the region, particularly in Serbia and Montenegro.[15] One of the most important venues for Radusinović was the annual Moravski Biseri festival, a key gathering for narodna muzika performers that began in the early 1990s and continued to promote traditional and contemporary folk styles. He first appeared at the third edition in 1995, performing "Tuga Samo Tuga," which highlighted his emotive vocal style and contributed to the event's compilation recording.[16] In 1996, at the fourth festival, he delivered "Vraćaš Mi Se U Pogrešno Vreme," a track that captured themes of lost love and became a staple in his live repertoire, as evidenced by its inclusion in the festival's audio release.[17] Radusinović returned for the fifth edition in 1997 with "Čovek S Koferom U Ruci," earning positive reception for its narrative depth and appearing on the official album alongside other artists.[18] His final documented performance at Moravski Biseri came in 1998 during the sixth festival, where he sang "Biti Čovek," further solidifying his presence in the folk circuit through the event's compilation.[19] Beyond Moravski Biseri, Radusinović participated in the Festival Svatovac in 1996, a celebration of wedding and traditional folk songs that drew large crowds in Yugoslavia. There, he performed "Ti Si Kao Prokleta Jerina," a poignant piece that was featured on the festival's compilation album and exemplified the emotional storytelling central to his work.[20] He also contributed to the Melosovo Poselo compilation series focused on Serbian musical traditions, with his rendition of "Jerina" included in a 2006 release that highlighted his earlier recordings.[21] These festival outings, often resulting in collaborative recordings with labels like Melos Marketing, played a pivotal role in elevating his profile among folk enthusiasts during the 1990s and early 2000s in Serbia and Montenegro.[22]Major albums and releases
Savo Radusinović's major studio albums represent a cornerstone of his contributions to Yugoslav folk music, showcasing his emotive vocal style and themes centered on love, heartbreak, and rural life. His debut full-length album, Srce Moje, Deli Se Na Dvoje, released in 1981 by Jugoton, featured 10 tracks including the title song and "Šta Da Radim Sa Ovim Bolima," blending traditional Serbian folk elements with orchestral arrangements. This album marked his transition from singles to longer-form releases, achieving moderate commercial success in Yugoslavia through radio play and festival tie-ins.[23] Following this, Jedno Pismo Jedna Suza (1982, Jugoton) delved deeper into melancholic ballads, with tracks like the titular "Jedno Pismo Jedna Suza" and "Da Li Si Znala," emphasizing acoustic guitar and accordion-driven folk instrumentation. The album's themes of romantic longing resonated with audiences, contributing to Radusinović's growing popularity in the region.[24] In 1983, Ti Si Žena Koju Volim (Jugoton) expanded on these motifs with songs such as "Pismo Bez Potpisa," maintaining a traditionalist approach while incorporating subtle pop influences. Radusinović's style began to mature here, shifting toward more polished productions that balanced authenticity with broader appeal. By 1984, Ko Te Noćas Miluje Po Ruci (PGP RTB) featured 8 tracks, including the hit title track, with themes of betrayal and passion, backed by string sections and released to positive reception for its emotional depth.