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At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
On the music of this song, the creators Sosos Ioannidis and Aimilios Savvidis released another song with different lyrics, which was recorded twice in Greek historical discography:
– "Eimai prezakias", by Anna Pagana (Politissa), recorded in 1934, in Athens (Columbia CG 1086 – DG-6064)
– "Eimai prezakias", by Roza Eskenazy, recorded on November 21, 1934, in Athens (His Master's Voice OGA 23-1 – AO 2179). The recording was reissued in the USA unter the title "Ap' to vrady os to proi" (Orthophonic S-779-A and RCA Victor 38-3131)
Charis Alexiou sang again with great success this version of the song ("Charis Alexiou–24 tragoudia", Minos LP album MSM 316, Athens 1977) by changing the lyrics about addictive substances and under the title "Ouzo otan pieis (Diki mou einai i Ellas)".
Although no recording of the song has so far been found in the historical discographies of other ethno-cultural groups, it is extremely interesting that the song appears, between 2005-2022, in the contemporary discography of nine countries, and indeed, with the exception of one Turkish and one French cover, sung in the Greek language.
Starting from the Turkish discography, in 2005 Orhan Osman and Funda Güllü recorded, in Greek language, "Ime prezakias" (CD "Maziden", Doublemoon - DM0031). Four years later, the song will be recorded in the Turkish language under the title İme Prezakias Çiftetellisi (Hallaç Rüstem)" (CD "7 Kocalı Hürmüz Orijinal Film Müzikleri", Kalan) by Öner Erkan for the soundtrack of the Turkish film "7 Kocali Hürmüz".
In 2006, the American group Kruziki Transatlanica Quintet recorded in the USA "Ime prezakias" (CDr "Tierrita", αυτοέκδοση). In 2008 the instrumental "Ime prezakias" recorded by New York brass band Hungry March Band (CDr "Suspicious Package (Roll Out the Poncho)", Self-released).
In 2011 the group The Rembetika Hipsters, in which Greeks also participate, records in Calgary, Canada the song under the title "I am an addict- Eimai prezakias" (CD "Kafeneion", Socrates Pizza Records SPR003).
Since around 2012, the Australian band Dead Can Dance has included the song in their repertoire, presenting it in their live performances (see here for exampe), while it is also included on several of the band's unofficial record releases (see here).
The song appears in instrumental form in the Russian discography as well. Specifically, it is included under the title "И мэ прэзакиас / Ime prezakias" on the CD "Лакоча" (Отделение ВЫХОД Β328) released by the band of the same name, Лакоча, in 2012.
In 2013 the Dutch band Parne Gadje records "Ieme prezakias"(CD "Po Drom", Smoked Recordings SR016).
In the same year, the song also appears in the French discography. The group Taraf Dékalé, one of the bands of the music collective La Compagnie du Tire-Laine, based in Lille, France, records "Ime prezakias" (CD "Terra Mektoub", Compagnie du Tire-Laine). In 2021 Nathalie Joly and Thierry Roques recorded the song, in Greek and French, under the title "Ime Prezakias - Je Suis Un Junkie" (CD "Chansons D'Aller - Retour", Frémeaux & Associés – FA 8585).
In 2019, the Polish group Skolias & Bester, consisting of Gorgos Skolias of Greek origin and Polish accordionist Jaroslaw Bester, recorded in Warsaw, in the Greek language, το "Ime prezakias". The song is included on the CD "Rebetiko Poloniko" (For Tune 0142 023), with arrangements of 12 rebetiko songs.
In 2022, the Italian group Fan Chaabi recorded, also in Greek, "Ime prezakias" (CD "Tetraktys", Visage Music –VM3046).
Research and text: Leonardos Kounadis and Nikos Ordoulidis
Tags: Interactions with French repertoire, Women’s emancipation, Cosmopolitanism, 1930s, Recordings in Athens, Interactions with Italian repertoire, Infringing conduct, Rebetiko, Interactions with Russian repertoire, Interactions with Turkish repertoire, Songs about substances, Interactions with USA repertoire, Interactions with Polish repertoire, Odeon
At the beginning of the 20th century, Europe is living in peace and prosperity. The “Belle Époque” is an outgrowth of previous important historical events and developments. The networks that are created and which evolve funnel both people and their products, tangible and intangible. It is within this multi-layered world that sound recording and sound reproduction is invented. Early record labels send mobile crews literally all over the world to record local musicians. The range of the repertoire is endless. Cosmopolitanism in large urban centers favors polystylisms and polymorphisms. Colonialism, revolutions, conflicts, refugee flows; the theater, cinema, radio, photography, orchestras’ tours, but also circulations in all kinds of commercial channels in a world that evolves dynamically and anisotropically, form a complex network of “centers” and “peripheries” in alternating roles setting musical idioms in motion, both literally and figuratively. The networks in which the Greek-speaking musics participate, constantly conversing with their co-tenants, are magnificent. Discography has already provided important tools in understanding the relationships that developed between “national” repertoires. The result of this ongoing research is “Cosmopolitanism in Greek Historical Discography”.
