CD Women of Rembetika: 1908-1947 [Box] (CD 15995998),
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Women of Rembetika: 1908-1947 [Box]


  • 0. DISC 1: CONSTANTINOPLE-SMYRNA-NEW YORK-CHICAGO: 1908-1928:
    1. Seni Gheurduktcha(sic) - Arap Mehmet/Glistan Hanim
    2. Smyrneiko Mane Dzivaeri - Mille. Maria
    3. Karsilamas
    4. Traindafillia [Dzamiko]
    5. Smyrneiko Minore, An S'Agapo Ki 'Ein Oniro
    6. Fa Madzore, I Nychta Me Parigori
    7. Ta Oula Sou [Zeimbekiko]
    8. Dhio Psarakia Melanouri - Ka. Koula
    9. Ballos Smyrnis - Ka. Koula
    10. Chiotissa - Ka. Koula
    11. To Vlamaki [Zeimbekiko] - Ka. Koula
    12. Aidhinikos Horos - Ka. Koula
    13. Siga Miga [Karsilamas]
    14. Smyneiko Zeimbekiko
    15. Galata Manes, Oso Travieme Ap' Ti Fotia
    16. Gildelim
    17. Adam Aman, Sti Mavri Yi Chrosto Kormi - Amalia Vaka
    18. Berbandis - Amalia Vaka/Yianniotisa
    19. Gel Gel [Karsilamas]
    20. O Vaggelis - Aggeliki Karayianni
    0. DISC 2: NEW YORK-ISTANBUL-ATHENS: 1928-1934:
    1. Baglamadhes [Zeimbekiko]
    2. Smyrneikos Ballos
    3. Smyrneikos Manes
    4. Eche Yeia Panayia
    5. Ti Se Melli Esenane
    6. Nini
    7. Bul Bul Manes
    8. Dzivaeri, Posses Pliges Mou Anixes
    9. Yia Afto Foumaro Kokaini
    10. Politissa
    11. Galata Manes, Lismonise Olotelos
    12. Coshkun Zeybek - Mahmure H. Hanim
    13. To Yellekaki - M. Nezer
    14. Mes' Tou Dzambikou Ton Teke
    15. Gazel Hiouzam, Anastenazo Kegonde
    16. Barbouni Mou Thallasino
    17. Hariklaki - Rita Abadzi
    18. Minore, Skliro To Peprameno
    19. Feredze Foro
    20. Mia Hira Ap' Tin Kokkinia - Marika Kanaropoulou
    21. Neva Hedzaz - Tourkalitsa/Marika Kanaropoulou
    22. I Lachanades [Zeimbekiko] - Rza Eskenzi
    0. DISC 3: ATHENS: 1934-1936:
    1. Sti Dhrapetsona
    2. O Fthisikos - Rza Eskenzi
    3. To Kanarini - Rza Eskenzi
    4. As' Ta Kolpa - Rita Abadzi
    5. Yia Tin Agapi Sou - Rita Abadzi
    6. O Amerikanos
    7. Hathika Trellathika - Rza Eskenzi
    8. Zourlopenemenis Yenna - Rita Abadzi
    9. Stis Aretousas Ti Spilia - Rita Abadzi
    10. Kleftodzandas
    11. Ime Prezakias - Anna Pagana/Politissa
    12. Alanaik - Tourkalitsa/Marika Kanaropoulou
    13. Dhervisena - Aggelitsa Papazoglou
    14. Arapi Gazel Ousak, I Tichi Mou Me Dichase
    15. Vre Manoli - Kitsa Korrina
    16. Sabach, O Kosmos Opos Eyine - Chrysa Thivaiou/Aidhinia
    17. Ballos, Dhen Boro Na Klego Pia
    18. Ta Hanoumakia
    19. Karip-Hedzaz, Otan Ptochini O Anthropos
    20. Mana Thelo Enana Andra - Yeoryia Mittaki
    21. To Krasi Ki' An To Pino
    22. To Mathene Pos S'Agapo
    23. Pia Dhen Me Yelas
    0. DISC 4: ATHENS: 1936-1947:
    1. Alaniara
    2. Ean Dhen Isoun Fthisikia - Tassia Vryoni/Stellios Keromytis
    3. Omorfi Thessalonikia - Rita Abadzi
    4. Mi Me Pedhevis Adhika - Sopha Karvali
    5. Mou Ipan Na Mi S'Agapo - Nota "Mytilinia" Kalleli
    6. Lavriotissa - Nota "Mytilinia" Kalleli
    7. Babesika Mou Ta' Feres - Ioanna Yeorgakopoulou/Stellios Keromytis
    8. Bros Ton Ayio Spyridhona - Ioanna Yeorgakopoulou/Stellios Keromytis
    9. Mi Se Planepsan Ta Lefta - H. Mavridhis
    10. Horis Elpidha Na Pono - Daizy Stavropolou/Stellios Keromytis
    11. To Rologaki Pou Foreis - Em. Hiotis/Ioanna Yeorgakopoulou
    12. Ta Nisia Tou Paradhisou - Daizy Stavropolou
    13. Pame Apopse Me Varkoula - Ioanna Yeorgakopoulou
    14. Mikropandremenaki Mou - Daizy Stavropolou
    15. O Koumbaros O Psaras - S. Karivali/M. Vamvakaris
    16. O Loulas - Em. Hiotis/Ioanna Yeorgakopoulou
    17. Dos Mou Fotia N'Anapso - Stellakis/Ioanna Yeorgakopoulou
    18. Psaras Tha Yino Sti Steria - Stella Haskil
    19. Na Zei Kanis Sti Monaxia - Ioanna Yeorgakopoulou
    20. To Rendevoudhaki - V. Tsitsanis/Stella Haskil
    21. Bir Allah - Stella Haskil
    22. Eviva Rembetes - Stella/Kyriazis/Kaldharas
    Read More...
  • Additional Info
    Manufacturer Part Number (MPN): JSPCD 77152

