Kad bi' bio bijelo dugme (trans. If I Were a White Button) is the 1974 debut studio album from influential Yugoslav rock band Bijelo Dugme. The album was polled the 14th on the 100 Greatest Yugoslav Rock and Pop Albums list in the 1998 book YU 100: najbolji albumi jugoslovenske rok i pop muzike (YU 100: The Best Albums of Yugoslav Pop and Rock Music). Recording Prior to the release of the album, Bijelo Dugme had large success with their 7-inch singles. The band's record label, Jugoton, intended to release Bijelo Dugme's first album during the spring of 1975, but the group's manager, Vladimir Mihaljek, managed to persuade the label's executives to release the record during the autumn of 1974. The recording sessions started on 2 October 1974 in Akademik Studio in Ljubljana. The album was produced by the band members themselves, with help from Akademik Studio's producer Dečo Žgur. The album featured a new version of the title track, which the band had originally released as a 7-inch single in 1973 while still performing under the name Jutro. Album cover The album cover was designed by designer Dragan S. Stefanović, who would go on to design covers for several of the band's future releases. Four decades after the album release, it was revealed that the name of the model was Ljiljana Božanić. Rock critic Dražen Vrdoljak stated in 1981 that Kad bi bio bijelo dugme album cover "represented a shift in conceiving the covers of domestic [Yugoslav] rock albums, identical to the shift Bregović's music made on our rock scene". Track listing All songs were written by Goran Bregović, except where noted. Personnel Goran Bregović – guitar, harmonica Željko Bebek – vocals Zoran Redžić – bass guitar Ipe Ivandić – drums Vlado Pravdić – organ, synthesizer, electric piano, piano Additional personnel Miro Bevc – engineer Dragan S. Stefanović – design, cover photo Boris Dučić – photography Reception The album was well received by audience and critics alike. In a Džuboks magazine review, Maksa Ćatović wrote: The intro to the album's opening track was referred to as "pastirski" (shepherd-like) by rock critic Dražen Vrdoljak in his review published on 30 November 1974 in Studio. Few weeks later, a write-up about the album in Tina magazine used the term "pastirski rok" (shepherd rock). The term was soon picked up by a wider section of the Yugoslav public and used frequently, often