Music genre
Surf music
|
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Other names
| - Surf rock
- surf pop
- surf guitar
|
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Stylistic origins
|
|
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Cultural origins
| Late 1950s to early 1960s, United States
|
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Derivative forms
|
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Surf music
(also known as
surf rock
,
surf pop
, or
surf guitar
) is a
genre
of
rock music
associated with
surf culture
, particularly as found in
Southern California
. It was especially popular from 1958 to 1964 in two major forms.
The first is
instrumental surf
, distinguished by
reverb
-heavy
electric guitars
played to evoke the sound of crashing waves, largely pioneered by
Dick Dale
and the Del-Tones. The second is
vocal surf
, which took elements of the original surf sound and added
vocal harmonies
, a movement led by
the Beach Boys
.
[8]
[9]
Dick Dale developed the surf sound from
instrumental rock
, where he added
Middle Eastern
and
Mexican
influences, a
spring reverb
, and rapid alternate
picking
characteristics. His regional hit "
Let's Go Trippin'
"
, in 1961, launched the surf music craze, inspiring many others to take up the approach.
The genre reached national exposure when it was represented by
vocal groups
such as the Beach Boys and
Jan and Dean
.
Dale is quoted on such groups: "They were surfing sounds [with] surfing lyrics. In other words, the music wasn't surfing music. The words made them surfing songs. ... That was the difference ... the real surfing music is instrumental."
At the height of its popularity, surf music rivaled
girl groups
and
Motown
for the top American popular music trend.
[12]
It is sometimes referred to interchangeably with the "
California sound
".
During the later stages of the surf music craze, many of its groups started to write
songs about cars and girls
; this was later known as "
hot rod rock
".
[14]
Instrumental surf
[
edit
]
Form
[
edit
]
Surf music emerged in the late 1950s as
instrumental
rock and roll
music,
[8]
almost always in straight 4/4 (common) time, with a medium to fast tempo. The sound was dominated by
electric guitars
, which were particularly characterized by the extensive use of the "wet"
spring reverb
that was incorporated into
Fender amplifiers
from 1963, and was meant to emulate the sound of waves.
The outboard separate
Fender Reverb Unit
that was developed by Fender in 1961 (as opposed to reverb that was incorporated as a built-in amp feature) was the actual first "wet" surf reverb tone. This unit is the reverb effect heard on Dick Dale records, and others such as "
Pipeline
" by the
Chantays
and "Point Panic" by
the Surfaris
. It has more of a wet "drippy"
[16]
[17]
tone than the "built-in" amp reverb, due to different circuitry.
[
citation needed
]
Guitarists also made use of the
vibrato arm
on their guitars to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating)
tremolo picking
.
[18]
Guitar models favored included those made by
Fender
(particularly the
Jazzmaster
,
Jaguar
and
Stratocaster
),
Mosrite
,
Teisco
, or
Danelectro
, usually with
single coil
pickups (which had high treble in contrast to double-coil
humbucking
pickups).
[19]
Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender
Precision Bass
. Classic surf drum kits tended to be
Rogers
,
Ludwig
,
Gretsch
or
Slingerland
. Some popular songs also incorporated a tenor or baritone
saxophone
, as on
the Lively Ones
' "
Surf Rider
" (1963) and
the Revels
' "Comanche" (1961).
[20]
Often an electric organ or an
electric piano
featured as backing harmony.
[
citation needed
]
History
[
edit
]
By the early 1960s, instrumental rock and roll had been pioneered successfully by performers such as
Link Wray
,
Nokie Edwards
and
the Ventures
and
Duane Eddy
.
This trend was developed by Dick Dale, who added
Middle Eastern
and
Mexican
influences, the distinctive reverb
(giving the guitar a "wet" sound),
[22]
and the rapid alternate
picking
characteristic of the genre
(influenced by
Arabic music
, which Dale learnt from his
Lebanese
uncle).
