Β' ΜΕΡΟΣ
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Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1445
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1447
Το Δ' ΜΕΡΟΣ στην Ανάρτηση Νο 1448
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1449
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1450
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1451
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1452
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1453
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1454
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1455
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1456
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1457
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1458
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1459
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1460
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από https://www.youtube.com/watch?v=ZIU0RMV_II8
από https://www.youtube.com/watch?v=Fzjir3HXH2E
από https://www.youtube.com/watch?v=7svj3o055KE
από https://www.youtube.com/watch?v=1hLIXrlpRe8
από https://www.youtube.com/watch?v=qJmI6fAPUSk
από https://www.youtube.com/watch?v=AUpneXm1TJ0
από https://www.youtube.com/watch?v=2K14qx3IKe
από https://www.youtube.com/watch?v=-y3h9p_c5-M
από https://www.youtube.com/watch?v=ZLWGQECdVpw
από https://www.youtube.com/watch?v=fxVUuolsahY
από https://www.youtube.com/watch?v=zjUiOh8efaQ
από https://www.youtube.com/watch?v=YWnFqpAtRT0
από https://www.youtube.com/watch?v=KLxqm7ey4Nw
από https://www.youtube.com/watch?v=P6JCP036uvQ
από https://www.youtube.com/watch?v=QSjclJY-YhQ
από https://www.youtube.com/watch?v=-x_fk0cRzXM
από https://www.youtube.com/watch?v=tFLp8c5bGYM
από https://www.youtube.com/watch?v=EXpJAyqmgXk
από https://www.youtube.com/watch?v=C3MqcDGzBlc
από https://www.youtube.com/watch?v=DmcK4EnVunI
από https://www.youtube.com/watch?v=D5OHrQYwRac
από https://www.youtube.com/watch?v=BlX57PibAbw
από https://www.youtube.com/watch?v=Ck3RB4FaEDw
από https://www.youtube.com/watch?v=LnqzxFWZZPo
από https://www.youtube.com/watch?v=L8vgLiQnW00
από https://www.youtube.com/watch?v=IWfG6mNLdHE
από https://www.youtube.com/watch?v=4fuNxhKiX2k
από https://www.youtube.com/watch?v=CboBCOnSHeI
από https://www.youtube.com/watch?v=ixdO35UZS_M
Dick Dale & The Del-Tones
Miserlou
(Instrumental)
Μουσική-Στίχοι: Νίκος Ρουμπάνης
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Taken from the film "A Swingin' Affair" released in 1963.
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Pulp Fiction Soundtrack
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the King of the Stomp playing "Miserlou", Live in San Francisco, taken from a French show from July,6, 1963
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Pulp Fiction
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an amazing song by one of the best guitarists ever
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popular Lebanese and Egyptian singers -- Myriam Fares, Sherine, Haifa Wehbe and Ruby -- dancing to the song "Misirlou" played by Dick Dale & his band in 1962. This recording was used in the movie "Pulp Fiction" (1994). Dick Dale is a Lebanese-American whose birth name was Richard Mansour.
In Greek, "Misirlou" means an "Egyptian girl." The word "misirlou" comes from the Turkish word "mısırlı" which comes from the Arabic word for Egypt, "Masr."
This song is an old Greek tune that was turned into a surf guitar hit by Dick Dale in the early 1960s. The origin of the melody is uncertain, but it may have derived from a Turkish or Arabic folk song. Dick Dale restyled it and played it "insanely fast" on electric guitar.
Misirlou is Greek (Μισιρλού, "Egyptian Girl") from Turkish "mısırlı" ("Egyptian") from the Arabic word "Miṣr" ( مصر "Egypt")
"Masr" is Arabic for "Egypt," which is the origin of the word "misirlou." According to one music writer, "The vaguely Middle Eastern sound of all surf music is directly attributable to Dale's Arabic ancestry; and Dale's brilliant rendition of Misirlou ensured that it would become the surf anthem. It's difficult to imagine a musical genre that was as shaped by one man as surf rock was by Dale."
The lyrics to "Misirlou" translated from Greek:
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My Misirlou [Egyptian girl], your sweet glance
It's lit a flame in my heart
Ah, ya habibi, Ah, ya haleli
[in Arabic: Oh, my love, Oh, my night]
Your lips are dripping honey, ah
Ah, Misirlou, magical, exotic beauty
Madness will overcome me, I can't take any more
Ah, I'll steal you away from the Arab land
My black-eyed, my wild Misirlou
My life changes with one kiss
Ah, ya habibi [my dear], one little kiss, ah
from your sweet little lips, ah.
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From the Wikipedia entry about the song "Misirlou":
The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962. Dale was of partially Lebanese background, and often credited Armenian music as the inspiration for his guitar style. The tune has at times been mistakenly described as a Lebanese or Armenian folk song. The song's oriental melody has been so popular for so long that many people, from Morocco to Iran, sometimes claim it to be a folk song from their own country.
The Greek word "Misirlou" refers specifically to a Muslim Egyptian woman (as opposed to a Christian girl); thus this song refers to a cross-faith, cross-race, relationship, a risqué subject at its time.
The song was first performed by the Michalis Patrinos rebetiko band in Athens, Greece in 1927. The song's actual composer was never identified. The melody was most likely composed collaboratively by the group.
Initially, the song was composed as a Greek zeibekiko dance, at a slower tempo and a different key than the orientalized performances that most are familiar with today. This was the style of the first known recording by Michalis Patrinos in Greece, circa 1930.
In 1941, Nick Roubanis, a Greek-American music instructor released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is variably given to either Roubanis or Patrinos. Roubanis is also credited with fine-tuning the key and the melody, giving it the oriental sound that it is associated with today.
