On this particular record, the labels have been misprinted, as they display the title of the recording found on the opposite side (see here). This side actually includes an instrumental version of the Prince - Titika duet “Mono m’ esena” (Only with you), from the three-act operetta “Oi apachides ton Athinon” (The Apaches of Athens), and not the piece “Oi Xenychtides” (The Night Owls) as indicated on the label.

“Oi Apachides ton Athinon”, with music by Nikos Chatziapostolou and libretto by Giannis Prineas, was first performed on August 19, 1921, at the Alhambra Theatre by the Fotis Samartzis troupe (see here). The play, throughout their long history that continues to this day, achieved unprecedented success. Its popularity is reflected in two film adaptations. The first made in 1930, directed by Dimitris Gaziadis (see here), and the second in 1950, directed by Ilias Paraskevas (see here). Alongside “O Vaftistikos” by Theofrastos Sakellaridis, they are the most popular Greek operettas, with a timeless presence in Greek musical theatre.

On the occasion of the upcoming celebration of the completion of 30 years of Giannis Prineas’ theatrical activity, Giannis Sideris writes about the operetta and libretto (see newspaper Ta paraskinia, year Α, issue 49, Saturday 22.4.1939, page 5 & 7, Oi Apachides ton Athinon):

"[...] During the summer of 1915 [premiere 22.5.1915], Mr. Zachos Thanos’ troupe, who had previously made a big hit with the play 'Skoupa', which he and Mr. Prineas had wrote and starred in, was performing at the 'Laou' Theater. He also staged a musical ethography, which was quite successful, with Lykourgos Kalapothakis and Eirini Vasilaki, who are both now deceased, as well as with Mr. Z. Thanos and Mr. Mimis Xydis.

The musical ethography was called 'Prigkips Gkagkaris', and the libretto was written by Mr. Prineas [the music was set by Spyridon Lepeniotis]. During that summer, Mr. Prineas was part of the Kyveli’s troupe, which was performing at the old theater, which no longer exists.
Around 1880, those so-called 'fictional' plays, that is, the adventurous ones, e.g. 'Iosias o aktofylax', 'Komis tou Agiou Germanou' and many more, were introduced in the Greek theater.

At the Orpheus Theater, near where Mrs. Andreadis’ summer theater was located, many similar plays were staged by the Tavoularis brothers' troupe 'Menandros'.
On September 1, 1880, a play by Bulwer-Lytton, the author who had written "Richelieu", the famous creation of Lekatsas, was staged.

This play was called "I Despoina tis Lyon" (The Lady of Lyons) and was translated by N. Damiralis. Its author wrote it in 1838 and the 'Menandros' troupe performed it twice. The play was also known as 'Love and Pride'. 'I Despoina tis Lyon' was published by the 'Theatriki Vivliothiki' magazine in Constantinople (Istanbul), in 1882.

A rich man persuades a poor man to disguise himself as a foreign prince in order to trick the rich woman who scorned him and who with her father's money despises everyone into marrying him. The play is very good and very romantic. [...]

Thus, having in mind the audience of the 'Laou' Theater, which at that time had a more popular character even when Athenian aristocrats frequented it, Mr. Prineas decided to adapt this play to Greek reality and the title was changed to 'Prigkips Gkagkaris' from 'I Despoina tis Lyon'.

But let no one think that this is just an adaptation. Bulwer-Lytton's main character was just the pretext; Mr. Prineas set himself free and, based on the capabilities of the troupe that would perform it (whose protagonist Mr. Z. Thanos used to play the characters of the 'magkes'), created two wonderful comical characters who were not part of the original play 'I Despoina tis Lyon'. These two characters were called Charoupis and Fytilis.

In 1921, Mr. Prineas came to an agreement with the conductor Mr. N. Chatziapostolou, who just had made a big hit with the operetta 'Monterna Kamariera'. Mr. N. Chatziapostolou, a man who wanted his work to be pure and perfectly taken care of, as the theatrical performers who performed in his own operettas under his supervision already knew, demanded that the lyrics be rewritten and that the libretto be better arranged. Thus, on August 19, 1921, the operetta 'Apachides ton Athinon', the second name of 'Prigkips Gkagkaris', was staged at the 'Alhambra' theater with the Samartzis troupe.

