Filed under: Turkey

3 Hür El (also known as: Uç Hür El) were three brothers named Feridun, Onur and Haldun who were from Istanbul, Turkey.
Turkey has had a long tradition of musical influence. Since Turkey is Europe’s crossroads into Asia, the whole phenomenon of East-meets-West hybridization (in this case, traditional Anatolian folk and ’60s pop) makes for some amazing music that couldn’t come from anywhere else. In just the last few years, there has been a number of great compilations and a handful of albums that have been re-issued.
The three Hür El brothers formed their first band in 1966, called Istanbul 4, but then became 3 Hür El in 1970. Unlike every other band in Turkey, they never played cover songs or traditional Turkish compositions on stage or on record.
Feridun wrote the original composes and lyrics, and sang, also played a double-necked instrument : one neck for guitar, the other for Turkish saz (as seen in the picture). Haldun was also know to use a mix of Western Drums with Eastern percussion, adding to their unique sound.
They released their first single in 1970, and eventually went on to record their first self titled album in 1973. Their second LP “Hür El Arşivi“, 1976, is a collection of most of their singles. Both of these albums have recently been re-issued on compact disc. There is a complete discography listed here.
They staged a comeback in 1997, and recorded two CDs. “Efsane… Yeniden” in 1996 and “1953 Hür El” in 1999. Though they used to be one of the most busy tour bands during early 70’s, now they refuse to play live.
There is the first few moments of a video for this song, that is posted on YouTube. The A side to this single, “Ömür Biter Yol Bitmez”, was included on the Prog is Not a Four Letter Word compilation on Delay 68 records. Also, someone has created a fan page on MySpace.
Catalog number DT 5108 on Diskotür of Turkey, released 1974.
Filed under: Angola

Os Alegres, which translate to “The Glad Ones” in Portuguese, were from Angola.
The music of Angola has been shaped both by wider musical trends and by the political history of the country. In the 20th century, Angola has been wracked by violence and political instability. Its musicians have been oppressed by government forces, both during the period of Portuguese colonization and after independence. Angolan music also influenced another Lusophone music in Brazil and Cuban music.
The capital and largest city of Angola is Luanda, home to a diverse group of styles including Angolan merengue (based on Dominican merengue), kilapanda and semba, the last being a genre with roots intertwined with that of Brazilian samba music.
Compared to many of its neighbors in Southern Africa, as well as other Portuguese colonies (especially Cape Verde), Angola’s music has had little international success. The first group to become known outside of Angola was Orquestra os Jovens do Prenda, who were most popular from the late 1960s to the early 1970s, and have continued sporadically performing and recording since.
If you have any information, please contact me.
Catalog number S.D.L.S. 01 on Do La Si Discos, made in Lisbon, Portugal for Electromóvel. No other information available.
Filed under: Laos

Anyone who has picked up a copy of one of the Cambodia Rocks or Thai Beat A Go Go series (as well as the recently released Thai Pop Spectacular) knows that South East Asia had a really impressive music scene back in the late Sixties and into the Seventies. And those of us who have really dug in deep, are well aware of the amazing records from Brunei, Malaysia, Indonesia and even Vietnam…
But there are a few countries that I never even see records from, much less find… Laos was one of them. The surrounding countries of Cambodia, Thailand and Vietnam had vibrant music scenes… Why not Laos?
Well, it might have had something to do with all those bombs the U. S. Armed Forces were dropping on their country (more than all of the bombs dropped during World War II), and the North Vietnamese Army invading from next door.
When I found this record, I thought it was most likely from Thailand, but I was not entirely sure… So I scanned it in, and e-mailed it to my friend Wanchai ‘Guy’ Udayachalerm. He e-mailed me back and told me that it was not in Thai, but in Lao and that the only thing he could make out was “Made in Laos”.
The only information I have is what a previous owner wrote on the back of the record. So, I am not 100% positive that the artist’s name is ‘Chanthara Outansakda’.
If you have any information, please contact me.
Catalog number ໜາ No. 007 on ຄໜຈອ – ສ.ສ.ສ. No other information available.
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Since this posting, I have been contacted by Chanthara Outhensackda. He was head of the studio for Lao National Radio from 1968 to 1975 in Vientiane. He recorded all of his songs in Laos – not in Thailand as some people have speculated. He currently lives in France. Also, the song was originally posted as ‘Love You Lonely’, but has since been corrected.
Filed under: Lebanon