The Beach Boys recorded a Dale-inspired "Miserlou" for the 1963 album Surfin' USA, forever making "Miserlou" a staple of American pop culture.
Abdel Halim Hafez, Fairuz, Farouz, Hussain al-Jasmi, Amr Diab, Tamer Hosni, Khaled, Natacha Atlas, Marcel Khalifa, Kazem el-Saher. Fares Karam, George Wassouf, Dina Hayek, Wael Kfoury, Wael Kfouri, Rola Said, Rola Saad, Amani Souissi, Amani Swissi, Sherine Ahmed, Yara Sodfa, Nelly Makdessi Maqdessi, Myriam Faris, Miriam Fares, Mirhan, Star Academy, Nancy Ajram, Lebanon, Lebanese, Arab, Arabic music, Mais Hamden, Angham, Diana Karazon, Asala, Asalah, May Hariri, Dominique Hourany Hourani, Arwa, Marwa, Hoda Haddad, Sherine, Shereen, Mays Hamdan, Mais Mays Hamdan, Ruby, Rouby, Roubi, Elissa Khouri, Warda, Dana Halabi, Nourhan, Fairouz, Nawal Zogby Zoghbi, Amal Hijazi, Carole Samaha, Ragheb Alama, Nicole Saba, Hana El Idrissi, Hanaa
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PULP FICTION
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Guitar Hero II Version
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Dick Dale and the Del-Tones and Misrilou made the History of Surf Rock with a massive dose of reverb, although Misrilou (Μισιρλού in greek girl from Misri, where Misri is meaning Egypt coming from Arab via Turkey) was originally a Greek traditional rebetiko (a style that originated with the Greek refugees from Turkey) song composed around 1920, it can be considered one of the mile stones of surf rock together with Wipeout, Pipeline Surfin' Bird and some proto-surf by Link Wray, partly also cuz of the revival lounched by Quentin Trantino's movie Pulp Fiction. Southern California ca. 1960 was a melting-pot of many strains of musical thought. Rock and Roll music was popular, with instrumental rockers such as Duane Eddy, Link Wray, and Santo and Johnny proving that strong vocal ability was unnecessary to achieve a level of stardom. Los Angeles was a hub of Jazz activity, and the biggest acts typically played there. Unlike much of the US at the time, large numbers of Mexicans lived in this part of California, and their music was no doubt heard by many aspiring musicians of the era. Rock instrumentation, with an aggressive jazz-influenced drummer and some Latin influences equals Surf music. It merely required a few local talents to achieve a level of popularity before a trend was born.
Most Early surf bands were formed in Southern California area, with groups such as Dick Dale and the Del-Tones, the Challengers, Eddie & the Showmen and the Surfaris. Orange County in particular had a strong surf culture, and the Rendezvous Ballroom in Balboa hosted many surf-styled acts. A typical night's entertainment featured not only Surf music, but cover versions of popular hits of the day.
The popularity of the genre led groups from other areas to try their hand as well. Both the Astronauts (Boulder, Colorado) and The Trashmen (Minneapolis, Minnesota) played surf music and their Billboard hits "Baja" (Astronauts, #94, 1963) and "Surfin' Bird" (#4, 1964) showed that the popularity of the genre was spreading widely. The Rivieras from South Bend, Indiana, hit #5 in 1964 with "California Sun".
The Atlantics, from Sydney, Australia, were not exclusively surf musicians, but made significant contributions to the genre, the most famous example with being their hit "Bombora" (1963). Another Australian surf band who were known outside their own country's surf scene was the Joy Boys, whose hit "Murphy the Surfie" (1963) was later covered by the Surfaris.
European bands around this time generally focused more on the style played by the Shadows. A notable example of European surf instrumental is Spanish band Los Relampagos' rendition of "Misirlou". The Dakotas, who were the British backing band for mersey-beat singer Billy J. Kramer gained some attention as surf musicians with "Cruel Sea" (1963), which was later covered by the Ventures and eventually other instrumental surf bands, including the Challengers and the Revelairs.
While known as a genre that developed on the West Coast of the United States in the 1960s, a 1990s revival has sparked a resurgence worldwide. Man or Astro-man?, Los Straitjackets, Pollo Del Mar and many others perform on a regular basis. Other groups such as Simon and the Bar Sinisters and Southern Culture on the Skids also dabble in this genre. Some more about the history of Surf rock under the Atlantics song / video Bombora ....
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[Pulp Fiction Theme] (Bassnectar Remix)
"Color Storm Mixtape", 2011. Track 9: Misirlou
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Using only 8-bit Sounds
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OST
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(8-Bit Remix)
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Pulp Fiction - Dance Scene
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One of the the most rearranged themes ever.
The Greek word Missirlou or Misirlou refers specifically to a Muslim Egyptian woman (as opposed to a Christian Egyptiotissa); thus this song refers to a cross-faith, cross-race, relationship, a risqué subject at its time.
Initially, the song was composed as a Greek zeibekiko dance, in the rebetiko style of music, at a slower tempo and a different key than the orientalized performances that most are familiar with today. This was the style of the first known recording by Michalis Patrinos in Greece, circa 1930 (which was circulated in the United States by Titos Dimitriadis' Orthophonic label); a second recording was made by Patrinos in New York, in 1931.
In 1941, Nick Roubanis, a Greek-American music instructor, released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is variably given to either Roubanis or Patrinos. Subsequently S. Russell, N. Wise, and M. Leeds wrote English lyrics to the song. Roubanis is also credited with fine-tuning the key and the melody, giving it the oriental sound that it is associated with today. The song soon became an "exotica" standard among the light swing (lounge) bands of the day.
