Albania and the Balkans - Sound Waves to Please the Soul

The countries represented in this playlist have a fraught history of ever-changing political boundaries and warring factions, not unlike most regions of the world. What has remained as a constant is the beauty and strength of their musical expressions. See more below >>>

Al compás del mundo #184, 6-12-25 – Albania and the Balkans

01 Kocani Orkestar - Papigo (Macedonia)

02 Vellezerit Aliu - Keq Kur Tkam (Albania)

03 King Ferus Mustafov - Staro Cunovo Oro Velesko Oro (Macedonia)

04 Shaqir Cervadiku - Albumi Im (Albania)

05 Eli Fara - Cupeze Beqare (Albania)

06 Angele Dimovski Kavalsko - Oro (Macedonia)

07 Fatime Sokoli - Ka lidh besen Shqiptaria (Albania)

08 Dunja Knebl - Klincec Moj Zalosten (Croatia)

09 Bekhit Fahim - Gusta mi magla padnala (Kosovo)

10 Ivana and Isadora Cantrach - Жали Заре (Macedonia)

11 King Ferus Mustafov - Turska Igra (Macedonia)

12 Ethno Group Trag - Врбице, врбо зелена (Serbia)

13 Belo Platno - Udade se Zivka Sirinicka (Kosovo)

14 Kosturchanki - Sobrale mi se nabrale (Macedonia)

15 Карађорђе - Седам сати удара (Serbia)

16 Grupa Iskon - Goranine cafanine (Serbia)

>>> So, I’m not so sure what to say about the make-up of this week’s program other than it meets with my whole-hearted approval. I’m no specialist in the music of this sizable region in eastern Europe, but I know what I like, and the steadfast, heartbreaking, heroic, playful, joyous and sorrow-filled sounds of Balkan music fill my cup to running over. I want to go join a folkdance troupe when I listen to King Ferus Mustafov; Ethno Goup Trag reminds me of the famed female choirs of Bulgaria and other nearby regions; as a country that for decades remained purposely isolated from the rest of the world (and perhaps because of this), Albania has retained its musical traditions better than most. I regret not having a better understanding of where this music has come from and I wish I understood the lyrics and the historic-cultural contexts.

Reminds me of a time back in the late 1970’s when I was asked to DJ a multicultural event on the University of Wisconsin-Madison campus. One of the DEI choices I played was by an Iranian singer that, to me, had the voice of a nightingale, over a haunting musical score. Shortly in, I was rushed by a group of Iranian male students demanding I stop the music because “She is a whore of the Shah.” Little did I know I was promoting anti-revolutionary rhetoric by way of popular music I couldn’t possibly have understood – other than as soundwaves, soundwaves that soothed or teased and most definitely pleased the soul. But music has that power, of course. If I’ve dismissed or insulted anyone with the inclusion of one song or another in this program, I plead ignorance. But it’s great music, no? - JH

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