(How has Dinosaur Gardens managed to avoid all references to the legendary BBC Radiophonic Workshop until this post? Surprising…)
So much has been written and said already about the infamous and influential BBC Radiophonic Workshop that I start this post at a loss. I mean, they deserve the praise — their legendary status is well-deserved — but with so many articles and other dissections of their career and influence, I think I’ll take the easy way out and stick to a short obituary of their accomplishments.
If you know only one thing of their work, it would be the theme to Doctor Who, the venerable BBC sci-fi television series. They also did the sound effects. And incidental music. In fact, they were a BBC department that produced all manners of strange noises and sound effects (and theme songs) for over 200 other BBC shows. In doing so, they paved a superhighway of innovation that led electronic music growth for decades, from studio engineering to electronic composition to sound collage to synthesizer technology.
I came across this album in a dilapidated Leeds (UK) record shop for just a couple quid and have held onto it for dear life — BBC Radiophonic Workshop on vinyl doesn’t sell cheap. The standout track for me is easily Vespucci, a funky saunter with a very sampleable cool synth melody. The abstract cover from this 1973 release looks quite a bit like a CD exploding, perhaps another ahead-of-their-time move from these old-timers. And finally, this great closing line from the liner notes:
“The specially created stereo is not an attempt at realism, but is used as a sound object in its own right.”
Most people today know “Misirlou” (often spelled “Miserlou”) as Dick Dale‘s signature piece, extremely popular back when issued in 1961 and then again when used to great effect in Pulp Fiction in 1994. (Whippersnappers might know it better from The Black Eyed Peas sampling Dale’s version in a song last year.) But “Misirlou” is an old folk song, its origins obscure.
We can guess where it came from by the range of people who know it today: it can be heard at celebrations of Greeks, Turks, Arabs, or Jews. The logical explanation for this wide range is that it originated in Asia Minor, in what is now the borderlands of modern Turkey and Greece, i.e., between Salonica and Constantinople (the title means “Egyptian girl” in both Greek and Turkish). The song, surely one of the catchiest melodies ever, spread throughout Greece and the Ottoman Empire, and was also presumably picked up by the local Jewish community and spread from there. Who originally wrote it, of course, is lost to history; this, of course, doesn’t stop the Turks and Greeks from both claiming it, adding yet another dispute to their endless list of grudge matches (see the discussion page of the English Wikipedia article for amusing examples). We also don’t really know when it was written, although a reasonable guess would be late–19th-century.
Most sources state that the earliest known recording (spelled “Mousourlou”) was made in New York around 1930 by Michalis Patrinos, a Greek bandleader who had recently arrived in the United States. As of this writing, Wikipedia baldly states that Patrinos or his band wrote it; this is almost certainly baloney. It may not even be the earliest recording, despite claims to the contrary; Richard Spotwood’s Ethnic Music on Records, Volume 3: Eastern Europe lists a recording by Tetos Demetriades for Victor in 1927.
One thing everyone agrees on: the song was not written by Nick Roubanis, the credited songwriter. Like with many folk songs in the United States, the credit (and the royalties) went to the first person obnoxious enough to register a copyright. In this case, Greek-American bandleader Roubanis recorded a big band version in 1941 and listed himself as the songwriter, and that was that (c.f. “Love in Vain”, credited to Woody Payne on the original printings of the Rolling Stones’ Let It Bleed, or “Goodnight Irene”, absurdly credited to John Lomax to this day).
After Roubanis’s version, the song became a minor big band standard, performed by Harry James, Freddy Martin, Woody Herman, and Jan August (who had a hit with it in 1947). It was Xavier Cugat‘s version, however, that pushed it into exotica territory; versions would follow by nearly every notable exotica artist, including Martin Denny, Arthur Lyman, Esquivel, Dick Hyman, Enoch Light, and our old friendKorla Pandit (on his 1958 LP Music of the Exotic East).
In a parallel development, the “King of Yiddish Radio”, Seymour Rexite, and his wife, popular Yiddish theatre actress Miriam Kressyn, recorded a version in the late 1940s, with lyrics by Kressyn. It’s probable that Rexite and Kressyn had known the song from their youth, but they were also known for Yiddish versions of popular American songs (including, most entertaingly, songs from Oklahoma).
An indisputably traditional Jewish version was recorded in the early 1950s, however. Ethnomusicologist/filmmaker/magician Harry Smith spent two years recording elderly cantor Rabbi Nuftali Zvi Margolies Abulafia, capturing hundreds of hours of traditional music and stories. One of the Rabbi’s songs was clearly Misirlou. A 15-LP limited edition of the highlights was released in the 1950s; only a handful of copies survive. Abulafia’s grandson, 81-year-old Lionel Ziprin (a former amphetamine-addicted beatnik whacko who has since gone back to his roots and hangs out with chasidim in his Lower East Side apartment), has been trying to get the recordings reissued; John Zorn has expressed interest in releasing them on his label, Tzadik Records.
In 1960, a ten-year-old boy walked up to Dick Dale at a local show and asked him if he could play an entire song on one guitar string. He said sure kid, come back tomorrow, and then wracked his brain that night trying to figure out a composition that would work. Lebanese-American Dale (his birth name was Richard Mansour) thought back to the weddings of his childhood and remembered the traditional number “Misirlou”, which fit the bill; he resolved to play it insanely fast. It would become Dale’s signature song.
It’s difficult to imagine a musical genre that was as shaped by one man as surf rock was by Dale. 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. Nearly every notable surf band would perform a version, undoubtedly unaware of its pre-Dale history: The Surfaris, The Trashmen, The Beach Boys (early in their career, when they were still a surf band), and The Astronauts all had versions, with varying results.
Below I’ve tried to post a representative overview of the song’s history. In addition to some of the versions mentioned above, we have a recording in the early style recorded in Greece in the late 1940s by “Danai”. Also, an oddity: while there weren’t too many R&B/African-American recordings of Misirlou, one of the few was a 1955 recording by doo-wop “bird group” The Cardinals, best known for “Come Back My Love”, recorded the same year.
Finally we have a version by Dale that’s (slightly) more traditional than his famous rendition, retitled “Tribal Thunder”, probably because he was sick of paying Roubanis’s estate undeserved royalties.
One day when I was in 6th grade, I found a box somebody had left on the curb, filled with various treasures. One was a giant catalog of odd stuff: it listed where to buy things like church steeples, prison doors, and phone booths — stuff you couldn’t imagine where to get or even how to find out where to get in the days before the internet.
But the best thing in the box was an album of 12" 78s, including a recording of Saint-Saëns’s Danse Macabre by the Philadelphia Orchestra, conducted by Leopold Stokowski. My “Show’N Tell” (anyone remember those?) played 78s, so I listened to it right away and loved it.
I’ve heard many versions of the piece since then, but none I’ve heard match the essential spookiness of the 1925 Stokowski recording. This is largely due to the unusual recording technique. It was one of the first classical recordings to use electric microphones, but the intrumentation was still set up as orchestras were for acoustic recordings: there was a bass saxophone in place of a double-bass, and — most importantly — a Stroh violin.
My well-loved copy broke after years of play, and I was very unhappy. Then, about ten years ago, I found another copy at a Salvation Army, which I again played often. Then that one broke. 78s are annoying that way. Finally I found an obscure CD reissue, unavailable in America, that had it, so here it is.