There was no previous management model in the early period of discography. Each company creates their own networks, something that will allow them to take a dynamic lead in the market. New specialties and professions are created and new conditions emerge, or the need to update older facts, with the most serious being intellectual property. The latter, until then, concerned mostly printed commercial musical scores and the publishers’ rights. New small companies are constantly springing up, trying to claim a share of the market, which, sooner or later, takes on global dimensions. They are often bought by larger companies, along with their already recorded repertoires and their existing agreements with agents, producers and musicians. Sooner or later, most of the smaller labels are under the control of a few growing companies. Over the years, and as the recording market becomes more complex, factories-branches are built on all continents. These offices are taken over by local actors who gradually draw up their own policies: they know their markets better. The ever-evolving recording industry proves to be centripetal: the decisions that are taken follow the policies centrally dictated by the managements of the companies and their subsidiaries. This entire environment, this entire layered landscape, becomes even more complex in America. There, “national” repertoires live a new, parallel life. This situation is not static and, to a large extent, is molded by discography, which attends to and “tunes” the overlapping relationships that have already developed in the “Old World”. Repertoires communicate with each other once again; a familiar and already dynamic condition in Europe. The circulation of musics is already a reality before the 20th century with theatrical and musical performances tours, but also with the networks of music publishing houses. Discography is not only embedded in this context, but also plays a key role in its transformation. This time, the network is adjusted in a programmatic manner, under new terms and via new paths.

This recording is an adaptation with Greek lyrics of the Cuban song "El manisero" (The Peanut Vendor), set to music and lyrics by Moisés Simons (Havana August 24, 1889 - June 28, 1945).

The song was first recorded in Havana, in late 1927 or early 1928, by Rita Montaner, for Columbia (S96205 - 2965-X).

The song became a hit and was recorded many times in historical discographies of Latin American countries, as well as in the USA and Europe. For example:

- Don Azpiazu and his Havana Casino Orchestra - Antonio Machin, New York, May 13, 1930 (Victor BVE-62152 - 22483)
- Louis Armstrong and his Sebastian new Cotton Orchestra, Los Angeles, December 23, 1930 (Okeh W404419 - 41478)
- Mistinguett, Paris, 1931 (Pathé X. 94101 - 203216)
- 'ГАВАЙСКАЯ РУМБА', Leonid Utyosov and his Orchestra,
Moscow, February 27, 1934 (Gramplasttrest 67 - 67)
- Xavier Cugat and his Orchestra, Argentina, 1940 (Columbia COC 3430 - 291760)

The presence of the song in cinema is noteworthy, and more specifically in the films "Cuban Love Song" (1931), "Duck Soup" (1933), "Only Angels have wings" (1939).

The Greek musical score of the song with lyrics by Pol Menestrel was published in Athens by the Michalis Gaitanos publishing house.

According to the data collected so far, it is the only recording of the song in Greek historical discography.

See more about the song here.

Research and text: Leonardos Kounadis and Nikos Ordoulidis