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PostPosted: Tue Apr 03, 2007 8:07 am
by berna.amaro
I know the live version and it's gorgeous! It has an instrumental ending (Live in Ghent -1995) which is awsome!
Wel, anyways, the version I have is defenitely not a live version and the sound is pretty decent, so if anyone wants me to send it to hers/his email just send it in a private message or something and I will do so!


PostPosted: Sun Apr 08, 2007 12:48 am
by musica eternal
Greek rembetika and Rembetika are too completely different songs, they were orginally created by Lisa & Robert Perry for the tour, i know a good version of greek rembetika , it's the one on the unreleased volume (1 ?)bottleg.
The end of rembetika is not instrumental, there was mostly percussions and especially Ronan with the easten tar and lisa is singing slightly on it.
The detroit version sounds really good.

PostPosted: Tue Sep 04, 2007 6:50 am
by Lamortpeutdanser
I've found a new version of Rembetika on DIME (if you aren't yet registered,see here).This version is a live version,at Seattle in 1995,but probably soundboard so the quality is excellent (track 10 of the recording).

PostPosted: Sat Oct 23, 2010 5:57 pm
by Lionheart
Hello everyone,
well well finally got it! :D

One well known greek rebetiko song that almost everyone knows is this:


This song was originaly performed in Athens in 1927 by the rebetiko band!
Misirlou's composer has never been identified.

Initially, the song was composed as a Greek (Asia Minor) tsifteteli dance, in the rebetiko style of music (in a slower tempo).

Patrinos initially wrote the lyrics and named the song Misirli or Misirlou =Egyptian Girl, from the turkish Mısırlı, >>>> arabic Miṣr :)

Connie Francis : 1965 ... re=related

THE ORIGINAL MISIROU : 1927 ... re=related

Bobby Fuller Four from Texas : 1965

Dick Dale's version around 1963 ... re=related


Here is Anikse Anikse

PostPosted: Mon Oct 25, 2010 7:24 am
by Lionheart
Rembetika was established in parts of mainland Greece in the first two years of the 20th century. It made use of 2-3 derivatives of the turkish saz (a.k.a. tampoura and boulgari): The bouzouki and its smaller brothers, the tzouras and the baglamas. The saz itself is a lute but quite diferent from the archetypal arab lute, 'al oud' - meaning 'wood'. The latter was very popular in Asia Minor. Rembetika were urban blues of a quasi-criminal subculture, despised my the middle classes and suppressed by the authorities.

In 1921 the Greek army occupied Turkey at the instigation of England, France, Italy and Russia. The Ottoman empire was in a state of collapse and the Great Powers, eager to carve up the territory, let Greece know that if they were to take the coast of Asia Minor where there were two million Greeks living there from ancient times, they could expect support. (They were using Greece to do their dirty work for them since the Italians had invaded from the south and were marching North. They wanted to use the Greeks to stop them from taking the entire coast of Asia Minor.) All went well and the Greek army controlled Smyrna and the coast but then two things happened that sent events rapidly downhill. The Greek army decided to march inland and take Ankara while at the same time the French backed out of the deal. This caused the other powers to withdraw their support so as not to start another world war. The Greek army found itself in retreat from a Turkish army led by Kemal Attaturk. As they passed through towns and cities they were joined by the local Greek population who did not want to be left behind when the angry Turks swarmed into town. Thousands died and the city of Smyrna was burned.

As the army retreated back to Greece it brought with them the surviving Greek population of Asia Minor. By 1922 there were two million refugees in the country. These were Greeks who had never lived in Greece. They had come from the fertile lands of Anatolia but were now forced to live in a small mountainous country that could not support them, or in refugee settlements in Pireaus and Thessaloniki. It was in the cafes and hash dens near these settlements that what we know as Rembetika was forged from the early mainland movement with its bouzouki and the oriental tunes, rythms and singing techniques that came from Asia Minor.

Imagine yourself as a refugee.

In Asia Minor you may have had a business, a nice home, money, friends, family. But in the slums of Athens all you had was whatever you could carry with you out of Turkey, and your shattered dreams. You went from being in the middle class to being underground in a foreign country that did not particularly want you. Rembetika was the music of these outcasts. The lyrics reflected their surroundings, poverty, pain, drug addiction, police oppression, prison, unrequited love, betrayal and hashish. It was the Greek urban blues.
With the change of the mix of followers from urban underclass to urban lower middle-class majority, the mature Rembetika music came out of the hash dens and the tekedes (Turkish style underground cafes) and into the taverns and nightclubs of Athens where it became very popular. Though some of the original Rembetika musicians had died before this period due to overdoses, tuberculosis and the general stress of the lifestyle, many became stars, recorded records, toured and generally did not have trouble finding work until the sixties when it gave way to newer forms of bouzouki-based music, superficially reminiscent of the Rembetika.


I d love to share a few lines about the Greeks of Asia Minor.
Though i know well that greek rebetica songs or rebetico is a very special gerne...

Only Those who deicided to stay in the refugee settlements suffered...
Those who diceded to move away had a much better life. Most of them were very capable merchants (Onasis was born in Smyrni:)
they spoke two and three foreign languages (they co-habited for at least 3.500 years with armenians, jews etc. ) and they were highly educated men and women. They believed that education is not a matter of wealth. Everyone can afford a small amount to buy a book and do something useful for him and his familly. (When the Greek goverment gave a small loan as help.. most of them prefered to spend 1/3 of that money in libraries, paintings, furniture and,electrical equipment).

When they came from Asia Minor to Greece they were literally left in the middle of the road. 1.500.000 were curried away from their homes and 800.0000 (sorry for the numbers...)were slaughtered. I admire those people because out of nothing they managed to do so many things. It takes great strength to stand up on your feet and re build your life again... and nowdays that we have everything we feel misserble instead of feeling happy for being healthy and of course alive.

PostPosted: Thu Nov 17, 2011 1:24 am
by Lionheart
This one is a Greek song which belongs to the kind of folk - zeibekiko dance...hence the name...

Greek Zeibekiko originated from Greek Rembetiko (1870-1922 , Asia Minor).
Zeibekiko is a blend of Byzantine and Greek Traditional Music
it was introduced into Greece, before (cafe aman) and after the destruction of Asia Minor

M aeroplana ke vaporia ... re=related

The lyrics by Dionysis Savvopoulos featuring Sotiria Mpellou. (a Stunning SINGER)


Agony for electrocution. Dead-alive in the Cell. Rock scenes.
Photograph with Mpellou.

With airplanes and ships
and with the old friends
we are wondering in the darkness
and yet you cannot hear us.

You cannot hear us singing,
with electric voices,
in the underground passages
until our orbits meet
your basic principles.

My father, Batis, (untouchable mother, figure made of soil and sky)
came from Smyrni in '22 (I will be lost from in front of your eyes)
and he lived for fifty years (in the world)
into a hidden basement (like a refugee, into a hidden basement)

In that waythis world, those who love (if they love)
are eating dirty bread (are eating dirty bread)
(those who remain faithful in your words)
and their desires follow (and their desires follow an underground route)
an underground route

Yesterday night I saw a friend
wondering like an elf
onto the motorbike
and dogs were running after him.

Get up, my soul, turn the power on,
set your clothes on fire (like Marcus)
set the instruments on fire (set the instruments on fire)
like a black spirit will blow up (to heal the would, like a black spirit will blow up)
our strong voice (our strong voice)

(The lyrics sang by Savvopoulos are in parenthesis)