The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962, after he was bet by a young fan that he could not play a song on only one string of his guitar!!
Not to mention that it has been the beloved theme song of the film "Pulp Fiction"....
The dance is also performed to instrumental versions of Never on Sunday by Manos Hadjidakis.
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This is apparently off Dick Dale's Surfers' Choice (1962) but this is a different version
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Pulp Fiction is a 1994 crime film directed by Quentin Tarantino, who co-wrote its screenplay with Roger Avary. The film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did co-stars Samuel L. Jackson and Uma Thurman.
Directed in a highly stylized manner, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". The plot, in keeping with most of Tarantino's other works, is presented out of chronological sequence.
The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy, the film is also frequently labeled a "neo-noir". Critic Geoffrey O'Brien argues otherwise: "The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir". Similarly, Nicholas Christopher calls it "more gangland camp than neo-noir", and Foster Hirsch suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label. Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. A cultural watershed, Pulp Fiction's influence has been felt in several other popular media.
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1962 - LP-version from the album "Surfer's Choice"
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Pulp Fiction
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(original)
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Visuals from "The Lion King", Sound "Misirlou" from Pulp Fiction
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Dick Dale wasn't nicknamed "King of the Surf Guitar" for nothing: he pretty much invented the style single-handedly, and no matter who copied or expanded upon his blueprint, he remained the fieriest, most technically gifted musician the genre ever produced. Dale's pioneering use of Middle Eastern and Eastern European melodies (learned organically through his familial heritage) was among the first in any genre of American popular music, and predated the teaching of such "exotic" scales in guitar-shredder academies by two decades. The breakneck speed of his single-note staccato picking technique was unrivalled until it entered the repertoires of metal virtuosos like Eddie Van Halen, and his wild showmanship made an enormous impression on the young Jimi Hendrix. But those aren't the only reasons Dale was once called the father of heavy metal. Working closely with the Fender company, Dale continually pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing the thick, clearly defined tones he heard in his head, at the previously undreamed-of volumes he demanded. He also pioneered the use of portable reverb effects, creating a signature sonic texture for surf instrumentals. And, if all that weren't enough, Dale managed to redefine his instrument while essentially playing it upside-down and backwards -- he switched sides in order to play left-handed, but without re-stringing it (as Hendrix later did).
Dick Dale was born Richard Monsour in Boston in 1937; his father was Lebanese, his mother Polish. As a child, he was exposed to folk music from both cultures, which had an impact on his sense of melody and the ways string instruments could be picked. He also heard lots of big band swing, and found his first musical hero in drummer Gene Krupa, who later wound up influencing a percussive approach to guitar so intense that Dale regularly broke the heaviest-gauge strings available and ground his picks down to nothing several times in the same song. He taught himself to play country songs on the ukulele, and soon graduated to guitar, where he was also self-taught. His father encouraged him and offered career guidance, and in 1954, the family moved to Southern California. At the suggestion of a country DJ, Monsour adopted the stage name Dick Dale, and began performing in local talent shows, where his budding interest in rockabilly made him a popular act. He recorded a demo song, "Ooh-Whee Marie," for the local Del-Fi label, which was later released as a single on his father's new Del-Tone imprint and distributed locally. During the late '50s, Dale also became an avid surfer, and soon set about finding ways to mimic the surging sounds and feelings of the sport and the ocean on his guitar. He quickly developed a highly distinctive instrumental sound, and found an enthusiastic, ready-made audience in his surfer friends. Dale began playing regular gigs at the Rendezvous Ballroom, a once-defunct concert venue near Newport Beach, with his backing band the Del-Tones; as word spread and gigs at other local halls followed, Dale became a wildly popular attraction, drawing 1,000s of fans to every performance. In September 1961, Del-Tone released Dale's single "Let's Go Trippin'," which is generally acknowledged to be the very first recorded surf instrumental.
"Let's Go Trippin'" was a huge local hit, and even charted nationally. Dale released a few more local singles, including "Jungle Fever," "Miserlou," and "Surf Beat," and in 1962 issued his (and surf music's) first album, the groundbreaking Surfer's Choice, on Del-Tone. Surfer's Choice sold like hotcakes around Southern California, which earned Dale a contract with Capitol Records and national distribution for Surfer's Choice. Dale was featured in Life magazine in 1963, which led to appearances on The Ed Sullivan Show and the Frankie/Annette film Beach Party; he also released the follow-up LP King of the Surf Guitar, and went on to issue three more albums on Capitol through 1965. During that time, he developed a close working relationship with Leo Fender, who kept engineering bigger and better sound systems in response to Dale's appetite for louder, more maniacally energetic live performances.
Surf music became a national fad, with groups like the Beach Boys and Jan & Dean offering a vocal variant to complement the wave of instrumental groups, all of which were indebted in some way to Dale. But in 1964, the British Invasion stole much of surf's thunder, and Dale was dropped by Capitol in 1965. He remained a wildly popular local act, but in 1966, he was diagnosed with rectal cancer, which forced him to temporarily retire from music. .
~ Steve Huey, All Music Guide
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on Toast of the Town (also known as The Ed Sullivan Show), 1963.
