The Sir’s Early Years and Own Songs

August 12, 2016

 

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One of the exciting memories of Greek music lovers is that of Grigoris Bithikotsis (Γρηγορης Μπιθικωτσης 1922-2005) last public Zeibekiko at the end of a big tribute concert for his 80th birthday which took place in the “Peace and Friendship Stadium” of Piraeus in March 2002 with Greece leading musicians. I am still moved by these moments and it was my first story of this blog five years ago. I felt that Zorba’s motto “To love life and not to fear death” was in that Bithikotsis’ dance, the Greek spirit.

 

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His own interpretive school

Bithikotsis can be considered as one founder of the modern popular singing. The other is Stelios Kazantzidis (Στέλιος Καζαντζίδης); each of them had his own, different way of interpretation that would influence singers in the years to come. “If the song was a river, one of its banks would be Kazantzidis and the other me”, he said once.

Both were singing, as all the others, about the burdens of the poor’s and the working class life and about women and loves’ pain. Kazantzidis’ style is raising the pain from inside directly in front of the world, without barriers,” putting on the table” the crying and the despair of people.

In contrast to Kazantzidis, Bithikotsis brings optimism in the music, so much needed in hard times for the nation; one writer observes “An epic voice that does not make you want to cry, but makes you feel proud and strong”

The “Sir”

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The unofficial title “Sir” accompanies Bithikotsis many years, showing his place in Greek music. It began when during a concert the journalist Dimitris Psathas turned to Bithikotsis’ wife Theokleia, saying: “Mrs Bithikotsi, the way your husband sing, but also your care with all these well pressed suits, the polished shoes, the white handkerchief on the lapel and the well tighten tie bring me to give him the title of Sir Bithi!!” He wrote it  in his newspaper after  1972 song “A deep bow, a hand kissing”. But the “Sir” didn’t appear out of the blue. It was his noble, authoritarian, intelligent singing that appealed to all parts of society as well as the assertive way he managed his career in the music industry.

Early life and the first song

Grigoris Bithikotsis was born in 1922 in Peristeri (a municipality of greater Athens), as the 6th and the last child of a very poor family that had migrated there from a village a short time before. His parents found a job in the gardens.

“I figured out that there were poor people and we are not all the same by the time I went to school. Seven to ten children didn’t have shoes. I remember that I was giving them mine and then I was telling  my father that others stole them. But because there were only forty houses there and we all knew each other I couldn’t hide it for long.”

“My big brother fetched a guitar at home when I was six and I was taking it in secret and learned how to play by myself. When my brother once caught me out, he asked me to play something for him and after having listened to me he gave it to me as present…I felt that I have something in me… When I was playing my guitar I got the interest of the children of my neighborhood.”

“I went only in high school. I didn’t like so much to read so I compromised to what my parents wanted, to earn the living by having a skill of something. So I became a plumber. I did this job for 16 years…”

As he was 15 he was charmed by the songs of Markos Vamvakaris, the “Socrates” of Greek music, as he put it; “I do not know, something struck inside me, another touch, another melody … another thing. Hearing Vamvakaris changed everything in me.” He was thinking: “One day I will write such songs!”  During the occupation he was working as a plumber in the mornings and in the evenings at taverns as a guitar and bouzouki player. Cleaning his hands from his daily work was not an easy job…

Already as he was 8 years old (1930) the police tried to pump from him about political discussion in his close environment.”One day in 1947 Military people found me writing slogans on the walls but they didn’t put me in jail … they sent me to serve my military service at Makronisos Island. What bothered me most there was the fact that educated people were beaten by uneducated people and the worst was that they didn’t know the reason why they were beating them. There they wanted me to make an orchestra to entertain the officers…” He broke his bouzouki to avoid playing in front Queen Frideriki when she was visiting the place, but she ordered to buy a new one. “The same day they brought me my new bouzouki, they brought also Mikis Theodorakis in the room.”

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“They put him in a bed next to mine because they had broken his leg. He told me that he was studying music and all the time he was holding a book.  There in the island I wrote my first song”. The music of “The candle flickers” (Το καντήλι τρεμοσβήνει) was in Vamvakaris style. When he was released (1949)  he got an audition in the record company and to his joy his admired Vamvakaris was taking part in the recording as second voice to Soula Kalfopoulou.( lyrics by Haralambos Vasileiadis)

(The following original versions may not be available in Germany ) 

 

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The “Crazy girl” (Τρελοκόριτσο)

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After his first song Bithikotsis wrote few songs for other singers, continuing his work at nightclubs as a musician. We are in 1955.”At that time, I worked in the “Jungle” club. Our vocalist, Giannis Papadopoulos was madly in love with the singer Poly Panou! Therefore Giannis wrote a song for her, the words of the “Crazy girl”. “Can you write music for it?” he asked me. I took the words and began to write. The boss of the place, Karlis, who made chickpeas at night, heard me singing while composing and ordered me “You will sing the song tonight!” “Are you crazy?” I said. “Do what I tell you!” he commanded.

I sang the “crazy girl” and the audience got crazy! Poly was picking requests, twenty orders for the “Crazy girl”, two for the other songs… Killing! Zeibekiko after zeibekiko…”

And it was a command of another boss that had sent Grigoris Bithikotsis to the recording studio. Few days later Bithikotsis went to Miliopoulos, the legendary manager of “Columbia” records and told him about the song. “He didn’t answer but he sent that night one of his secretaries to the club; listening to the song the girl got mad!” The next day Miliopoulos called him to the studio. But there Grigoris saw the famous Tsitsanis, Papaioannou and Chiotis. “I can’t sing with these three in front of me. I get nervous.” “Stop the bullshit and get in the studio and sing!”… Milolpoulos reacted.  So I became a singer.”

