Greek

Recorded in Athens, Smyrna, Constantinople and the diaspora, 1900s–1930s

These sides span the years 1927 through 1946. Dance names run through the titles: hasapiko on four sides, horos on three, sirtos and syrtos on three each, zeibekiko and kalamatiano on two apiece, with tsamiko, vlahiko, and a single tango among the rest. Most sides fall in the 1923–46 gray era; the rest remain unclassified.

Antonios Sakellariou is credited on six sides—among them Limneikos Horos, Argitikos Sirtos, Dekaneas, and a Mikrasiatiko from 1941—and A. Sakellariou on five more, including Nisiotiko Hasapiko and Kehayias Zeibekiko. Kostas Gadinis holds three; Gus Gadinis Orchestra and C. Gadinis Orch. add further dance sides. Sophia Vembo appears twice, with Zehra in 1935 and Mi Me Rotate in 1938.

Roza Eskenázi sings Gia na xereis with G. Kamvisis in 1936; Rita Abatzi offers O Perivolaris; George Katsaros takes Ego Yia Sena Xenihto and Vre Manga To Maheri Sou, Giorgos Katsaros O Vangelis O Bekris. The hearth holds Misirlou in a 1942 recording credited to Tetos Demetriades and N. Roubanis—an Eastern Mediterranean folk song whose earliest known recording is a 1927 Greek rebetiko piece, already played by Greek, Arabic, and Jewish musicians and popular in the Greek-American, Arab-American, and Armenian-American communities. Elsewhere Ioanna Georgakopoulou and Vassilis Tsitsanis share I Gerakina, Stellakes Perpiniades gives Ego Thelo Prinkepesa, and K. Bezos brings both To Tango tou Mystiriou and O kaymos tou Tsopanou.