Šta bi dao da si na mom mjestu

• Neil Harrison - producer
• Peter Henderson - engineer
• Chris Blair - mastered by
• Dragan S. Stefanović - design, photography

Right after the album's release, its initial promotion was scheduled to take place at a New Year's 1976 concert at Hala sportova in Belgrade along with Pop Mašina, Buldožer and Cod as opening acts.[9] However, five days before New Year's, the band canceled due to getting invited to perform for Yugoslav president Josip Broz Tito at the Croatian National Theatre (HNK) in Zagreb as part of the New Year's celebration being organized for him.[9]

The performance for the eighty-three-year-old president did not go according to what the band had expected, as recounted by Bregović in various media appearances during the mid-2010s:

From what we gathered, the reason he even knew about us were some of his grandchildren who liked singing along to "Tako ti je, mala moja, kad ljubi Bosanac" so his handlers figured he'd enjoy hearing that in person. We were already playing when Tito and Jovanka walked into the theater to take their seats and within seconds he covered his ears because he couldn't bear the noise. That was an immediate signal to the presidential protocol people who started shushing us: 'Quieter, quieter' followed by an order of 'Stop the whole thing' not even a minute later. We were hustled off stage and they brought on opera and ballet. So that was our performance for Tito — twenty bars of music. Another impression from that night was the erotic energy I felt hanging in the air the moment Tito and Jovanka walked in the theater. The backstage area was full of ballerinas and female choir singers and you could hear audible moans in this almost hysteric excitement — that's when I realized what a turn-on power is for women.[10][11][12][13]

In the years since, Bebek also looked back on the band's performance for Tito. In 1976, months after the performance, he wrote for Džuboks about the personal feelings the event stirred in him.[14] In the published piece, the singer expresses exhilaration at getting the opportunity to perform for "the most respected and dearest guest" while drawing parallels to the excitement of his only prior in-person sighting of Tito during his adolescence at the Relay of Youth running in Sarajevo.[14] However, during a 2018 television interview, he recalled Bijelo Dugme's performance for Tito much differently:

Our manager [Vladimir] Mihaljek told us: 'They called from the presidency, you guys have to play for Tito at the HNK in Zagreb for New Years' and we were like: 'OK, if we must'. The problem was that we had already been booked for a show in Belgrade that was going to earn us the equivalent of $100,000 in today's money - a very lucrative sum for a single show that would have been great for our lacklustre financial bottom line at the time. But Tito's guys were reassuring us with: 'Oh no, no problem, no need to feel bad about cancelling the Belgrade gig because you're going to get paid here'. And we did get paid but it was only $2,000. We showed up at HNK the day before the show and we weren't allowed to leave until the day after. They stuck us in the theater basement and the security would neither let us go outside nor move around inside the building. We were basically sequestered in HNK's basement for two days. They brought us up onto the stage like rats and then it was right back down following the short performance of "Patim, evo, deset dana". It was humiliating. The whole experience left a very bitter taste in my mouth. As for the impression we left on him, he couldn't have cared less about us. He puffed on his pipe, exhibiting very little interest in who we were and what we did.[15]

There have been reports in Yugoslav press that Bijelo Dugme's performance for Tito may have had something, at least in part, with the band manager Mihaljek's sudden firing that occurred weeks prior. Mihaljek reportedly got contacted in December 1975 by Tito's representatives from the Yugoslav presidential protocol who weren't aware about him no longer representing the band.[12] Knowing that Bijelo Dugme had already been booked for a lucrative New Year's show in Belgrade and being aware that a verbal commitment to the Yugoslav Presidency would have to be honoured one way or another (even if it meant canceling the already arranged Belgrade appearance to the band's financial detriment), Mihaljek reportedly decided to get back at his former clients by accepting the presidential invitation despite not being authorized to do so. Discussing Mihaljek's reportedly underhanded role in the band's performance for Tito, journalist Dušan Vesić said: "Even if Mihaljek managed to exact some revenge by making them lose all that money, he unwittingly ended up doing them a long term favour because being seen performing for Tito sent a powerful implicit signal to all the executive aparatchiks on Yugoslav television that the band is now untouchable when it comes to TV appearances in Yugoslavia".[12]

The tour following the album release was very successful.[2] It featured three sold-out concerts in Belgrade's Pionir Hall in early February 1976.[2] The tour confirmed and furthered Bijelo Dugme's standing as the most popular band in Yugoslavia, a status they previously earned with the success of their debut album.[2] Journalists coined and began frequently using the term "Dugmemanija" (Buttonmania) as the public in the socialist country observed a new cultural phenomenon.[2]

The album's record-breaking sales as well as the enormous popularity of the "Tako ti je, mala moja, kad ljubi Bosanac" track among all strata of Yugoslav society, in addition to its heavy rotation on Yugoslav radio, prompted film director Soja Jovanović to include the hit song in her Television Belgrade-produced 1976 comedy TV film Izvinjavamo se, mnogo se izvinjavamo (Sorry, Terribly Sorry), centered around Milić Barjaktarević (played by Slobodan Đurić), a prizewinning farmer on his way to an agriculture fair in Belgrade while on constant lookout for a woman to marry and take back to his village. The song becomes somewhat of a plot point in the train scene when Milić turns on his pocket radio, hears "Tako ti je, mala moja, kad ljubi Bosanac", and instantly starts rocking out to it in a clumsy attempt of wooing his somewhat more refined fellow passenger Borka (Milena Dravić).[16]