The song was first performed by the Michalis Patrinos rebetiko band in Athens, Greece in 1927. As with almost all early rebetika songs (a style that originated with the Greek refugees from Asia Minor in Turkey), the song's actual composer has never been identified, and its ownership rested with the band leader. The melody was most likely composed collaboratively by the band, as was often the case at the time; the initial lyrics were almost certainly written by Patrinos himself. Patrinos, who originally lived in İzmir, named the song Mısırlı or Misirlou which means an Egyptian Muslim girl, as opposed to Egyptian Christians who were referred to as Αιγυπτιοι (Aigyptioi) in Greek.
Initially, the song was composed as a Greek-Turkish tsifteteli 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 Bob Russell, Fred Wise and Milton 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.
In 1943, Miriam Kressyn wrote Yiddish lyrics to the song. In 1944, Lebanese musician Clovis el-Hajj performed this song and called it "amal." This is the only Arabic version of the song to date.
In 1945, a Pittsburgh, Pennsylvania women's musical organization asked Professor Brunhilde E. Dorsch to organize an international dance group at Duquesne University to honor America's World War II allies. She contacted Mercine Nesotas, who taught several Greek dances, including Syrtos Haniotikos (from Crete), which she called Kritikos, but for which they had no music. Because Pittsburgh's Greek-American community did not know Cretan music, Pat Mandros Kazalas, a music student, suggested the tune Misirlou, although slower, might fit the dance. The dance was first performed at a program to honor America's allies of World War II at Stephen Foster Memorial Hall in Pittsburgh on March 6, 1945. Thereafter, this new dance, which had been created by putting the Syrtos Kritikos to the slower Misirlou music, was known as "Misirlou" and spread among the Greek-American community, as well as among non-Greek U.S. folk-dance enthusiasts. It has been a staple for decades of dances held at Serbian Orthodox churches across the U.S., performed as a kolo or circle dance. The dance is also performed to instrumental versions of Never on Sunday by Manos Hadjidakis, though in the Serbian American community "Never on Sunday" was popularly enjoyed as a couple's dance and actually sung, in English... often one of only two songs performed in English at these dances (the other song being "Spanish Eyes", or formerly "Moon Over Naples", also internationally popular in its time). The Misirlou dance also found its way into the Armenian-American community who, like the Greeks, were fond of line dancing, and occasionally adopted Greek dances. The first Armenian version of Misirlou was recorded by Reuben Sarkisian in Fresno the early 1950s. Sarkisian wrote the Armenian lyrics to Misirlou which are still sung today, however he wrote the song as "Akh, Anoushes" (Ah, My Sweet) while later Armenian singers would change it to "Ah Anoush Yar" (Ah, Sweet Lover) (Yar meaning sweetheart or lover, from the Turkish).
The song was rearranged as a solo instrumental guitar piece by Dick Dale in 1962. During a performance, Dale was bet by a young fan that he could not play a song on only one string of his guitar. Dale's father and uncles were Lebanese-American musicians, and Dale remembered seeing his uncle play "Misirlou" on one string of the oud. He vastly increased the song's tempo to make it into rock'n'roll. It was Dale's version that introduced "Misirlou" to a wider audience in the United States as "Miserlou."
The song was sung by the Turkish singer Zeki Müren in 1971 as "Yaralı Gönül" with lyrics by Suat Sayın, a Turkish singer and composer.
The song's oriental melody has been so popular for so long that many people, from Morocco to Iraq, claim it to be a folk song from their own country. In fact, in the realm of Middle Eastern music, the song is a very simplistic one, since it is little more than going up and down the Hijaz Kar or double harmonic scale (E-F-G#-A-B-C-D#).
The Beach Boys recorded a Dale-inspired "Miserlou" for the 1963 album Surfin' USA, solidifying "Miserlou" as a staple of American pop culture. A wealth of surf and rock bands soon recorded versions of the song, including the Ventures, Astronauts, Surfaris, Trashmen, and Bobby Fuller Four. Hundreds of recordings have been made to date, by artists as diverse as Agent Orange and Connie Francis (1965).
In 1994, Dale's version of "Miserlou" was used on the soundtrack of the motion picture Pulp Fiction, thanks to a suggestion to Quentin Tarantino from his friend Boyd Rice. The beginning of the song also made an appearance in the 1996 film Space Jam, during a short scene parodying Pulp Fiction. More recently, the song was selected by the Athens 2004 Organizing Committee as one of the most influential Greek songs of all time, and was heard in venues and at the closing ceremony—it was performed by Anna Vissi. In March 2005, Q magazine placed Dale's version at number 89 in its list of the 100 Greatest Guitar Tracks. In 2006, his version once again found popularity, this time as the basis of The Black Eyed Peas' single "Pump It." Also in 2006, a cover of Dale's version was included as a playable song in the rhythm game Guitar Hero II.

01 Misirlou

07 I Am A Believer

08 Psycho Killer

09 Mr Blue Sky

10 Town Called Malice

12 Bad Moon Rising

Fell in Love with a Girl Radio Humb 2011-10-19

11 Ever Fallen In Love

Crosstown Traffic, Kings Bar 2011-10-01

Misirlou, Welton Memorial Hall 2011-09-10

Town Called Malice, Welton Memorial Hall 2011-09-10

HullUkuleleGroup

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