Repress from record DG 6400 by Columbia.
Giorgos Kokkonis (2017: 177-185) writes about this kind of songs, the so-called folk-like ones, which, according to him, attempt a "heretical defense of neodimotiko (modern-folk)": "The 'neodemotiko' (modern-folk) genre entered our vocabulary mainly after the Metapolitefsi, in the context of the debate about the authenticity of dimotiko (folk). If we look at the bibliography in the field of the humanities, its use is not widespread. In fact, it is a term that researchers do not establish and accept and therefore does not take on the meaning that is given by the prefix 'neo' ('new/modern'), referring to an aesthetic revival or innovation (e.g. nuevo tango). In this case, the word 'neo' ('new/modern') is derogatory, stating the reduction in quality in relation to 'authentic' dimotiko, but also the deviation from the specifications of a musical expression capable of serving the 'national sentiment'. [...]
The truth is that in the language currently spoken the term 'neodimotiko' ('modern-folk') has been mostly identified with musical rather than poetic expression. Besides, folklore and philology never included it in their corpora, either because they evaluated it as a vulgarization of dimotiko, or because they did not appreciate it at all due to its identification with the urban popular sector, which, as we know, has not been a matter of interest for these disciplines, at least until quite recently. [...]
In any case, neodimotiko (modern-folk), as a specific form of popular music expression, was understood in one and only dimension: as a heterogeneity compared to dimotiko, whose identity was defined with strict standards by scholars. Its origins, around the mid-1960s, are associated with a series of innovations, more commonly understood as alienations. [...]
However, if we look back at the history of discography, we will notice that neodimotiko (modern-folk) is much older than we think, if, according to the abovementioned, we understand it as the submission of the form of 'dimotiko' in an open process. For example, it is present in the first recordings of the estudiantinas, where the songs from Ioannina and the kleftika songs were performed by singers with lyrical voices and covered and adapted by orchestras that comprised mandolins and guitars. This discographical repertoire was broadly success in the early years of discography (such as the famous "Tsopanakos imouna", released in 1919) thanks to its response to the quaint stereotypes with which the bourgeois imagined the 'pure' countryside. But also later, in the Interwar period, as well as after World War II, the recordings of dimotiko songs with singers from the cafés-aman and 'rebetiko' (Mrs. Koula, Marika Papagkika, Amalia Vaka, Rita Ampatzi, Roza Eskenazy, Kostas Roukounas and others) increased. It was the era of the reign of Giorgos Papasideris, who, speaking in terms of discography, covered all idioms. Many of the abovementioned folk-like compositions were essentially compositions of neodimotiko (modern-folk) in terms of lyrics, melody or both. This repertoire is the first and only that was recorded (other 'folk' musical expressions, found from many sources, were never recorded) and was diffused in a new manner: through the radio, as well as through the phonograph; this repertoire 'conquered' the countryside. Generations after generations appropriated it and covered Papasideris’ versions in the Kleftiko, Kalamatiano, syrto, etc. genres. Even the most 'authentic' villagers bowed to its mastery from above."