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I wonder whether it is known who first started this extraordinary rumour—that Delias alternates between playing two instruments.
Did he play the oud? I know he played guitar and bouzouki.
I don’t know how those who support him substantiate the claim that he played the oud. He may well have done: I knew how to play the guitar and bouzouki too, but I haven’t thoroughly combed through all the sources.
But I believe that a musician changing instruments within the same piece was utterly inconceivable, both then and for decades afterwards.
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For the women celebrating their name day
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Based, of course, on “Maria de Bahίa”, a global Latin hit in the late 1940s. It was sung in many languages. We mainly know the Greek version, “Ai ai ai Maria”, from the later cover by Loukianos Kilaidonis.
The verse doesn’t translate easily into rebetiko, but in the chorus it becomes clearer that Tsitsanis had it in mind.
With Dimitris Mystakidis performing in Edessa in a few days, the warm-up has begun 
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I happened to hear it for the first time and realised that it must be Markos’s only syrtos.
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One of my absolute favourites. It feels just right now that the first rain has arrived in Athens.
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I’ll become a fisherman on dry land!
I fished out this rendition by Lakis Chalkias!
The comparison with Haskil is inevitable!
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What a wonderful listen, and what players…
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It is. And, naturally, it became very popular on the islands. In Kythnos and Serifos, it has become part of their local tradition, and some people even think it is a local song and that Markos got it from them!
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Great players, but what a lousy “instrument” Karantinis is holding! I can’t call that a good “instrument”. It’s far too “tinny”, mate!
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i know parts of the taximi 
Let’s go back a little to the forum.
To the distant year of 2001.
Our dear Frank
(Fragkiskos Koutelieris) had started a thread about “Every Evening You Fool Me” by the incomparable Giorgos Kavouras. The discussion revolves around the only version we had available at the time.
Specifically, the record was missing a note or two at the beginning. The entire discussion can be found at the link below.
Today, in 2025, I found a version from “Athinaiki Diskografiki” without this flaw. Clean and correct.
The Great School of Rebetiko No. 11
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