[25] The 1991 album Zvonite Zvona [(PGP RTB)](/page/(PGP RTB)) reflected a post-Yugoslav era evolution, with tracks like "Zvonite Zvona" and "Moja Ljubavi," produced by S. Marković with a focus on upbeat rhythms alongside heartfelt lyrics, which helped sustain his career amid political changes. Critical reviews from the period praised its accessibility, noting it as a commercial peak with strong sales in Serbia and Montenegro.[26] Finally, Gospodin (1995, PGP RTS) presented a more introspective collection, including "Gospodin" and "Srce Od Papira," with modernized folk arrangements that highlighted Radusinović's vocal range, though reception was mixed due to shifting musical tastes. S'Koferom U Ruci (1997, PGP RTS) wrapped his studio output with reflective tracks. Overall, Radusinović's albums evolved from raw, traditional folk in the early 1980s Jugoton era to a hybrid style in the 1990s PGP productions, consistently exploring emotional narratives that solidified his place in ex-Yugoslav music history, with production centered in Belgrade and themes drawing from personal and cultural experiences.[1]Live performances and popularity
Savo Radusinović built a notable live performance career in the Yugoslav folk music scene during the 1980s and 1990s, often performing with musical ensembles that complemented his melodic vocal style. He was associated with Ansambl Save Radusinovića, a group that supported his stage appearances and contributed to the live renditions of his songs.[1] His performances were characterized by a subtle and emotional interpretation, where he meticulously shaped each syllable to convey deep sentiment, earning praise for his gentle handling of melodies.[7] Radusinović's popularity surged primarily through extensive radio play on local stations across Yugoslavia, which introduced his music to a broad audience and established him as one of the most beloved folk singers of his era.[8][7] While he made rare television appearances, his limited TV exposure contrasted with the organic growth of his fanbase via radio.[7] This radio-driven reach fostered a dedicated following, particularly among women, and his songs continued to resonate intergenerationally, often sung at celebrations long after his active years.[8][7] In addition to festival appearances, Radusinović engaged in non-festival live events such as concerts and recorded live sessions that captured his audience engagement through emotive delivery.[8] At the peak of his career in the folk scene, he left a profound cultural impact, with his timeless hits solidifying his role as a key figure whose music emphasized emotional depth and melodic finesse.[7][8]Later years and death
Emigration to the United States
Savo Radusinović established a foothold in the United States in the late 1980s by opening the restaurant My Way in North Hollywood, California, in 1988, where Italian specialties were served during the week and his wife Biljana prepared Yugoslav dishes on weekends.[27] He continued to own and operate the restaurant at least through 1990, as indicated by his credited role in the film Demon Wind.[28] In the ensuing years, Radusinović transitioned to a more permanent residence in the United States, eventually settling in Sacramento, California, with his family, including his wife and three sons.[3] There, he engaged with the Serbian diaspora community, participating in local events such as those at the Serbian church.[3] His emigration influenced his career by shifting focus toward expatriate audiences, though he maintained musical output with releases like the live album Savo Radusinović Uživo in 1999 and the album Sreća u Jednom Danu in 2006, reflecting continued activity in folk music from his U.S. base.[1]Death and immediate aftermath