The “Crazy girl” or the “Crazy board” as our friend Kat prefers, caught the hearts; hearing the lyrics and the music everyone can find himself at time of anger…

You were born for destruction

And you came to demolish an entire life

You didn’t think twice what you are going to do

You stuck a knife in me, crazy girl, you will be my end

(At the end of the post there are alternative versions with English caps)

 

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Pale moon (Φεγγάρι χλωμό – 1959) 

A great hit in the popular style of the late 1950s; it was written for the popular singer Manolis Angelopoulos (Μανώλης Αγγελόπουλος) who in those years worked together with Bithikotsis in a nightclub. In this version Angelopoulos sings 2 verses with Giorgos Dalaras.(Lyrics:Dimitris Gkoutis , English subtitles)

 

 

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The”Theodorakis years” (1960-1967)

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Bithikotsis own “Laika” (popular) songs in the first 15 years were “popular folk”; they were closely related to the rebetika and nightclubs’ singing. In the beginning of the sixties, as he was already a very popular singer, he was taking a major part in reviving the rebetika to the front of the stage again, especially Markos Vamvakaris, who had been forgotten during the fifties, felling into poverty.*

But the sixties were ready to reveal other side of Bithikotsis and it came by Mikis Theodorakis, his Makronisos roommate. Theodorakis realized that the voice of Bithikotsis, steady and tall, “well planted tree” and not too sentimental, is suited perfectly for his projects, to compose poems by the greatest poets of Greece.  Especially we should note Odysseas Elytis’ “Aksion Esti”, an oratorio showing the history of Greece during World War II and the Civil War through the poet’s eyes. It is a praise song of man, his indomitable spirit and his desire for freedom which was delivered magnificently by Bithikotsis and so “the child of rebetiko, purebred, becomes the great performer, epic singer of the ’60s.”

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His career was now in its peak. He was cooperating with almost all the composers and song writers, among them Sravros Ksarhakos (Σταύρος Ξαρχάκος) and Akis Panou (Άκης Πάνου). In this period he reaches broader audience who comes to the nightclubs to hear the new songs.”Thanks to Mikis we opened our wings and your voice, father, travelled like a nightingale over the skies of the Greek music. He made our fate special”, wrote his daughter Anna.

We will dedicate one of our future post to Bithikotsis and Theodorakis, but in order not to leave a blank in our story and for those who like to feel Bithikotsis’ voice and singing in those years, here is a song from the beginning of their cooperation “My mother (my love) and Holy Mary” (Μάνα μου και Παναγιά-1960); just one year after “Pale Moon” and what a change!

 

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Resuming writing songs

In this period he almost stoped writing songs,recording only two of his own. One of them is “The mangas of Votanikos” (Του Βοτανικού ο μάγκας 1963),  his last dance in our opening video.

In 1967 the dictatorship of the Hounta took power. Theodorakis was banned. Bithikotsis returns to write,  now more delicate songs, more serenade-style and less “folk” zeibekikos than in his first period. Maybe his involvement with the “Art-Laika” (the art popular song) of Theodorakis and others, and change of fashion and audience, influenced his music. From the beginning of this period we will have “A woman leaves” (Μια γυναίκα φεύγει-1969, lyrics by Eleni Laikou)

A woman leaves, a true lady

Her steps erase a painful story

It is cold and the rain has frozen on the roof

A woman leaves, a woman leaves

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Three modern videos with English subtitles:

“Crazy girl” Dimitris Basis sings,the actress Hristina Alexanian dances zeibekiko and plats are broken…

 

The video of “A woman leaves” excites me once and again. Voula Gkika, who had been Bithikotsis second voice for many years, sings in a TV show, coming almost to tears…

 

And a bonus song that I love very much “Doubts” (Αμφιβολίες-1968), to which he had written the lyrics too. Here is by Georgia Lardou (English caps)

 

 

 Second part of this post

https://greeksongstories.wordpress.com/2016/08/12/grigoris-bithikotsis-and-kostas-virvos/

 

 Bithikotsis’ last Zeibekiko 

https://greeksongstories.wordpress.com/2011/06/26/to-love-life-and-not-to-fear-death/

*The revival of Vamvakaris

https://greeksongstories.wordpress.com/2014/05/08/the-father-of-greek-music/

 

Links:

http://www.e-orfeas.gr/artists/portraits/2582-article.html

http://www.ogdoo.gr/diskografia/to-proto-tragoudi/grigoris-mpithikotsis-ta-prota-tragoydia

http://www.tovima.gr/culture/article/?aid=165406

http://www.musiccorner.gr/afieromeno-exeretika-o-grigoris-bithikotsis-tragouda-stavro-xarchako-115840/

http://www.mousikesebeeries.gr/?p=20315

We used also some parts of the singer’s daughter Anna Bithikotsi’s book “From my diery…Grigoris Bithikotsis 1922-2005” . Άννα Μπιθικώτση “Από το Ημερολόγιό μου … – Γρηγόρης Μπιθικώτσης 1922-2005”

Many thanks to Anastasia Thanela and Katerina Siapanda!

 

 

 

 

 

 

 

 

 


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