[23]
His performances at the Rendezvous Ballroom in
Balboa, California
, during the summer of 1961,
[24]
and his regional hit "
Let's Go Trippin'
"
later that year, launched the surf music craze, which he followed up with hits like "
Misirlou
" (1962).
While Dick Dale was crafting his new sound in
Orange County
,
the Bel-Airs
were crafting their own in the
South Bay
region of
Los Angeles County
. The band was composed of five teen-aged boys. In 1959 they were still learning to play their instruments: Dick Dodd on drums, Chas Stuart on saxophone, Jim Roberts on piano, and Eddie Bertrand and
Paul Johnson
on guitars. Said Johnson of his relationship with Bertrand, "Learning the guitar became a duo experience versus a solo thing. We learned to play by playing together, one guy would play the chords, the other would play the lead. This sound would become the basis for the Bel-Airs."
[25]
They recorded their first single, "Mr. Moto", in June 1961 (with Richard Delvy on drums instead of Dodd) and the song received radio airplay that summer.
[26]
[27]
Dale was older, played louder, commanded a larger audience, and usually gets credit for creating surf music, but the Bel-Airs lay claim to having the first surf music single.
Like Dale and his
Del-Tones
, most early surf bands were formed in Southern California, with Orange County in particular having a strong surf culture, and the Rendezvous Ballroom hosted many surf-styled acts.
[24]
Groups such as the Bel-Airs (whose hit "Mr. Moto", influenced by Dale's earlier live performances,
[24]
was released slightly before "Let's Go Trippin
'
"),
the Challengers
(with their album
Surfbeat
) and then
Eddie & the Showmen
followed Dale to regional success.
The Chantays
scored a top-ten national hit with "
Pipeline
", reaching number four in May 1963. Probably the single-most famous surf tune hit was "
Wipe Out
" by
the Surfaris
, with its intro of a wicked laugh; the Surfaris were also known for their cutting-edge lead guitar and drum solos, and "Wipe Out" reached number two on the Hot 100 in August 1963 and number 16 in October 1966. The group also had two other global hits, "Surfer Joe" and "Point Panic".
The growing popularity of the genre led groups from other areas to try their hand. These included
the Astronauts
, from
Boulder, Colorado
;
the Trashmen
, from
Minneapolis, Minnesota
, who reached number four with "
Surfin' Bird
" in 1964; and
the Rivieras
, from
South Bend, Indiana
, who reached number five in 1964 with "
California Sun
".
the Atlantics
, from
Sydney, Australia
, were not exclusively surf musicians, but made a significant contribution to the genre, the most famous example being their hit "Bombora", in 1963.
Also from Sydney were the Denvermen, whose lyrical instrumental "Surfside" reached number one in the Australian charts.
[30]
Another Australian surf band who were known outside their own country's surf scene were
the Joy Boys
, backing band for singer
Col Joye
; their hit "Murphy the Surfie" from 1963 was later covered by the Surfaris.
European bands around this time generally focused more on the style played by British instrumental rock group
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
Merseybeat
singer Billy J. Kramer, gained some attention as surf musicians with "Cruel Sea", in 1963, which was later covered by
the Ventures
, and eventually other instrumental surf bands, including the Challengers and the Revelairs.
Vocal surf
[
edit
]
Distinctions
[
edit
]
In Matt Warshaw's
The Encyclopedia of Surfing
, he notes: "Surf music is divided into two categories: the pulsating, reverb-heavy, 'wet'- sounding instrumental form exemplified by guitarist Dick Dale, and the smooth-voiced, multitracked harmonized vocal style invented by the Beach Boys. Purists argue that surf music is by definition instrumental."
This second category of surf music was led by the Beach Boys,
[8]
a group whose main distinction between previous surf musicians was that they projected a world view.
In 1964, the group's leader and principal songwriter,
Brian Wilson
, explained: "It wasn't a conscious thing to build our music around surfing. We just want to be identified with the interests of young kids."
A year later, he would express: "I hate so-called "surfin
'
" music. It's a name that people slap on any sound from California. Our music is rightfully 'the Beach Boy sound'?if one has to label it."