Savo Radusinović died on 29 October 2007 in Sacramento, California, at the age of 53, after suffering from a serious illness.[29] His passing was announced through an obituary published in The Sacramento Bee on 1 November 2007, which described him as having "left our world and [gone] to the heavens to join his loved ones" and highlighted his survival by his beloved wife, three sons, three brothers, and a sister.[3] The obituary page quickly became a site for immediate tributes from family, friends, and acquaintances in the local community, with condolences posted as early as 2 November 2007.[3] Messages expressed shock at his sudden departure, recalled his kindness and musical talents, and offered sympathies to his wife and family; for instance, one note from Bob and Jeanette Herringshaw mentioned his recent illness and extended blessings, while others shared personal memories of family gatherings and his vibrant personality from the 1970s.[3] Funeral arrangements culminated in his burial at Fair Oaks Cemetery in Fair Oaks, Sacramento County, California, though specific service details were not publicly detailed in available records.[30] Within the broader Serbian diaspora and folk music circles, his death was immediately recognized as a profound loss, with online discussions and announcements expressing collective grief for the artist whose songs had touched many lives.[29]Discography
Studio albums
Savo Radusinović released several studio albums during his career, primarily through Yugoslav labels like Jugoton and PGP RTB, featuring traditional folk arrangements with orchestral backing that evolved from acoustic-driven sounds in the early 1980s to more produced recordings in the 1990s. His works often explored themes of love, separation, and rural life, with Radusinović contributing to songwriting and collaborating with arrangers like Miroljub Aranđelović and D. Ivanković. Below is a comprehensive list of his original studio albums, including release details, track listings where available, and production notes; no reissues occurred during his lifetime based on available records.[1]Srce Moje, Deli Se Na Dvoje (1981)
This debut studio album, released by Jugoton on vinyl LP (catalog LSY-61568), marked Radusinović's entry into full-length folk recordings, produced by Slobodan Nikolić and recorded with the Orkestar Tomice Miljića. The artwork, though not detailed in sources, featured standard Yugoslav-era design elements. Tracks emphasized emotional ballads with simple folk instrumentation.| Track | Title | Writers |
|---|---|---|
| A1 | Stani Najzad Senko Moja | Lyrics: S. Jovanović; Music/Arr: D. Ivanković |
| A2 | Svako Živi Sad Životom Svojim | Lyrics: S. Spasić; Music/Arr: S. Radusinović |
| A3 | Pozdravi Oče Majku | Lyrics: S. Spasić; Music/Arr: D. Ivanković |
| A4 | Samo Ti Možeš Da Me Smiriš | Lyrics: S. Spasić; Music/Arr: D. Ivanković |
| A5 | Beograde, Ti Mi Dušu Smiri | Written-By: S. Radusinović |
| B1 | Srce Moje, Deli Se Na Dvoje | Lyrics: M. Mijailović; Music/Arr: D. Ivanković |
| B2 | Odlaziš Za Uvek | Lyrics: D. Ivanković, S. Spasić; Music/Arr: D. Ivanković |
| B3 | Život Se Sa Mnom Poigrao Sine | Lyrics: Lj. Đurović; Music/Arr: S. Radusinović |
| B4 | Vratiće Se Laste | Written-By: D. Ivanković |
| B5 | Oprosti Mi, Majko | Arr: T. Miljić; Lyrics: R. Krupa; Music: N. Negovanović |
Jedno Pismo Jedna Suza (1982)
