Stamatis Kraounakis (Σταμάτης Κραουνάκης)

If you have a great memory, you will remember Stamatis Kraounakis (Σταμάτης Κραουνάκης) being mentioned when I presented Dimitra Galani (Δήμητρα Γαλάνη) and even more when I presented Αlkistis Protopsalti (Άλκηστις Πρωτοψάλτη). Today he has the day to himself.

Stamatis Kraounakis was born in 1955 in Athens, Greece. He studied political science in Pandeio University in Athens. There, he met Lina Nikolakopoulou (Λίνα Νικολακοπούλου), a very gifted lyricist, with whom they would have a long and productive

working relationship. 80% of his songs have her as the lyricist.

In 1978 he made a record called The House Of Agamemnon (Το Σπίτι Του Αγαμέμνονα) with 3 young singers. Here is Cassandra (Κασσάνδρα), sung by Penelope Patsouki (Πηνελόπη Πατσούκη).

In 1980 he collaborated with actor and occasional singer Vassilis Bougiouklakis (Βασίλης Μπουγιουκλάκης) in an album called Vassili's Dream (Το όνειρο του Βασίλη). Here's a song dedicated to Mickey Mouse, called Mickey's Ballad (Μπαλάντα του Μίκυ).

In 1981 he successfully worked with one of Greece's finest singers, Vicky Moscholiou (Βίκυ Μοσχολιού). Together they made an album called Rusty Lips (Σκουριασμένα Χείλη). A big hit from this album was the song Frequncy (Συχνότητα).

In 1982 he made an album with Christiana (Χριστιάνα). This is the title track, Saribidam (Σαριμπιντάμ).

In 1983, he collaborated with out performer Giorgos Marinos (‎Γιώργος Μαρίνος). The record, called Men Only (Μόνον Άντρες) was the first record in Greece to fully embrace the gay narrative, the gay sensibility and the gay aesthetic. Here's the title track:

Cecrops Hotel (Ξενοδοχείο Κέκρωψ) is about clandestine meetings in seedy hotels.

At The Cinema (Στο Σινεμά) is about cruising in a cinema specialized in porno movies.

The Life of Saint Jezebel (Ο Βίος Της Οσίας Τζέζαμπελ) is a camp little number about the life of a famous belly dancer and/or the effects of mind-altering drugs.

Finally, Jezebelito Coutoupee (Τζεζαμπελίτο Κουτουπέ) is about the fun and crazy highs of the gay experience.

In 1984 he worked with our previous entry, Dimitra Galani (Δήμητρα Γαλάνη). The album was called Ordinarily (Κανονικά). We have already listened to the title track way back then, so here's Give Up (Παραδώσου):

The record that made him a superstar though, as well as lyricist Lina Nikolakopoulou and singer Alkistis Protopsalti (Άλκηστις Πρωτοψάλτη), was 1985's I Move Around Carrying A Gun (Κυκλοφορώ Και Οπλοφορώ). We had already listened to 3 songs from the album then. This time we'll get to know different ones. Three Angels (Τρεις Άγγελοι) is the introduction:

Spring (Η Άνοιξη) is a delicate song about emotions:

George (Ο Γιώργος) is about a tough and sexy young man, who, among other sexual exploits, is in a relationship with a trans woman. He eventually meets with a violent end.

The Epilychnios Eucharist (Επιλύχνιος Ευχαριστία) is a gloomy song about emotional deadends "under the disguise" of a religious hymn:

In the meantime he was scoring plays for theater, Lysistrata (Λυσιστράτη) among them.

In 1988 he works with singer/actress Tanya Tsanaklidou (Τάνια Τσανακλίδου) and together they produce the album Mama, I'm Getting Old (Μαμά Γερνάω). The title song is a terrific song. The expression of love and gratitude of a 30-year-old woman in the throes of disilusionment to her mother. The song became an evergreen. In the end of the recording, the singer got emotional and said: "I can't do this anymore. Please stop". they kept her words on the record and it comes off as authentic rather than cheesy.

To lighten up the mood, from the same record here's Fofo The Sultan Lady (Η Σουλτάνα Η Φωφώ), a number with a definite burlesque feel.

In 1989 he works with Kostas Makedonas (Κώστας Μακεδόνας) in a record called I Have No Idea (Δεν Έχω Ιδέα). In the song Red Eyeglasses (Κόκκινα Γυαλία) the singer duets with the composer:

There were guest artists in this album: the lyricist, Lina Nikolakopoulou, also sang. Arleta (Αρλέτα) and Vicky Moscholiou (Βίκυ Μοσχολιού), whom we've met earlier also had a song each. Also with a song, we had the appearance of Greece's "national" film star Aliki Vougiouklaki (Αλίκη Βουγιουκλάκη). The song, sure enough, was called Aliki's Song (Το Τραγούδι Της Αλίκης):

In 1990, he made another album with Vicky Moscholiou called E.R. (Εφημερία). Here's Yallallaou (Η Γιαλαλαού):

In 1991 he revisits his collaboration with Kostas Makedonas. The album is called Just Once (Μόνο Μια Φορά). Here's the title track:

This was more fun: Liza And The Picture Frame (Η Λίζα Και Η Κορνίζα):

In 1992 came another album with Vicky Moscholiou. It was called New Stuff (Καινούργιο Πράγμα). Here's Lola (Λόλα):

In 1993 he teamed up again with Alkistis Protopsalti for the album Works Of Men (Ανθρώπων Έργα). We have already presented the two biggest hits from the record when we were presenting Protopsalti. Here's the equally interesting title song:

In 2000 he wrote the title song for a TV series called And Then Came The Bees (Ύστερα Ήρθαν Οι Μέλισσες). The song is sung by yet another of the great ladies of Greek song, Marinella (Μαρινέλλα).

His best song came also in 2000 and it was part of a film soundtrack. the film, as well as the song, is called This Night Is What We Have Left (Αυτή Η Νύχτα Μένει). It is sung by Demetra Pappiou (Δήμητρα Παπίου) and it's about two young lovers against the world.

Kraounakis has made many more albums, but I think that it's fitting to end this with his best song. In all he made more than thirty five albums and music for over fifty theater plays. In 1998, Stamatis Kraounakis' seminars for song interpretation led his young students to the creation of the artistic group Speira Speira. Under his direction Speira Speira successfully presented a number of successful shows from 1999 to 2005. He currently does a daily radio show with music, political, and social commentary.

Kraounakis has never really been in the closet, but he never came out officially either. That's a situation often encountered in non-English speaking countries, and is a particular problem for me, in that I have to decide on the mode of presentation. Since I'm not one for innuendos, I try to be as direct as the printed sources allow me to. Still, for some of the people that I'm presenting, I'll be pirouetting in the dark...