According to Dick Spottswood’s Ethnic Music on Record, the first Greek musical phonograph recording was produced in New York in May, 1896, on the Berliner label. Entitled “Greek Melody No. 1 – Original” it was one of eight songs (seven Greek, one Turkish) recorded by tenor Mixalis Arachtingi (or Arachintzis). No other Greek recordings were produced until 1900, when The Gramophone Company sent a representative to Constantinople (now Istanbul) for an extensive recording session. This was followed by irregular trips to the “Poli,” and, in 1910, by a recording session in Smyrna (now Izmir). By 1930, despite a break in recording during the war years, no less than six companies were producing recordings in Greece, not to mention the extensive recording by the Greek diaspora and visiting Greek performers in America. Among the diverse types of music put to disk were, of course, rembetika and cafe aman.
Today, high-quality re-issues of the old 78 rpm recordings, as well as covers performed by contemporary musicians, are readily available. Following is a list of some of my favorite earlier releases, in no particular order.
A Note
I first posted this website in early 1996. In the following years, rembetika exploded onto the Greek music scene. CDs and collections abound – too many to list here – so I will keep my little list below: an homage to the first brave souls who began producing this music again.
The Greek Archives Volumes 1-12 (FM Records)
Each volume in this series focuses on a different place, time, style or era. Volumes 1-3 are rembetika recorded in America between 1920-1940 (Vol. 1) and 1945-1960 (Vol. 2 ); other volumes include songs from Smyrna (one of my favorites!), Constantinople, Songs of the Underground (the hasiklidika), the Women of Rembetika and so on. The recordings are cleaned up, and, though not perfect, are better than other releases I’ve run across. Best of all, each CD comes with a booklet which includes lyrics and performers’ bios (in Greek only), photos, and brief notes on each song (in Greek and English, although often the English notes are not as detailed as the Greek). Unfortunately, little information is given about the original 78’s used on these recordings.
Rembetika, Historic Urban Folk Songs from Greece (Rounder Records)
Probably the best single-volume introduction to rembetika and the music of the cafe aman. From Yiannis Tsanakas (1906) to Stratos (1946) and everything in between. Nice job of cleaning up the recordings, too. Includes a booklet with good notes in English, and lyrics in both Greek (plus one in Turkish) and English.
Marika Papagika (Alma Criolla Records)
Nineteen recordings made by Marika Papagika between 1918 and 1929. It might take repeated listenings, but after awhile Marika’s voice will take you under its spell. This CD opens with one of the saddest songs in rembetika (and that is saying a lot!) Bournovalio, and ends with the stunning duet, I Varka. Pure magic.
Roza Eskenazi, Autobiographia (Minos/EMI)
One of rembetika and cafe aman’s greatest female vocalists. This CD contains songs and excerpts of an interview she made in the early 1970’s. Sound is often not as clear as more recent releases, but good nonetheless. No liner notes. Includes one of my favorites, her duet with Markos: Kaloyeros (a.k.a. Varethika tis gkomenes).
Rembetiki Anthologia 1-3 (Moreas Records/Sakkaris)
Three volumes of fun stuff, post WWII. Clear recordings. Only drawback: no notes, no recording dates, no info! Their Zeimbekika (with only one track duplicated between it and the Antholgia) is also a lot of fun. Don’t miss “Yerokokkoras”!
Apagorevmena Rembetika Vols. 1-3 (EMI)
EMI’s collection of “Forbidden Rembetika, 1927-1937,” this is a three volume set of hasiklidhika and outcast rembetika, mostly performed by the first (recorded) generation of rembetika singers: Markos, Delias, Batis, Stratos, etc. The sound quality is not very good, but a nice selection of songs.
Rebetiki Istoria 1925-1955, Vol 1-6 (EMI)
The series that started it all: this was the first collection of reissues of classic rembetika and smyrneika. A good selection of songs, including some not found in other compilations. The sound quality is alright, not great – still lots of pops and scratches. Also, in some cases editing is poor: songs begin or end abruptly. No liner notes.
Yiorgos Dalaras: 50 Chronia Rembetiki Tragoudia (Minos Records)
Dalaras, himself the son of the popular rembetika singer Loukas Daralas (no typo there – Yiorgos changed his name), has been responsible in part for the reemergence of the rembetiko song. This album contains 19 songs, dating from 1918 to 1964. Most of the songs are played in the “Pireaotiko kompania” style – a battery of bouzoukis. If you don’t want to listen to the older recordings with the pops and scratches, or would like to start with something that might be a bit more accessible, then this is the album for you. Comes with liner notes in Greek. Titles only translated into English.
Rembetika Tis Katochis (Minos Records)
Another fine release by Dalaras: songs written during or related to the Occupation of Greece by Germany during WWII, and the civil war that followed. Dalaras sings songs by Genitsaris, Tsitsanis, Vamvakaris, Mosxona. A beautiful piece of work. Comes with a large booklet including historical notes, photos, newspaper clippings, and lyrics, all in Greek.
Glykeria: Epitichies (Lyra CD0005)
Glykeria: Smyrneika (Lyra CD0025)
Glykeria, today one of Greece’s popular performers, has a voice that is somewhat reminiscent of Marika Papagika. These two albums are full of well-known rembetika and smyrneika. Glykeria’s enthusiasm is contagious: you can’t help but enjoy yourself when hearing her sing.
Istanbul 1925 (Traditional Crossroads)
Just what it says. Music from Istanbul (formerly Constantinople) recorded in the mid 1920’s, vocal and instrumental alike. A nice musical reminder that Greece and Turkey do have common roots that shouldn’t be ignored or forgotten.
Masters of Turkish Music Vols. 1-2 (Rounder Records)
An anthology of recordings of Ottoman/Turkish music from the early 1900’s through mid-century. Crystal clear recordings with something for everyone: taxim, gazel, folk and classical. Excellent liner notes, (including some lyrics) accompany Volume 2; unfortunately Volume 1’s notes are a bit brief.
Udi Hrant (Traditional Crossroads)
Are you into taximia? If so, listen to one of the great masters of improvisation. Udi Hrant was one of the best – an Armenian oud player born near Constantinople/Istanbul in 1901. Traditional Crossroads has released three CD’s of his works. The previously mentioned Istanbul 1925 also includes a few tracks of Udi Hrant’s artistry.
Armenians on 8th Avenue (Traditional Crossroads)
A fabulous collection of re-mastered 78 recordings made by performers who played in the cabarets of New York’s 8th Avenue, a haven for refugees of Anatolia as well as American musicians lured by the sound of Anatolian music. Marko Melkon, Kanuni Garbis Bakirgian, Sugar Mary Vartanian and more. As usual, Harold Hagopian has done an excellent job in producing this album. Liner notes include lyrics in Turkish and English, as well as detailed bios of singers. You don’t want to miss the tsiftetelli played on klarino by John Pappas!
Early Cante Flamenco (Arhoolie)
Flamenco on a rembetika site? Not a stretch of the imagination at all. Like rembetika, the flamenco of the early 20th century was a balance of song, music and dance; its subject matter was love, death, and persecution – the depths of emotion. The flamenco of southern Spain is said to have been influenced by Byzantine liturgical musics, as well as the traditions of the Middle East. And as can be heard in the songs on this release, the cante flamenco (in particular the cante jondo or “deep singing”) is surprisingly similar to the amanedhes of Asia Minor. *Early Cante Flamenco* features re-issues of songs from the 1930’s, by artists such as Tomas Pavon, Manolo Caracol and La Nina de los Peines. Gripping music.