♬ Hebbena
♬ Nouni
Mohamed «Mike» Hegazi and his Golden Guitar was from Lebanon, or at least I think he was…
Belly Dance is a Western name for an Arabic style of dance developed in the Middle East. In Europe, it is sometimes called “Oriental Dance”. Similarly, In Turkish it is referred to as “Oryantal Dansı” (“Dance of the East”). Some American devotees refer to it simply as “Middle Eastern Dance”. In the Arabic language it is known as Raqs Sharqi رقص شرقي (“Eastern Dance”) or sometimes Raqs Baladi رقص بلدي (“National” or “Folk” Dance). The term “Raqs Sharqi” may have originated in Egypt.
I have not been able to find any information on Mohamed «Mike» Hegazi or his Golden Guitar.
If you have any information, please contact me.
Catalog number 01GVDL304 on Voix de l’Orient, manufactured by EMI of Greece in 1979.
Enjoy.
Filed under: Nigeria

Dan Satch & His Atomic 8 Dance Band of Aba were from Nigeria, presumably from the town of Aba. During that time, Aba was the capital of the short-lived secessionist state of Biafra.
Ferdinand Dan Satch Emeka Opara would eventually go on to form The Oriental Brothers band with his brothers Godwin Kabaka Opara, Kabaka Opara and Christogonous Ezebuiro “Warrior” Obinna along with Nathaniel “Mangala” Ejiogu, Hybrilious Dkwilla’ Alaraibe, and Prince Ichita.
The only information I was able to find about this band, was a mention of record by “Dan Satch & the Professional Atomic ‘8’ Band” on a webpage with a discography for the The Oriental Brothers band. That record was released in 1969, while the first Oriental Brothers record did not come out until 1974.
Since this original posting, I have been informed about the album “Ikoro’s ’70 Special”. You can find the entire album, plus an extensive biography here.
Catalog number HNS 1091 on HMV of Nigeria, no release date given.
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Update 02.16.2010 – I’ve been meaning to update this post for forever, since I have been told that just about all of the information above is incorrect. Fortunately, the folks over at Waxidermy have posted this single with the correct information. You can find it here.
Filed under: Malaysia

The Planets were apparently from Malacca, which is southern region of the Malay Peninsula, on the Straits of Malacca, in Malaysia.
I have not been able to find any information about the band.
If you have any information, please contact me.
Catalog number TWEP – 201 on Tai Wah Record Co. No other information available.
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Since this posting, I have been contacted by Leo Playa. His uncle Anton Thomas, who most people called “Sonny”, was the lead guitarist of the band. Sonny passed away in July of 2009.
Filed under: Tunisia

Mohammed Hanesh was supposedly from Tunisia.
The only information I was able to find was on a cached Dutch Wikipedia page that was not ready to be published (and that is no longer on the web)… Apparently, someone by the name of Mike Vincent played bass on this song. And since this record was originally released in Holland, there a possibility that this may be a studio creation. That may explain that fake bear that guy with the flute is wearing on the cover…
If you have any information, please contact me.
Catalog number 16 236 AT on Ariola of Munich, Germany, released 1975.
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UPDATE: I stumbled upon this discussion board the other day:
“My name is Cees Vermeulen Wind Sant, music producer. It was 1975, there raged an oil crisis. Together with my family, I was on holiday in Tunisia. We walked about a bazaar and I heard a whistle a tune playing in a so-called traditional music. The tune stayed in my mind for days and that gave me the idea to take a stab at the song in a modern way. No sooner said than done. Under the alias Mohammed Hanesh, I was with some friends, recorded the song “Sidi Mansour” produced, published and distribution by Ariola. The song hit directly and quickly became a in various countries. This was also supported by the Tunisian airline, which produced large posters. Something that today we would not get together quickly…”
Filed under: Sri Lanka