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από https://www.youtube.com/watch?v=SrNRyUVQg5U
Yuzo Kayama
Misirlou
(Instrumental)
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από https://www.youtube.com/watch?v=ZaI2IlHwmgQ
από https://www.youtube.com/watch?v=R2wxA8S9YHI
από https://www.youtube.com/watch?v=BnqrkaM6Qtw
The Black Eyed Peas
Pump It (Misirlou)
Μουσική-Στίχοι: Νίκος Ρουμπάνης, Διασκευή: S. Ferguson-A. Pineda-W. Adams
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Music video (C) 2006 A&M Records
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(Instrumental)
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από https://www.youtube.com/watch?v=TtZF_1Ogocw
UMSL Cello Choir
Misirlou
(Instrumental)
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from Pulp Fiction
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The UMSL Cello Choir performs "Misirlou", written by Dick Dale and his Del-Tones, and arranged by Bernard Amrani. Performed April 24, 2012, in the Lee Theater at the Touhill Performing Arts Center, University of Missouri, St. Louis. Directed by Prof. Kurt Baldwin
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από https://www.youtube.com/watch?v=UFiKn7cZHxE
από https://www.youtube.com/watch?v=fKNjaaQLYZY
από https://www.youtube.com/watch?v=kdJRQXMNnwg
Martina Eisenreich Quartett
MISIRLOU
(Instrumental)
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VIOLIN TALES TOUR 2012. Die Filmkomponistin Martina Eisenreich, live in concert mit Christoph Müller (Gitarre), Stephan Glaubitz (Kontrabass) und Wolfgang Lohmeier (Schlagwerk und Percussion). Video: Heinz König, Textilmuseum Helmbrechts 2012
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Composer and violinist Martina Eisenreich live in concert. Wolfgang Lohmeier (dr & perc), Knud Mensing (gt), Reinhard Greiner (tr), Chris Haller (cl), Tom Peschel (b). Lustspielhaus Munich, 2009/11/02. Album: WUNDERGEIGE (GLM Music 2009). Tasca Films Munich (Bernt Engelmann & Gisela Wunderlich) 2009/2010.
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al Cine-Teatro Perla di Bologna
Martina Eisenreich Quartet esegue dal vivo uno dei suoi magnifici brani al Cinema-teatro Perla di Bologna, Italia. Il brano si intitola "MISERLOU". Video di Marco Vaccari, 29 maggio 2012. Grazie a Martina per la cortesia. Il Quartetto proviene dalla Baviera. Martina Eisenreich è una violinista e apprezzata compositrice di colonne sonore. Gli altri membri del quartetto sono CHRISTOPH MÜLLER chitarra, STEPHAN GLAUBITZ contrabbasso, WOLFGANG LOHMEIER alla batteria-percussioni ed effetti musicali.
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από https://www.youtube.com/watch?v=m1PhFgc3cM4
από https://www.youtube.com/watch?v=N6QiWV8bIJs
Los Relámpagos
Misirlou
(Instrumental)
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από https://www.youtube.com/watch?v=G9ytSC8rz84
από https://www.youtube.com/watch?v=SQNyLJrJNlA
από https://www.youtube.com/watch?v=HKBnaAUyN1c
Korla Pandit
Miserlou
(Instrumental)
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in 1951, performing "Miserlou" for Snader Telescriptions.
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(P&S Smoke & Mirrors mix)
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από https://www.youtube.com/watch?v=0l-p1A03q3M
από https://www.youtube.com/watch?v=V1SKWDsclV4
από https://www.youtube.com/watch?v=pp4d8nJN50I
από https://www.youtube.com/watch?v=Xtr855XFCYE
The Trashmen
Misirlou
(Instrumental)
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"Misirlou" del disco Surfin Bird editado en el año 1964.
Uno de los grandes grupos e impulsores del SurfinRock.
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1963
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από https://www.youtube.com/watch?v=ZAwXw1u-CnE
Klezmer Sefardi
Miserlou
Μουσική-Στίχοι: Νίκος Ρουμπάνης, ??? Στίχοι:
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από https://www.youtube.com/watch?v=KctTAJNtTwo
από https://www.youtube.com/watch?v=_T9Eptd-pAU
The Cardinals
Misirlou
Μουσική-Στίχοι: Νίκος Ρουμπάνης, Αγγλικοί Στίχοι: Milton Leeds - Fred Wise - S.K. Russell
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από https://www.youtube.com/watch?v=m1lyKRUUZPw
Trio Shalva
Misirlou
(Instrumental)
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Live at Cafe Vivaldi
Assaf Gleizner - Piano
Koby Hayon - Bass
Nadav Snir Zelniker - Drums
From the CD "Riding Alone "
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ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1447
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Το Α' ΜΕΡΟΣ στην Ανάρτηση Νο 1445
Το Γ' ΜΕΡΟΣ στην Ανάρτηση Νο 1447
Το Δ' ΜΕΡΟΣ στην Ανάρτηση Νο 1448
Το Ε' ΜΕΡΟΣ στην Ανάρτηση Νο 1449
Το ΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1450
Το Ζ' ΜΕΡΟΣ στην Ανάρτηση Νο 1451
Το Η' ΜΕΡΟΣ στην Ανάρτηση Νο 1452
Το Θ' ΜΕΡΟΣ στην Ανάρτηση Νο 1453
Το Ι' ΜΕΡΟΣ στην Ανάρτηση Νο 1454
Το ΙΑ' ΜΕΡΟΣ στην Ανάρτηση Νο 1455
Το ΙΒ' ΜΕΡΟΣ στην Ανάρτηση Νο 1456
Το ΙΓ' ΜΕΡΟΣ στην Ανάρτηση Νο 1457
Το ΙΔ' ΜΕΡΟΣ στην Ανάρτηση Νο 1458
Το ΙΕ' ΜΕΡΟΣ στην Ανάρτηση Νο 1459
Το ΙΣΤ' ΜΕΡΟΣ στην Ανάρτηση Νο 1460
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από https://www.youtube.com/watch?v=ZIU0RMV_II8
από https://www.youtube.com/watch?v=Fzjir3HXH2E