Issued by Jugoton as a cassette album (catalog CAY 1037), this release featured arrangements by Miroljub Aranđelović and production by Žarko Vukašinović, with the Orkestar Miroljuba Aranđelovića providing backing; it showcased Radusinović's vocal style in sentimental folk narratives. No specific artwork details are noted, but it followed typical cassette formats of the era.| Track | Title | Writers |
|---|---|---|
| A1 | Jedno Pismo, Jedna Suza | Arr: M. Aranđelović; Written-By: S. Radusinović |
| A2 | Zbog Tebe Sam Budan | Arr: M. Aranđelović; Lyrics: S. Spasić; Music: D. Ivanković |
| A3 | Ispraćaj | Arr: M. Aranđelović; Written-By: D. Ivanković |
| A4 | Brzo Prođe Naša Sreća | Arr: M. Aranđelović; Lyrics: G. Jovanović; Music: S. Radusinović |
| A5 | Mila Majko, Umorna I Stara | Lyrics: M. Bajić; Music/Arr: S. Radusinović |
| B1 | Uvek Sam S Tobom Na Pola Puta | Arr: M. Aranđelović; Lyrics: S. Spasić; Music: D. Ivanković |
| B2 | Žuto Lišće | Arr: M. Aranđelović; Lyrics: D. Ivanković, S. Spasić; Music: D. Ivanković |
| B3 | Živim Život Neizmenjen | Lyrics: R. Krupa; Music/Arr: S. Radusinović |
| B4 | Zapevaj Danas, Majko | Arr: M. Aranđelović; Written-By: D. Ivanković |
Ti Si Žena Koju Volim (1983)
Released on vinyl LP by Jugoton (catalog LSY-61808), this album was produced by Tahir Durkalić and arranged by Miroljub Aranđelović, recorded at Studio 6 Radio Beograda, highlighting romantic themes in folk arrangements. Photography and design were handled by D. Timotijević-Belmondo.| Track | Title | Writers |
|---|---|---|
| A1 | Ti Si Žena Koju Ludo Volim | Music/Lyrics: S. Radusinović |
| A2 | Gde Je Moja Draga | Music/Lyrics: V. Petrović |
| A3 | Seti Me Se | Lyrics: D. Đurđević; Music: D. Ivanković |
| A4 | U Zagrljaju Mom | Lyrics: D. Jetula; Music: D. Ivanković |
| A5 | Budi Jaka Ovog Trena | Lyrics: S. Spasić; Music: D. Ivanković |
| B1 | Sreća U Jednom Danu | Lyrics: D. Ivanković, S. Marković; Music: D. Ivanković |
| B2 | Kako Si Mogla | Lyrics: M. Bajić; Music: S. Radusinović |
| B3 | Što Te Volim, Kad Nisi Kraj Mene | Lyrics: G. Jovanović; Music: S. Radusinović |
| B4 | Slikar | Lyrics: M. Vulin; Music: S. Radusinović |
Ko Te Noćas Miluje Po Ruci (1984)
This PGP RTB vinyl LP (catalog 2112850) was produced by D. Ivanković with arrangements by Miroljub Aranđelović and the Orkestar Miroljuba Aranđelovića Kemiša, focusing on themes of longing and regret through Radusinović's compositions. Photography by D. Filipović added a personal touch to the cover.| Track | Title | Writers |
|---|---|---|
| A1 | Ko Te Noćas Miluje Po Ruci | Lyrics: D. Jetula, D. Ivanković; Music: D. Ivanković |
| A2 | Ako Želiš Da Me Vidiš | Lyrics: D. Ivanković, S. Marković; Music: D. Ivanković |
| A3 | Zaboravi Šta Je Bilo | Lyrics: S. Spasić; Music: S. Radusinović |
| A4 | Sad Nemaš Vremena Za Mene | Music/Lyrics: S. Radusinović |
| A5 | Setim Se Ponekad... | Lyrics: D. Jetula; Music: D. Ivanković |
| B1 | Mnogo Sam Te Zavoleo | Lyrics: G. Lozanac; Music: M. Aranđelović Kemiš |
| B2 | Ja Ne Žalim Ni Tebe Ni Sebe | Lyrics: D. Jetula, D. Ivanković; Music: D. Ivanković |
| B3 | Kome Li Se Sreća Smeje | Lyrics: G. Jovanović; Music: S. Radusinović |
| B4 | Tražim Te... | Lyrics: G. Lozanac; Music: M. Aranđelović Kemiš |
| B5 | Zbog Čega Piješ, Neznani Druže | Lyrics: Zdravko Đuranović; Music: S. Radusinović |
Zvonite Zvona (1991)
Released by PGP RTB on CD (catalog CD 400319), this album includes original tracks alongside some compilations, arranged and produced in the style of his earlier works.[35]| Track | Title |
|---|---|
| 1 | Kaži Im, Slaži Ih |
| 2 | Da Nam Sutra Bude Srećno |