Greek society, the 'middle class' of the time, had a lot of money and rushed to the theater and was fascinated to see heroes on stage who were ordinary and poor but pure and proud people, as most of those who made up this audience were or wished to be.
It is from this ambiance that Mr. Prineas was inspired and broadened the motif of his young 'apachides' and presented in them in a better way. There were five ordinary characters: the Prince, Karkaletsos and Karoumpas (this is how Charoupis and Fytilis were called), Barmpa Antreas and the pure and patient girl of the people, Titika. The men's and women’s chorus was also their open-hearted company; they were, all together, the 'apachides'.
Mr. Prineas created two more characters of the time, the newly rich Paralis and the cheerful eldest spinster Aretousa, who is a pure Greek creation. [...]
Of course, 'apachides' (hoodlums), as they existed in Paris, were fortunately never present in Athens. By this term, which is theatrically 'catchy', we mean the simple and clever ragamuffins, who were honest and happy street kids.

Deep down, however, even though they were not the same hoodlums as the ones in Paris, they represented, with their phraseology, the tone of their voice and their angers, a genuine Athenian character who existed a few years back, and who, when his presence reached its peak in the life of old Athens, he was mercilessly chased by Bairaktaris, the chief of police, who also became a historical figure. [...]

However, in order to supplement the information presented, I should note how much the music of the "Apachides" has spoken to the hearts of our people. I would say this because it did not only perfect the lyrics, but also felt and revealed this popular soul through the characters created by Mr. Prineas."

The musical score of the song was published in Athens by Fexis Editions.

Like most of the songs from the operetta, “Mono m’ esena” was recorded several times in the Greek historical discography. Indicatively:

– “Mono me sena”, Athenian Estudiantina, Constantinople, around 1921 (Orfeon S. 3313 – 13111).
– “Mono me sena”, Tetos Dimitriadis – Giorgos Maraveas, New York, March 28, 1924 (Victor B-29751 – 77477-A).
– “Mono me sena”, Marika Papagkika – Greek Record Co. Orchestra, Chicago, 1925 (Greek Record Company 510-B).
– “Mono m’ esena”, Roubani Choir, New York, January 11, 1929 (OKeh W 206328 – 82525).
– “Mono m' esena”, Greek Orchestra of New York conducted by Enrico Rossi, New York, 1929–1930 (Columbia W 206328 – 56187-F).
– “Mono me sena”, Eva Styl – Nikos Gounaris, with a Mandolinata conducted by Giorgos Vitalis, USA, 1950s (Liberty L 141Α, Apollo S6191 – SY13 and reissued on the LP "Nick Gounaris sings Greek Melodies", Liberty Record Co. LP-102 και Grecophon GR-102).

The tune was also recorded in foreign discographies, in recordings not intended solely for the Greek market. Three of these were made on April 7, 1922, in Berlin by the orchestra of violinist and conductor Sándor Józsi or Dajos Béla, pseudonyms of the Jewish Leon Golzmann (Лев Гольцман), who was born in Kyiv in present-day Ukraine. They were released under the title "I Apahides (Apachentanz)". Among them is the present recording, which, in addition to Greece, was also released in United States by Odeon USA (see here). The second recording was issued by Odeon Germany (xxBo 7562 – AA 55808 and ΑΑ 79819), as well as in the United States on the OKeh and Odeon labels (3077-Α) under the title "Apache Dance". This recording was also released for the Italian market (Odeon xxBo 7562  R - N. 55808), under the title "I Aphaides", apparently an anagram of "I Apahides", and the subtitle "Danza degli Apaches" (Dance of the Apaches). On the label of this record, Chatzapostolou is listed as “Hadjapostoloi”, and the orchestra as “Celebre Orchestra di Danze Moderne Dajos Béla”. The third recording was released by the Greek branch of Odeon (xBe 3036 – A 154921 / GA 1029) and by Odeon Germany (A 44082).

In America, it was recorded on October 24, 1928, in New York, arranged and conducted by Nathaniel Shilkret (born Natan Schüldkraut), an American composer and conductor of Jewish descent from Lviv in present-day Ukraine. It was performed by the International Novelty Orchestra, with the sisters Thalia Sabanieva and Anna Kriona on vocals. According to the DAHR (see here), the recording was issued for the Greek market (Victor CVE-47781 – 26-8300, 38-3077, and Orthophonic S-701-Α), for the international market (Victor V-50010), under the title, in English and Spanish, “Only With You – Waltz (Sólo Contigo – Vals)” and by Gramophone Switzerland (FM-11).