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 network in which the Greek-speaking urban popular song participates, constantly conversing with its co-tenants, is 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”.

The song "Mi mou chalas ta gousta mou" is based on one of the most popular tune in the Greek-speaking repertoire. It was recorded many times in the Greek historical discography, in Constantinople, New York and Athens, under various titles and in many variations. For example:

- Estoudiantina Zounaraki, "Giaf giouf", Orfeon S-3021 - 12819, Constantinopople (Istanbul), 1919 or 1920
- Tetos Dimitriadis, "Giaf giouf (Den se thelo pia)", Panhellenion 101, New York, 1919
- Tetos Dimitriadis, "Giaf-giouf", Columbia USA 105965 - 7023-F, New York, October 1925
- Antonis Ntalgkas, "Mi mou chalas ta gousta mou", HMV BJ-232-1 – AO-163, Athens, March 3, 1926
- Giorgos Vidalis, "Giaf giouf", Odeon GO 281 - GA 1154, Athens, 1926
- Angeliki Karagianni, "Giaf giouf", Pharos 822, New York, 1926 or 1927
- Kostas Karipis, "Mi mou chalas ta gousta mou", Columbia UK 20089 - 7724, Athens, 1927
- Lefteris Menemenlis, "Mi mou chalas ta gousta mou", Polydor 4626 ar - V-45116/45117, Athens, 1927
- Ka Pipina, "Espases ta piata", Homocord G-511 – G2 8009, 1928
- Marika Papagkika, "Sti fylaki me valane", Columbia USA W 205893 - 56117-F, New York, May 1928
- Vasilis Psamathianos - Ensemble Kalaidjoglou, "Espases ta piata", Parlophone 18607 – B-21502-I, Athens, 1929
- Kostas Nouros, "Espases ta piata", Columbia UK 20593 - 18055, Athens, 1929
- Antonis Ntalgkas, "Espases ta piata", HMV BG-12 – AO-311, Athens, May 11, 1929
- Estoudiantina Gad, "Espases ta piata", Parlophone 18678 – V. 21507-II & Pathé Turkish 7G.264 - 11.265, Constantinople (Istanbul), 1929
- Estoudiantina Gad, "Ta kounaga", Parlophone 18676 – V. 21507-I, Constantinople (Istanbul), 1929
- Giorgos Vidalis, "Espase ta piata", Odeon Go 1321 - GA 1405, Athens, 1929

A musical score of the song was published by S. Christidis in Constantinople (Istanbul) under the title "Giaf! Giouf!" as a cover by E. Sorolf. In the musical score the following are written: "Chanson populaire Grecque arrangé par E. Sorolf" and, in Greek, "The popular song for voice piano arranged by E. Sorolf".

In this recording, the musical theme of the song "Mangiko" appears from 2:04'' until the end of the recording as the final part. This tune it is met so far six times in the Greek discography, under titles such as "Magkiko", "Magkiko mou", "To magkiko". This musical theme can also be found in other repertoires, such as in Jewish and Armenian (for more see the recordings of "Magiko").

It seems that this tune is one of the popular choices not only in the Greek-speaking urban folk-popular repertoire but also in others, something which highlights the cosmopolitanism and syncretism in which popular musicians lived and acted. Like other tunes, which eventually became what we would now call a “hit”, this one also puts emphasis on the interplay between the various repertoires which were discussants in a large geographical area. Thus arises an exciting network that includes repertoires from Eastern Europe, the Balkans and the Mediterranean, which, on the one hand, came from three great empires: the Ottoman, the Austrian and the Russian. On the other hand, repertoires from Italy the Canzone Napoletana, the French chansons, the Spanish world and other sub-networks,were also very active, but also repertoires from two large worlds that were constantly on the move: the gypsy and the Jewish (mainly Yiddish) one. Discography is not only embedded in this context, but plays a key role in its transformation.

Research and text: Leonardos Kounadis and Nikos Ordoulidis