από https://www.youtube.com/watch?v=7svj3o055KE
από https://www.youtube.com/watch?v=1hLIXrlpRe8
από https://www.youtube.com/watch?v=qJmI6fAPUSk
από https://www.youtube.com/watch?v=AUpneXm1TJ0
από https://www.youtube.com/watch?v=2K14qx3IKe
από https://www.youtube.com/watch?v=-y3h9p_c5-M
από https://www.youtube.com/watch?v=ZLWGQECdVpw
από https://www.youtube.com/watch?v=fxVUuolsahY
από https://www.youtube.com/watch?v=zjUiOh8efaQ
από https://www.youtube.com/watch?v=YWnFqpAtRT0
από https://www.youtube.com/watch?v=KLxqm7ey4Nw
από https://www.youtube.com/watch?v=P6JCP036uvQ
από https://www.youtube.com/watch?v=QSjclJY-YhQ
από https://www.youtube.com/watch?v=-x_fk0cRzXM
από https://www.youtube.com/watch?v=tFLp8c5bGYM
από https://www.youtube.com/watch?v=EXpJAyqmgXk
από https://www.youtube.com/watch?v=C3MqcDGzBlc
από https://www.youtube.com/watch?v=DmcK4EnVunI
από https://www.youtube.com/watch?v=D5OHrQYwRac
από https://www.youtube.com/watch?v=BlX57PibAbw
από https://www.youtube.com/watch?v=Ck3RB4FaEDw
από https://www.youtube.com/watch?v=LnqzxFWZZPo
από https://www.youtube.com/watch?v=L8vgLiQnW00
από https://www.youtube.com/watch?v=IWfG6mNLdHE
από https://www.youtube.com/watch?v=4fuNxhKiX2k
από https://www.youtube.com/watch?v=CboBCOnSHeI
από https://www.youtube.com/watch?v=ixdO35UZS_M
Dick Dale & The Del-Tones
Miserlou
(Instrumental)
Μουσική-Στίχοι: Νίκος Ρουμπάνης
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Taken from the film "A Swingin' Affair" released in 1963.
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Pulp Fiction Soundtrack
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the King of the Stomp playing "Miserlou", Live in San Francisco, taken from a French show from July,6, 1963
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Pulp Fiction
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an amazing song by one of the best guitarists ever
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popular Lebanese and Egyptian singers -- Myriam Fares, Sherine, Haifa Wehbe and Ruby -- dancing to the song "Misirlou" played by Dick Dale & his band in 1962. This recording was used in the movie "Pulp Fiction" (1994). Dick Dale is a Lebanese-American whose birth name was Richard Mansour.
In Greek, "Misirlou" means an "Egyptian girl." The word "misirlou" comes from the Turkish word "mısırlı" which comes from the Arabic word for Egypt, "Masr."
This song is an old Greek tune that was turned into a surf guitar hit by Dick Dale in the early 1960s. The origin of the melody is uncertain, but it may have derived from a Turkish or Arabic folk song. Dick Dale restyled it and played it "insanely fast" on electric guitar.
Misirlou is Greek (Μισιρλού, "Egyptian Girl") from Turkish "mısırlı" ("Egyptian") from the Arabic word "Miṣr" ( مصر "Egypt")
"Masr" is Arabic for "Egypt," which is the origin of the word "misirlou." According to one music writer, "The vaguely Middle Eastern sound of all surf music is directly attributable to Dale's Arabic ancestry; and Dale's brilliant rendition of Misirlou ensured that it would become the surf anthem. It's difficult to imagine a musical genre that was as shaped by one man as surf rock was by Dale."
The lyrics to "Misirlou" translated from Greek:
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My Misirlou [Egyptian girl], your sweet glance
It's lit a flame in my heart
Ah, ya habibi, Ah, ya haleli
[in Arabic: Oh, my love, Oh, my night]
Your lips are dripping honey, ah
Ah, Misirlou, magical, exotic beauty
Madness will overcome me, I can't take any more
Ah, I'll steal you away from the Arab land
My black-eyed, my wild Misirlou
My life changes with one kiss
Ah, ya habibi [my dear], one little kiss, ah
from your sweet little lips, ah.
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From the Wikipedia entry about the song "Misirlou":
The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962. Dale was of partially Lebanese background, and often credited Armenian music as the inspiration for his guitar style. The tune has at times been mistakenly described as a Lebanese or Armenian folk song. The song's oriental melody has been so popular for so long that many people, from Morocco to Iran, sometimes claim it to be a folk song from their own country.
The Greek word "Misirlou" refers specifically to a Muslim Egyptian woman (as opposed to a Christian girl); thus this song refers to a cross-faith, cross-race, relationship, a risqué subject at its time.
The song was first performed by the Michalis Patrinos rebetiko band in Athens, Greece in 1927. The song's actual composer was never identified. The melody was most likely composed collaboratively by the group.
Initially, the song was composed as a Greek zeibekiko dance, at a slower tempo and a different key than the orientalized performances that most are familiar with today. This was the style of the first known recording by Michalis Patrinos in Greece, circa 1930.
In 1941, Nick Roubanis, a Greek-American music instructor released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is variably given to either Roubanis or Patrinos. Roubanis is also credited with fine-tuning the key and the melody, giving it the oriental sound that it is associated with today.
The Beach Boys recorded a Dale-inspired "Miserlou" for the 1963 album Surfin' USA, forever making "Miserlou" a staple of American pop culture.