  • Credits
    Producer
    Engineer

    Audio Remasterer: Ted Kendall.
    JSP continues its grand series of rembetika compilations with this four disc collection -- the very first retrospective to feature exclusively female performers. Rembetika's murky history is compelling. Its origins are not exactly known, but can be traced to the mid-19th century. In 1911, the word "rembetico" appeared on a record label, and the word was defined as being of "mildly erotic" bohemian content; it was used to describe such records through the mid-'20s. That said, the musical style was recorded before the word appeared. Beginning around 1925, the music's name changed and became associated specifically with the underworld and street culture -- primarily because it was played in brothels, hash and gambling dens, prisons, and other surroundings associated with criminal activity. It was raw, immediate, sometimes harsh and bawdy, other times violent and sinister or blatantly seductive. The music listeners consider true rembetika emerged after the Greco-Turkish war. It flourished between 1925 and 1937 when it was officially censored as "immoral" by the Metaxas government. The music lived, however, and went deeply underground; it surfaced again briefly around 1946 before it was once again censored. The instrument rembetika brought to Greece's popular consciousness was the bouzouki, though violins, ouds, hand percussion, and singing were all part of the rembetika experience. The four-disc, 87-track collection was curated by the great rembetika scholar Charles Howard. It commences before "rembetico" history and ends after its second banishment from Greece's official cultural world. Many of these sides are true underground records. Some of the artists here, such as Marika Papagika, Rita Abadzi, and Roza Eskenazi achieved fame beyond Greece's borders (Papagika recorded in New York). More importantly, however, are those sides by lesser-known singers like Kyria Pipina, Aggelitsa Papazoglou, Ioanna Yeorgakopoulou, and Chrysa Thivaiou. This is a treasure trove of outlaw music from the early 20th century, performed by some of its greatest artists, many of whom even fans of the music didn't know existed. The sound is as fine as can be expected, and Howard's effort was gargantuan -- he even included transcriptions in his liner notes. ~ Thom Jurek

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