The Fabulous Moonstones started playing together in 1964, formed by Clarence Wijewardane and Annesley Malewana in Columbo, Sri Lanka.
Clarence Wijewardene is credited with being the person who first introduced the electric guitar into Sinhala music.
After the break up of the Fabulous Moonstones in 1970, Wijewardene formed the the Golden Chimes with singer Anil Bharati. This did not last long, though, because Malawana and Wijewardene could not be seperated in the pop music scene. They eventually returned together with the Super Golden Chimes in 1972.
For more music from Sri Lanka, be sure to check out Sinhala Jukebox.
Catalog number CHB 023 on Sooriya records of Columbo, Sri Lanka.
Filed under: Rhodesia

The Green Arrows were from Bulawayo, Rhodesia, which is now known as Zimbabwe.
Originally, the Green Arrows formed in 1968 to back singers and perform covers. The group was founded by Manatsa brothers Zexie and Stanley, who began playing rabi (an urban style founded on traditional songs) and Kwela together as The Mambo Jazz Band along with several other musicians. They became The Green Arrows in 1968 when they replaced Fanyana Dube on rhythm guitar with Keddias, the youngest Manatsa brother. The lineup included Zexie Manatsa on bass and lead vocals, Stanley Manatsa on lead guitar, Givas Bernard on rhythm guitar and bass, Fulton Chikwati on rhythm guitar and Raphael Mboweni on drums. Supposedly, the band picked up their name shortly before jumping into a freshly painted Volkswagen bus to tour the country in support of various vocalists.
They started out playing ‘beer music’ in bars around Bulawayo. In fact, Stanley Manatsa’s guitar style was known as “hwahwa,” which is the Shona word for beer. But they went on to become the first group to record an full length album in Zimbabwe. Their song ‘Musango Mune Hanjaiwa’ still holds the record for the longest stay at number one in Zimbabwean history, with a reign of 17 weeks. They are also recognized for forcing record companies in the region to exhibit interest in the work of local artists, which would launch the careers of Thomas Mapfumo and Oliver Mtukudzi.
The Green Arrows, despite their energetic and apparently carefree sound were at the forefront in defining the ‘Chimurenga’ style of music. ‘Chimurenga’ is the Shona word for ‘struggle ‘. The term goes back at least to the first uprising against the British in the1890s when the Shona majority of Rhodesia rose up, only to be narrowly defeated.
Zexie Manatsa remained popular in the post-independence era, producing hits such as ‘Chivaraidze’ and ‘Tii Hobvu’. The band’s popularity declined as the 1990s approached. He eventually retired to pursue religious work. But, recently he took a break from his religious duties to produce a new album, Mutungamiri Wakanaka.
In 2006, Alula Records released 4 Track Recording Session, which collects most of the bands early recordings. The disc was compiled by Samy Ben Redjeb of Analog Africa who also wrote the twenty-two page band history and detailed discography. For some reason though, this song is not included on that disc.
Catalog number FYF 113 on Farayi Farayi of Rhodesia, released 1976.
Filed under: Philippines

Ronnie Villar and The Firedons were from the Philippines
England’s Cliff Richard was one of the first Western rock ‘n’ rollers to break into the Asian pop markets. The Shadows, Richard’s backing band, recorded separately as an instrumental combo, and they, like their American counterparts The Ventures, were quite the pop phenomenon in Asia as well.
Similarly, The Firedons recorded with and without their vocalist Ronnie Villar, who is not present on this record. The Firedons included Willy Villar on lead guitar, David Llorente on rhythm guitar, Caesar Llorente on bass, and Waldy Cruz on drums. Apparently, Teresita Apolinario was the first vocalist of the band before they recorded their first single but left to be married.
I tried to contact David Llorente’s son, who is a rapper in Los Angeles and goes by the name Viddy V. Unfortunately, he did not return my e-mail.
Catalog number 1003 – S on Mahubay Records of The Phillipines. No date listed.