Abdel Halim Hafez, Fairuz, Farouz, Hussain al-Jasmi, Amr Diab, Tamer Hosni, Khaled, Natacha Atlas, Marcel Khalifa, Kazem el-Saher. Fares Karam, George Wassouf, Dina Hayek, Wael Kfoury, Wael Kfouri, Rola Said, Rola Saad, Amani Souissi, Amani Swissi, Sherine Ahmed, Yara Sodfa, Nelly Makdessi Maqdessi, Myriam Faris, Miriam Fares, Mirhan, Star Academy, Nancy Ajram, Lebanon, Lebanese, Arab, Arabic music, Mais Hamden, Angham, Diana Karazon, Asala, Asalah, May Hariri, Dominique Hourany Hourani, Arwa, Marwa, Hoda Haddad, Sherine, Shereen, Mays Hamdan, Mais Mays Hamdan, Ruby, Rouby, Roubi, Elissa Khouri, Warda, Dana Halabi, Nourhan, Fairouz, Nawal Zogby Zoghbi, Amal Hijazi, Carole Samaha, Ragheb Alama, Nicole Saba, Hana El Idrissi, Hanaa
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PULP FICTION
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Guitar Hero II Version
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Dick Dale and the Del-Tones and Misrilou made the History of Surf Rock with a massive dose of reverb, although Misrilou (Μισιρλού in greek girl from Misri, where Misri is meaning Egypt coming from Arab via Turkey) was originally a Greek traditional rebetiko (a style that originated with the Greek refugees from Turkey) song composed around 1920, it can be considered one of the mile stones of surf rock together with Wipeout, Pipeline Surfin' Bird and some proto-surf by Link Wray, partly also cuz of the revival lounched by Quentin Trantino's movie Pulp Fiction. Southern California ca. 1960 was a melting-pot of many strains of musical thought. Rock and Roll music was popular, with instrumental rockers such as Duane Eddy, Link Wray, and Santo and Johnny proving that strong vocal ability was unnecessary to achieve a level of stardom. Los Angeles was a hub of Jazz activity, and the biggest acts typically played there. Unlike much of the US at the time, large numbers of Mexicans lived in this part of California, and their music was no doubt heard by many aspiring musicians of the era. Rock instrumentation, with an aggressive jazz-influenced drummer and some Latin influences equals Surf music. It merely required a few local talents to achieve a level of popularity before a trend was born.
Most Early surf bands were formed in Southern California area, with groups such as Dick Dale and the Del-Tones, the Challengers, Eddie & the Showmen and the Surfaris. Orange County in particular had a strong surf culture, and the Rendezvous Ballroom in Balboa hosted many surf-styled acts. A typical night's entertainment featured not only Surf music, but cover versions of popular hits of the day.
The popularity of the genre led groups from other areas to try their hand as well. Both the Astronauts (Boulder, Colorado) and The Trashmen (Minneapolis, Minnesota) played surf music and their Billboard hits "Baja" (Astronauts, #94, 1963) and "Surfin' Bird" (#4, 1964) showed that the popularity of the genre was spreading widely. The Rivieras from South Bend, Indiana, hit #5 in 1964 with "California Sun".
The Atlantics, from Sydney, Australia, were not exclusively surf musicians, but made significant contributions to the genre, the most famous example with being their hit "Bombora" (1963). Another Australian surf band who were known outside their own country's surf scene was the Joy Boys, whose hit "Murphy the Surfie" (1963) was later covered by the Surfaris.
European bands around this time generally focused more on the style played by the Shadows. A notable example of European surf instrumental is Spanish band Los Relampagos' rendition of "Misirlou". The Dakotas, who were the British backing band for mersey-beat singer Billy J. Kramer gained some attention as surf musicians with "Cruel Sea" (1963), which was later covered by the Ventures and eventually other instrumental surf bands, including the Challengers and the Revelairs.
While known as a genre that developed on the West Coast of the United States in the 1960s, a 1990s revival has sparked a resurgence worldwide. Man or Astro-man?, Los Straitjackets, Pollo Del Mar and many others perform on a regular basis. Other groups such as Simon and the Bar Sinisters and Southern Culture on the Skids also dabble in this genre. Some more about the history of Surf rock under the Atlantics song / video Bombora ....
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[Pulp Fiction Theme] (Bassnectar Remix)
"Color Storm Mixtape", 2011. Track 9: Misirlou
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Using only 8-bit Sounds
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OST
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(8-Bit Remix)
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Pulp Fiction - Dance Scene
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One of the the most rearranged themes ever.
The Greek word Missirlou or Misirlou refers specifically to a Muslim Egyptian woman (as opposed to a Christian Egyptiotissa); thus this song refers to a cross-faith, cross-race, relationship, a risqué subject at its time.
Initially, the song was composed as a Greek zeibekiko dance, in the rebetiko style of music, at a slower tempo and a different key than the orientalized performances that most are familiar with today. This was the style of the first known recording by Michalis Patrinos in Greece, circa 1930 (which was circulated in the United States by Titos Dimitriadis' Orthophonic label); a second recording was made by Patrinos in New York, in 1931.
In 1941, Nick Roubanis, a Greek-American music instructor, released a jazz instrumental arrangement of the song, crediting himself as the composer. Since his claim was never legally challenged, he is still officially credited as the composer today worldwide, except in Greece where credit is variably given to either Roubanis or Patrinos. Subsequently S. Russell, N. Wise, and M. Leeds wrote English lyrics to the song. Roubanis is also credited with fine-tuning the key and the melody, giving it the oriental sound that it is associated with today. The song soon became an "exotica" standard among the light swing (lounge) bands of the day.
The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962, after he was bet by a young fan that he could not play a song on only one string of his guitar!!