[36]
Vocal surf can be interpreted as a regional variant of
doo-wop
music, with tight harmonies on a song's chorus contrasted with
scat singing
.
According to musicologist Timothy Cooley, "Like instrumental surf rock with its fondness for the twelve-bar blues form, the vocal version of Surf Music drew many key elements from African-American genres ... what made the Beach Boys unique was its ability to capture the nation's and indeed the world's imagination about the emerging New Surfing lifestyle now centered in Southern California, as well as the subtle songwriting style and production techniques that identify the Beach Boys' sound."
In 1963,
Murry Wilson
, Brian's father, who also acted as the Beach Boys' manager, offered his definition of surf music: "The basis of surfing music is a rock and roll bass beat figuration, coupled with raunch-type weird-sounding lead guitar, an electric guitar, plus wailing saxes. Surfing music has to sound untrained with a certain rough flavor in order to appeal to teenagers. ... when the music gets too good, and too polished, it isn't considered the real thing."
[39]
Hot rod rock
[
edit
]
"Hot rod music" or "hot rod rock" evolved from surf music.
Dick Dale recalled how surf music was re-imagined as hot rod music by a record company-inspired move to capture a larger market.
[41]
According to
The Ultimate Hot Rod Dictionary
, by Jeff Breitenstein: "While cars and, to a lesser degree, hot rods have been a relatively common and enduring theme in American popular music, the term
hot rod music
is most often associated with the unique 'California sound' music of the early to mid-1960s ... and was defined by its rich vocal harmonies, amplified (generally Fender brand) electric guitars, and youth-oriented lyrics (most often celebrating hot rods and, more broadly, surfing and 'girls')."
Author David Ferrandino wrote that "the Beach Boys' musical treatments of both cars and surfboards are identical",
[43]
whereas author
Geoffrey Himes
elaborated on "subtle" differences: "Translating the surf-music format into hot-rod tunes wasn't difficult... If surf music was a lot of Dick Dale and some Chuck Berry, hot-rod music was a little more Berry and a little less Dale ? i.e. less percussive staccato and more chiming riffs. Instead of slang about waxes and boards, you used slang about carburetors and pistons; instead of name-dropping the top surfing beaches, you cited the nicknames for the top drag-racing strips; instead of warning about the dangers of a 'wipe out', you warned of 'Dead Man's Curve'."
[12]
Popularity
[
edit
]
In late 1961 the Beach Boys had their first chart hit, "
Surfin'
"
, which peaked at number 75 on the
Billboard
Hot 100
,
In mid-1962, the group released their major-label debut, "
Surfin' Safari
", which hit number 14 and helped turn the surf rock craze into a national phenomenon.
[45]
Next, the Beach Boys released "
Surfin' U.S.A.
" (1963), a Top 3 hit, and "
Surfer Girl
" (1963), which reached the top 10.
Breitenstein writes that hot rod rock gained national popularity beginning in 1962 with the Beach Boys' "
409
", which is often credited with initiating the hot rod music craze, which lasted until 1965.
[nb 1]
Several key figures led the hot rod movement beside Wilson, including songwriter-producer-musician
Gary Usher
and songwriter-
disc jockey
Roger Christian
.
Wilson then co-wrote "
Surf City
" in 1963 for Jan and Dean, and it spent two weeks at the top of the
Billboard
top 100
chart in July 1963.
In the wake of the Beach Boys' success, many singles by new surfing and hot rod groups were produced by Los Angeles groups. Himes notes: "Most of these weren't real groups; they were just a singer or two backed by the same floating pool of session musicians: often including Glen Campbell, Hal Blaine and Bruce Johnston. If a single happened to click, a group would be hastily assembled and sent out on tour. It was an odd blend of amateurism and professionalism."
[12]
[nb 2]
One-hit wonders included Bruce & Terry with "Summer Means Fun",
the Rivieras
with "
California Sun
",
Ronny & the Daytonas
with "G.T.O.", and
the Rip Chords
with "
Hey Little Cobra
". The latter two hits both reached the top ten, but the only other act to achieve sustained success with the formula was Jan & Dean.
