This recording is based on "Bournovalios manes", one of the most popular tunes of the Greek-speaking urban folk-popular repertoire. It is found in at least thirteen performances in the 78 rpm discography, with several variations, different lyrics and titles:

– "Vournovalitiko", Petros Zounarakis with harmonica, mandolin and guitar, Constantinople (Istanbul), August - September 1906 (Zonophone 1589r – X-102826 and Gramophone 14-12951).
– "Me tin adiaforian sou", Ant. Kandris, Athens, 1908 (O Apollon 204 – A-204), this recording.
– "Vournovalios manes", G. Tsanakas – Estoudiantina Smyrnaiki (Smyrnaean Estoudiantina), probably Thessaloniki, 1909 (Odeon XSC-67 – 54733, Odeon SC-67 – Gx 148 and Odeon USA 82016-B).
– "Mane Bournovalia", Lefteris (Menemenlis), Constantinople, February 10, 1911 (Favorite 4491t – 1-55019).
– "Vournovalio", Vangelis Sofroniou and Folk orchestra, Athens, 1926 (Polydor 4555 AR – V-45095).
– "Bournovalio", Marika Papagkika and Kostas Papagkikas (cimbalom), Markos Sifnios (cello), Alexis Zoumpas (violin), New York, April 1927 (Columbia W205568-3 – 56061-F and Columbia UK 11610).
– "I chira", Leonidas Smyrnios with violin, oud and santur, New York, April 11, 1927 (Victor CVE 38450 – 68808-B).
– "Kai giati den mas to les", Giorgos Katsaros (Theologitis), Camden, New Jersey, USA, May 18, 1928 (Victor CVE 45055-2 – 7-59065-B and reissues RCA Victor 38-3067-B, Orthophonic S-685-B).
– "Bournovaliο manes", Kostas Karipis – Popular Orchestra with  Ogdontakis (Giannis Dragatsis) on the violin, Athens, 1928 (Odeon GO-589 – GA-1268 / A 190131 b and reissues Columbia USA G-7057-F, Odeon USA 28083).
– "Manes Bournovalios", Antonis Ntalgkas (Diamantidis) – Popular Orchestra, Athens, 1928 (His Master's Voice BF-1746 – AO 223).
– "Bournovalio", Kostas Nouros and Popular Orchestra with Ogdontakis (Giannis Dragatsis) on the violin, Athens, 1928 (Odeon Go 626 – GA 1308 / A 190102 a).
– "Bournovalia", Vangelis Sofroniou – Popular Orchestra, Athens, 1929 (Columbia UK 20669 – 18059).
– "Ma giati den mas to les", Giorgos Nodeos with piano and banjo, Athens, 1928 or 1929 (Odeon Go 829-2 – GA 1420 / A 190248 b).

In discographic catalogues, three additional recordings have been identified which, judging from their titles, are most likely related to the song in question. However, no audio material has been located for any of them so far:

– "Smyrneiko Vournovaliοtiko", Estoudiantina P. Tsounaraki, Constantinople, 1906 (Odeon C 857 – 1849).
– "Vournovalia", G. Tsanakas, Smyrna (Izmir), June-July 1910 (Gramophone 1597 y – 11-12155).
– "Bournovaliotiko", Estoudiantina P. Tsounaraki, Constantinople, 1911 or 1912 (Orfeon Order Nos. 204).

It should also be noted that two non-commercial recordings based on the “Bournovalios manes” exist: “Chira” (The Widow, 78 rpm record PK 1004), featuring Apostolos Papadiamantis (voice), nephew of the writer Alexandros Papadiamantis, and Antonis Kalamaras (bouzouki), and “I chira” (Gesang mit Buzuki: I Chira – Die Witwe, wax cylinder PK 701 / WII W 734), with Apostolos Papadiamantis (voice) and Antonios Lingos (bouzouki). These recordings were made in July 1917 at the Görlitz prisoner-of-war camp in Germany by the Königlich Preußische Phonographische Kommission (Royal Prussian Phonographic Commission). For further information, see here and here.

Of particular interest is the appearance of the melody of “Bournovalios Manes” in other songs as well, in which it is combined with another widely popular tune. The pairing of these two musical themes can be found at least twelve times in Greek-language discography in various versions and variations, both musical and lyrical, under the titles “Zeibekikos”, “Athina kai Peiraia mou”, “Manaki mou” and “Ela st’ Anapli”.

This assemblage of the two tunes is also found in the Turkish repertoire. Specifically, around 1931–1932, İzmirli Santuri Recep (santur), Kemani Cemal (violin), and Udi Mustafa (oud) recorded the instrumental İzmir Zeybeği” in Constantinople (Sahibinin Sesi 0K 574 – AX. 2477).

However, the musical theme of “Bournovalios Manes” is also found in the recording “Ţaţa Mariţa” (Aunt Maritza) made by violinist Nicolas Matthey and his Gypsy Orchestra in New York on September 14, 1938 (Decca 64653 – 2121). He was accompanied by Hungarian Edmund Berky on the cimbalom and unidentified musicians on the cello, piano and double bass. The record label describes it as a “Roumanian Peasant song and dance”. It was included, along with nine other recordings on five 78 rpm records, in Album No. 21 released by the American company Decca under the title “Roumanian gypsy music – Roumanian folk songs and dances”.

According to information provided by Paul Gifford, who uploaded the recording, Nicolas Matthey, whose real name was Nicolae Mateescu (in other sources Nicolae Matei), was born in Moscow in 1903 (or 1905). He was the son of a Romanian musician living in Russia and returned with his father to Bucharest after the October Revolution of 1917, where he continued his studies. In 1923 he emigrated to America, performing exclusively in restaurants catering to Russian aristocratic clientele. He made numerous recordings for Decca and other companies, featuring Russian, Romanian (see here, here and here), and “Oriental” music (see here, here, here and here). He died in New York in 1955 (see here).