Not to mention that it has been the beloved theme song of the film "Pulp Fiction"....
The dance is also performed to instrumental versions of Never on Sunday by Manos Hadjidakis.
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This is apparently off Dick Dale's Surfers' Choice (1962) but this is a different version
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Pulp Fiction is a 1994 crime film directed by Quentin Tarantino, who co-wrote its screenplay with Roger Avary. The film is known for its rich, eclectic dialogue, ironic mix of humor and violence, nonlinear storyline, and host of cinematic allusions and pop culture references. The film was nominated for seven Oscars, including Best Picture; Tarantino and Avary won for Best Original Screenplay. It was also awarded the Palme d'Or at the 1994 Cannes Film Festival. A major critical and commercial success, it revitalized the career of its leading man, John Travolta, who received an Academy Award nomination, as did co-stars Samuel L. Jackson and Uma Thurman.
Directed in a highly stylized manner, Pulp Fiction joins the intersecting storylines of Los Angeles mobsters, fringe players, small-time criminals, and a mysterious briefcase. Considerable screen time is devoted to conversations and monologues that reveal the characters' senses of humor and perspectives on life. The film's title refers to the pulp magazines and hardboiled crime novels popular during the mid-20th century, known for their graphic violence and punchy dialogue. Pulp Fiction is self-referential from its opening moments, beginning with a title card that gives two dictionary definitions of "pulp". The plot, in keeping with most of Tarantino's other works, is presented out of chronological sequence.
The picture's self-reflexivity, unconventional structure, and extensive use of homage and pastiche have led critics to describe it as a prime example of postmodern film. Considered by some critics a black comedy, the film is also frequently labeled a "neo-noir". Critic Geoffrey O'Brien argues otherwise: "The old-time noir passions, the brooding melancholy and operatic death scenes, would be altogether out of place in the crisp and brightly lit wonderland that Tarantino conjures up. [It is] neither neo-noir nor a parody of noir". Similarly, Nicholas Christopher calls it "more gangland camp than neo-noir", and Foster Hirsch suggests that its "trippy fantasy landscape" characterizes it more definitively than any genre label. Pulp Fiction is viewed as the inspiration for many later movies that adopted various elements of its style. The nature of its development, marketing, and distribution and its consequent profitability had a sweeping effect on the field of independent cinema. A cultural watershed, Pulp Fiction's influence has been felt in several other popular media.
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1962 - LP-version from the album "Surfer's Choice"
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Pulp Fiction
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(original)
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Visuals from "The Lion King", Sound "Misirlou" from Pulp Fiction
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Dick Dale wasn't nicknamed "King of the Surf Guitar" for nothing: he pretty much invented the style single-handedly, and no matter who copied or expanded upon his blueprint, he remained the fieriest, most technically gifted musician the genre ever produced. Dale's pioneering use of Middle Eastern and Eastern European melodies (learned organically through his familial heritage) was among the first in any genre of American popular music, and predated the teaching of such "exotic" scales in guitar-shredder academies by two decades. The breakneck speed of his single-note staccato picking technique was unrivalled until it entered the repertoires of metal virtuosos like Eddie Van Halen, and his wild showmanship made an enormous impression on the young Jimi Hendrix. But those aren't the only reasons Dale was once called the father of heavy metal. Working closely with the Fender company, Dale continually pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing the thick, clearly defined tones he heard in his head, at the previously undreamed-of volumes he demanded. He also pioneered the use of portable reverb effects, creating a signature sonic texture for surf instrumentals. And, if all that weren't enough, Dale managed to redefine his instrument while essentially playing it upside-down and backwards -- he switched sides in order to play left-handed, but without re-stringing it (as Hendrix later did).
Dick Dale was born Richard Monsour in Boston in 1937; his father was Lebanese, his mother Polish. As a child, he was exposed to folk music from both cultures, which had an impact on his sense of melody and the ways string instruments could be picked. He also heard lots of big band swing, and found his first musical hero in drummer Gene Krupa, who later wound up influencing a percussive approach to guitar so intense that Dale regularly broke the heaviest-gauge strings available and ground his picks down to nothing several times in the same song. He taught himself to play country songs on the ukulele, and soon graduated to guitar, where he was also self-taught. His father encouraged him and offered career guidance, and in 1954, the family moved to Southern California. At the suggestion of a country DJ, Monsour adopted the stage name Dick Dale, and began performing in local talent shows, where his budding interest in rockabilly made him a popular act. He recorded a demo song, "Ooh-Whee Marie," for the local Del-Fi label, which was later released as a single on his father's new Del-Tone imprint and distributed locally. During the late '50s, Dale also became an avid surfer, and soon set about finding ways to mimic the surging sounds and feelings of the sport and the ocean on his guitar. He quickly developed a highly distinctive instrumental sound, and found an enthusiastic, ready-made audience in his surfer friends. Dale began playing regular gigs at the Rendezvous Ballroom, a once-defunct concert venue near Newport Beach, with his backing band the Del-Tones; as word spread and gigs at other local halls followed, Dale became a wildly popular attraction, drawing 1,000s of fans to every performance. In September 1961, Del-Tone released Dale's single "Let's Go Trippin'," which is generally acknowledged to be the very first recorded surf instrumental.
"Let's Go Trippin'" was a huge local hit, and even charted nationally. Dale released a few more local singles, including "Jungle Fever," "Miserlou," and "Surf Beat," and in 1962 issued his (and surf music's) first album, the groundbreaking Surfer's Choice, on Del-Tone. Surfer's Choice sold like hotcakes around Southern California, which earned Dale a contract with Capitol Records and national distribution for Surfer's Choice. Dale was featured in Life magazine in 1963, which led to appearances on The Ed Sullivan Show and the Frankie/Annette film Beach Party; he also released the follow-up LP King of the Surf Guitar, and went on to issue three more albums on Capitol through 1965. During that time, he developed a close working relationship with Leo Fender, who kept engineering bigger and better sound systems in response to Dale's appetite for louder, more maniacally energetic live performances.