Hot rod group
the Fantastic Baggys
wrote many songs for Jan and Dean and also performed a few vocals for the duo.
[50]
Decline
[
edit
]
Like all other rock subgenres of this period, the surf music craze, along with the careers of nearly all surf acts, was effectively ended by the
British Invasion
beginning in early 1964.
Hot rod music also ceased to be prominent that year.
[43]
The emerging
garage rock
,
folk rock
,
blues rock
and later
psychedelic rock
genres also contributed to the decline of surf rock.
The Beach Boys survived the invasion by diversifying their approach to music.
[52]
Brian explained to
Teen Beat
: "We needed to grow. Up to this point we had milked every idea dry ... We had done every possible angle about surfing and then we did the car routine. But we needed to grow
artistically."
[12]
After the decline of surf music, the Beach Boys continued producing a number of hit singles and albums, including the sharply divergent
Pet Sounds
in 1966. Subsequently, they became the only American rock or pop group that could rival
the Beatles
.
The band only sparingly returned to the hot rod and surfing-themed music, beginning with 1968's "
Do It Again
".
[53]
Influence and revival
[
edit
]
Instrumental surf rock style guitar was used in the
James Bond Theme
of the first Bond film
Dr. No
in 1962, recorded by
Vic Flick
with the
John Barry Seven
. The theme became a signature for Bond films and influenced the music of spy films of the 1960s.
[54]
Surf music also influenced a number of later rock musicians, including
Keith Moon
of
the Who
,
East Bay Ray
of the
Dead Kennedys
, and
Pixies
guitarist
Joey Santiago
.
[55]
During the mid-to late 1990s, surf rock experienced a revival with surf acts, including Dick Dale recording once more, partly due to the popularity of the movie
Pulp Fiction
in 1994, which used Dale's "Misirlou" and other surf rock songs in the soundtrack.
Surf punk
[
edit
]
Surf punk is a revival of the original surfing sound combining surf rock with
punk rock
.
It was initiated in the late 1970s and early 1980s by groups and artists such as the
Ramones
, who released their seminal surf-punk album
Rocket To Russia
in 1977, featuring a prominent cover of "
Surfin' Bird
" by
The Trashmen
(a cover of which as served as
The Cramps
' debut single in 1978). Other early surf punk artists included
Johnny Thunders
, who opened his debut solo album
So Alone
with an instrumental cover of
The Chantays
' song, "
Pipeline
"; the
Forgotten Rebels
from Canada, who released "
Surfin' on Heroin
" in 1981;
and
Agent Orange
, from Orange County, California, who recorded punk cover versions of surf classics such as "Misirlou", "Mr. Moto", and "Pipeline", with
AllMusic
's Greg Prato calling the band "influential" and "a step ahead of the rest of the punk/hardcore pack".
[57]
The genre is related to
skate punk
, which rose to prominence at the same time in the Orange County beach towns that nurtured the first wave of surf musicians.
Production
[
edit
]
Herb Alpert
played a part in the genre, producing for Jan & Dean.
[58]
With
Lou Adler
, Alpert produced Jan & Dean's first Top Ten single, "
Baby Talk
".
[59]
Tony Hilder
who owned the
Impact
label was a prolific surf music producer,
[60]
[62]
who's status as a producer was still recognized many years later.
[63]
His name as publisher, producer etc., appears on many records, both 45s and albums. If not for the poor crediting on the budget releases his name would have appeared on more.
[64]
Gary Usher was a producer, arranger and writer. His work included the Surfaris and
the Hondells
. He also co-wrote "409" and "
In My Room
", which were hits for the Beach Boys.
[65]
In later years,
Sundazed Records
would release the
Barefoot Adventure: The 4 Star Sessions 1962-66
compilation album.
[66]
The notes say
Gary Usher was a primary architect of the sound of the early-sixties West Coast; cars, girls, sun and surf!
.