| 3 | Bila Je Moja |
| 4 | Sklopili Smo Knjigu |
| 5 | Ne Ljubi Skitnicu |
| 6 | Zvonite Zvona |
| 7 | Kako Si Mogla |
| 8 | Još Smo Deca |
| 9 | Zašto, Draga, Tvoje Srce Pati |
| 10 | Ko Te Noćas Miluje Po Ruci |
| 11 | Ako Želiš Da Me Vidiš |
| 12 | Mnogo Sam Te Zavoleo |
| 13 | Kome Li Se Sreća Smeje |
| 14 | Ja Ne Žalim Ni Tebe Ni Sebe |
Gospodin (1995)
A shift to CD format with Produkcija Stig/Estrada Shop (catalog CDS-N-2-01-14), this album was arranged, orchestrated, and produced by Zoran Tirnanić at Studio Tirke in Beograd, incorporating more modern folk elements in its 10 tracks centered on personal reflection. Photography by D. Timotijević-Belmondo continued from earlier works.- Gospodin (Music: Z. Tirnanić; Lyrics: A. Savić)
- Javi Se (Music: S. Radusinović; Lyrics: M. Bukovčić)
- Ljubavi Moje Mladosti (Music: Lj. Kovačević; Lyrics: Lj. Kovačević)
- Sanjao Sam (Music: S. Radusinović; Lyrics: M. Bukovčić)
- Ja Neću Sažaljenje (Music/Lyrics: S. Radusinović)
- Ko Te Bolje Zna (Music: S. Radusinović; Lyrics: M. Bukovčić)
- Ljubomoro Moja Slatka (Music: Z. Tirnanić; Lyrics: M. Ilić)
- Kavaljer (Music: S. Radusinović; Lyrics: S. Jovanović)
- Oprosti Mi Ako Možeš (Music: Z. Tirnanić; Lyrics: M. Ilić)
- Zar Možeš (Music: S. Radusinović; Lyrics: M. Bukovčić)[36]
S' Koferom U Ruci (1997)
Released on CD by PGP RTS (catalog CD 403262), this album was produced and arranged by M. Aranđelović Kemiš at Studio Kemiš, blending traditional folk with bonus tracks for a thematic exploration of migration and emotion; design by Ivan Ćulum and photography by D. Timotijević Belmondo.- Čovek S'Koferom U Ruci (Music: S. Radusinović; Lyrics: A. Savić) – 4:46
- Ti Si Htela Samo Druga (Music: D. Ivanković; Lyrics: V. Stanković) – 3:51
- Kud Da Krenem (Music: S. Radusinović; Lyrics: M. Bukovčić-Trišić) – 4:17
- Šećeru (Music/Lyrics: S. Radusinović) – 3:51
- Jerina (Music: S. Radusinović; Lyrics: B. Vasić, M.B. Trišić) – 4:31
- Povratak (Music: D. Ivanković; Lyrics: R. Đokić) – 4:33
- Samo Tebe Voleo Sam (Music: D. Ivanković; Lyrics: M. Nikolić) – 3:40
- Balkanac (Music: S. Radusinović; Lyrics: S. Marković) – 3:28
- Šesnaest Ti Leta Beše (Bonus; Music/Arr: Aca Stepić; Lyrics: B. Cvetinović) – 3:36
- Kaži Im, Slaži Ih (Music: D. Ivanković; Lyrics: Bora Vasić, M. Trišić) – 3:05
- Jedno Pismo Jedna Suza (Bonus; Music/Lyrics: S. Radusinović) – 4:36
- Posekoše Sinoć Bagrem Stari (Bonus; Music/Lyrics: Rade Bogićević; Arr: Dule Simović) – 3:41[37]
Singles and EPs
Savo Radusinović's early career was marked by a series of standalone 7-inch singles released primarily by Jugoton in the late 1970s and early 1980s, which helped establish him in the Yugoslav folk music scene. These releases featured emotive ballads typical of the genre, often with orchestral arrangements, and served as his initial foray into recording before transitioning to full-length albums. A promotional single followed in 1984 under PGP RTB.[1] The following table lists his known singles, including A-sides, B-sides, release years, labels, and catalog numbers:| Title (A-Side / B-Side) | Year | Label | Catalog Number | Format |
|---|---|---|---|---|
| Šesnaest Ti Leta Beše / Otišla Je Moja Draga | 1978 | Jugoton | SY 23464 | 7", Single |
| Pomirenja Više Nema / Ja Bih Hteo Da Oprostim Tebi | 1979 | Jugoton | SY 23590 | 7", Single |
| Nesrećna Ženo, Ljubavi Moja / Nismo Bili Od Sreće Daleko | 1980 | Jugoton | SY-23705 | 7", Single |
| Ko Te Noćas Miluje Po Ruci / Mnogo Sam Te Zavoleo | 1984 | PGP RTB | 1112066 | 7", Single, Promo, Stereo |