Surf music became a national fad, with groups like the Beach Boys and Jan & Dean offering a vocal variant to complement the wave of instrumental groups, all of which were indebted in some way to Dale. But in 1964, the British Invasion stole much of surf's thunder, and Dale was dropped by Capitol in 1965. He remained a wildly popular local act, but in 1966, he was diagnosed with rectal cancer, which forced him to temporarily retire from music. .
~ Steve Huey, All Music Guide
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on Toast of the Town (also known as The Ed Sullivan Show), 1963.
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από https://www.youtube.com/watch?v=SrNRyUVQg5U
Yuzo Kayama
Misirlou
(Instrumental)
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από https://www.youtube.com/watch?v=ZaI2IlHwmgQ
από https://www.youtube.com/watch?v=R2wxA8S9YHI
από https://www.youtube.com/watch?v=BnqrkaM6Qtw
The Black Eyed Peas
Pump It (Misirlou)
Μουσική-Στίχοι: Νίκος Ρουμπάνης, Διασκευή: S. Ferguson-A. Pineda-W. Adams
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Music video (C) 2006 A&M Records
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(Instrumental)
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από https://www.youtube.com/watch?v=TtZF_1Ogocw
UMSL Cello Choir
Misirlou
(Instrumental)
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from Pulp Fiction
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The UMSL Cello Choir performs "Misirlou", written by Dick Dale and his Del-Tones, and arranged by Bernard Amrani. Performed April 24, 2012, in the Lee Theater at the Touhill Performing Arts Center, University of Missouri, St. Louis. Directed by Prof. Kurt Baldwin
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από https://www.youtube.com/watch?v=UFiKn7cZHxE
από https://www.youtube.com/watch?v=fKNjaaQLYZY
από https://www.youtube.com/watch?v=kdJRQXMNnwg
Martina Eisenreich Quartett
MISIRLOU
(Instrumental)
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VIOLIN TALES TOUR 2012. Die Filmkomponistin Martina Eisenreich, live in concert mit Christoph Müller (Gitarre), Stephan Glaubitz (Kontrabass) und Wolfgang Lohmeier (Schlagwerk und Percussion). Video: Heinz König, Textilmuseum Helmbrechts 2012
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Composer and violinist Martina Eisenreich live in concert. Wolfgang Lohmeier (dr & perc), Knud Mensing (gt), Reinhard Greiner (tr), Chris Haller (cl), Tom Peschel (b). Lustspielhaus Munich, 2009/11/02. Album: WUNDERGEIGE (GLM Music 2009). Tasca Films Munich (Bernt Engelmann & Gisela Wunderlich) 2009/2010.
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al Cine-Teatro Perla di Bologna
Martina Eisenreich Quartet esegue dal vivo uno dei suoi magnifici brani al Cinema-teatro Perla di Bologna, Italia. Il brano si intitola "MISERLOU". Video di Marco Vaccari, 29 maggio 2012. Grazie a Martina per la cortesia. Il Quartetto proviene dalla Baviera. Martina Eisenreich è una violinista e apprezzata compositrice di colonne sonore. Gli altri membri del quartetto sono CHRISTOPH MÜLLER chitarra, STEPHAN GLAUBITZ contrabbasso, WOLFGANG LOHMEIER alla batteria-percussioni ed effetti musicali.
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από https://www.youtube.com/watch?v=m1PhFgc3cM4
από https://www.youtube.com/watch?v=N6QiWV8bIJs
Los Relámpagos
Misirlou
(Instrumental)
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από https://www.youtube.com/watch?v=G9ytSC8rz84
από https://www.youtube.com/watch?v=SQNyLJrJNlA
από https://www.youtube.com/watch?v=HKBnaAUyN1c
Korla Pandit
Miserlou
(Instrumental)
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in 1951, performing "Miserlou" for Snader Telescriptions.
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(P&S Smoke & Mirrors mix)
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από https://www.youtube.com/watch?v=0l-p1A03q3M
από https://www.youtube.com/watch?v=V1SKWDsclV4
από https://www.youtube.com/watch?v=pp4d8nJN50I
από https://www.youtube.com/watch?v=Xtr855XFCYE
The Trashmen
Misirlou
(Instrumental)
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"Misirlou" del disco Surfin Bird editado en el año 1964.
Uno de los grandes grupos e impulsores del SurfinRock.
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1963
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από https://www.youtube.com/watch?v=ZAwXw1u-CnE
Klezmer Sefardi
Miserlou
Μουσική-Στίχοι: Νίκος Ρουμπάνης, ??? Στίχοι:
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από https://www.youtube.com/watch?v=KctTAJNtTwo
από https://www.youtube.com/watch?v=_T9Eptd-pAU
The Cardinals
Misirlou
Μουσική-Στίχοι: Νίκος Ρουμπάνης, Αγγλικοί Στίχοι: Milton Leeds - Fred Wise - S.K. Russell
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από https://www.youtube.com/watch?v=m1lyKRUUZPw
Trio Shalva
Misirlou
(Instrumental)
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Live at Cafe Vivaldi
Assaf Gleizner - Piano
Koby Hayon - Bass
Nadav Snir Zelniker - Drums
From the CD "Riding Alone "
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ΣΥΝΕΧΕΙΑ στην ανάρτηση Νο 1447
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