On the music of this song, the creators Sosos Ioannidis and Aimilios Savvidis released another song with different lyrics, which was recorded twice in Greek historical discography:
– "Eimai prezakias", by Anna Pagana (Politissa), recorded in 1934, in Athens (Columbia CG 1086 – DG-6064)
– "Eimai prezakias", by Roza Eskenazy, recorded on November 21, 1934, in Athens (His Master's Voice OGA 23-1 – AO 2179). The recording was reissued in the USA unter the title "Ap' to vrady os to proi" (Orthophonic S-779-A and RCA Victor 38-3131)
Charis Alexiou sang again with great success this version of the song ("Charis Alexiou–24 tragoudia", Minos LP album MSM 316, Athens 1977) by changing the lyrics about addictive substances and under the title "Ouzo otan pieis (Diki mou einai i Ellas)".
Although no recording of the song has so far been found in the historical discographies of other ethno-cultural groups, it is extremely interesting that the song appears, between 2005-2022, in the contemporary discography of nine countries, and indeed, with the exception of one Turkish and one French cover, sung in the Greek language.
Starting from the Turkish discography, in 2005 Orhan Osman and Funda Güllü recorded, in Greek language, "Ime prezakias" (CD "Maziden", Doublemoon - DM0031). Four years later, the song will be recorded in the Turkish language under the title İme Prezakias Çiftetellisi (Hallaç Rüstem)" (CD "7 Kocalı Hürmüz Orijinal Film Müzikleri", Kalan) by Öner Erkan for the soundtrack of the Turkish film "7 Kocali Hürmüz".
In 2006, the American group Kruziki Transatlanica Quintet recorded in the USA "Ime prezakias" (CDr "Tierrita", αυτοέκδοση). In 2008 the instrumental "Ime prezakias" recorded by New York brass band Hungry March Band (CDr "Suspicious Package (Roll Out the Poncho)", Self-released).
In 2011 the group The Rembetika Hipsters, in which Greeks also participate, records in Calgary, Canada the song under the title "I am an addict- Eimai prezakias" (CD "Kafeneion", Socrates Pizza Records SPR003).
Since around 2012, the Australian band Dead Can Dance has included the song in their repertoire, presenting it in their live performances (see here for exampe), while it is also included on several of the band's unofficial record releases (see here).
The song appears in instrumental form in the Russian discography as well. Specifically, it is included under the title "И мэ прэзакиас / Ime prezakias" on the CD "Лакоча" (Отделение ВЫХОД Β328) released by the band of the same name, Лакоча, in 2012.
In 2013 the Dutch band Parne Gadje records "Ieme prezakias"(CD "Po Drom", Smoked Recordings SR016).
In the same year, the song also appears in the French discography. The group Taraf Dékalé, one of the bands of the music collective La Compagnie du Tire-Laine, based in Lille, France, records "Ime prezakias" (CD "Terra Mektoub", Compagnie du Tire-Laine). In 2021 Nathalie Joly and Thierry Roques recorded the song, in Greek and French, under the title "Ime Prezakias - Je Suis Un Junkie" (CD "Chansons D'Aller - Retour", Frémeaux & Associés – FA 8585).
In 2019, the Polish group Skolias & Bester, consisting of Gorgos Skolias of Greek origin and Polish accordionist Jaroslaw Bester, recorded in Warsaw, in the Greek language, το "Ime prezakias". The song is included on the CD "Rebetiko Poloniko" (For Tune 0142 023), with arrangements of 12 rebetiko songs.
In 2022, the Italian group Fan Chaabi recorded, also in Greek, "Ime prezakias" (CD "Tetraktys", Visage Music –VM3046).
Research and text: Leonardos Kounadis and Nikos Ordoulidis
Tags: Interactions with French repertoire, Women’s emancipation, Cosmopolitanism, 1930s, Recordings in Athens, Interactions with Italian repertoire, Infringing conduct, Rebetiko, Interactions with Russian repertoire, Interactions with Turkish repertoire, Songs about substances, Interactions with USA repertoire, Interactions with Polish repertoire, Odeon
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