Many of his songs were translated into other languages including English, French, Japanese, Greek, Italian, Bulgarian, Romanian, Persian, Hebrew, Urdu, Arabic, and German.

Prof. Dr. Asaf Savaş Akat, a famous economist in Turkey, played saxophone, while guitarist Ender Enön made his own guitar because it was difficult to find a real one on the market in those years.

After graduating from high school in 1963, he moved to Europe, traveling to Paris and Liège where he formed bands with local musicians and recorded some singles mainly in English and French but also in Turkish.

Frustrated by the difficulties of working with musicians from different nationalities, he formed Kaygısızlar (The Carefrees), featuring Mazhar Alanson and Fuat Güner, future members of the band MFÖ.

In a last attempt to achieve international success, he released an LP simply entitled Baris Mancho (1976), a strange transcription of his name.

From 1977 to 1980, he released three more albums in Turkey, partly consisting of compilations of older singles, namely Sakla Samanı Gelir Zamanı (1977), Yeni Bir Gün (A New Day, 1979) and 20.

"Halil İbrahim Sofrası" exemplified Manço's typically moralistic lyrics, a rare feature in Turkish pop music.

In subsequent years, Manço released Değmesin Yağlı Boya (1986, A Touch of Oil Paint), Sahibinden İhtiyaçtan (1988) and Darısı Başınıza (1989), all containing a couple of hit songs and demonstrating his new sound.

In 1988, 7'den 77'ye (From 7 to 77), a TV show directed and presented by Manço, began to run on TRT 1, the Turkish state television channel.

"Adam Olacak Çocuk (The Child Will Become A Man)", a section of the show dedicated to children, strengthened Manço's popularity among younger audiences.

His image, featuring long hair, a moustache and several outsized rings, moderated the reaction of otherwise conservative Turkish public opinion.

Manço pioneered the progressive rock-influenced Anatolian rock movement of the 1970s and his experimentation with electronic instruments a decade later contributed to the sound of Turkish popular music in the 1990s.

His lyrics, covering diverse themes[7] but mostly presenting a somewhat modernised version of the "aşık" (wandering folk poets) tradition, were marginal to the pop music scene of the 1980s which was mostly dominated by love songs.