[67]
Terry Melcher
was a producer, noted for his part in shaping the sound of surf music as well as folk. He worked closely with the Beach Boys and was responsible for some of their chart success.
[68]
[69]
Outside Brian Wilson's work with the Beach Boys, one of the acts he produced was
Bob & Sheri
with their 1962 single, "Surfer Moon".
[70]
Los Angeles session musicians,
The Wrecking Crew
played on many surf music recordings.
[71]
[72]
Notes
[
edit
]
- ^
"
Little Deuce Coupe
". from 1963, has been cited by John Milward as one of the earliest forms of
hard rock
with its series of buzzing beats.
[46]
- ^
From 1961 to 1965, around fifteen-hundred car songs were recorded.
As in the 1950s, many groups adopted the names of car brands, but with a greater emphasis on
hot rods
, such as the Duece Coupes, the Duals, the GTOs, the Dragsters, the Roadsters,
the T-Bones
, and the Roadrunners.
References
[
edit
]
- ^
Marcel Danesi, "
Forever young: the teen-aging of modern culture
" (University of Toronto Press, 2003),
ISBN
0-8020-8620-9
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- ^
Besssman (1993), p. 16; Marcus (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.
- ^
Bovey, Seth (2006). "Don't Tread on Me: The Ethos of '60s Garage Punk".
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.
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(4). Routledge: 451?459.
doi
:
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.
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.
- ^
a
b
c
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- ^
a
b
c
d
Himes, Geoffrey
.
"Surf Music"
(PDF)
.
teachrock.org
. Rock and Roll: An American History. Archived from
the original
(PDF)
on 2015-11-25.
- ^
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.
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2011
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b
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[
edit
]
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The Illustrated Discography of Surf Music, 1961?1965
(2nd ed.). Pierian Press.
- Blair, John (2015).
Southern California Surf Music, 1960-1966
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ISBN
978-1-4671-3320-3
.
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; Woodstra, Chris;
Erlewine, Stephen Thomas
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ISBN
978-0-87930-653-3
.
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Ultimate Hot Rod Dictionary: A-Bombs to Zoomies
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ISBN
978-1-61059-235-2
.
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ISBN
978-0-87972-338-5
.
- Cooley, Timothy J. (2014).
Surfing About Music
. University of California Press.
ISBN
978-0-520-95721-3
.
- Cozzen, R. Duane (2015).
Surf & Hot Rod Music of the 60's: Collectors Quick Reference
. Lulu.com.
ISBN
978-1-329-40033-7
.
[
self-published source?
]
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Cool Cars, High Art: The Rise of Kustum Kulture
. Jackson:
University Press of Mississippi
.
ISBN
9781604737752
.
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. ABC-CLIO.
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978-0-313-39348-8
.
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. Farnham:
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. pp. 145?158.
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.
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.
- Henderson, Lol; Stacey, Lee (2014).
Encyclopedia of Music in the 20th Century
. Routledge.
ISBN
978-1-135-92946-6
.
- Miller, Jim
(1992).
"The Beach Boys"
. In DeCurtis, Anthony; Henke, James; George-Warren, Holly (eds.).
The Rolling Stone Illustrated History of Rock & Roll: The Definitive History of the Most Important Artists and Their Music
. New York: Random House.
ISBN
9780679737285
.
- Nathan, David; Lindsay, Susan Gedutis, eds. (2001).
Inside the Hits
. Berklee Press.
ISBN
978-0-634-01430-7
.
- Perna, Alan di (2012).
Guitar Masters: Intimate Portraits
. Hal Leonard.
ISBN
978-1-4803-2970-6
.
- Roberts, Jim (2001).
How the Fender Bass Changed the World: By Jim Roberts
. Backbeat Books.
ISBN
978-0-87930-630-4
.
- Sabin, Roger
(1999).
Punk Rock, So What?: The Cultural Legacy of Punk
.
Routledge
.
ISBN
0-415-17029-X
.
- Shuker, Roy (2012). Horn, David; Shepherd, John (eds.).
Continuum Encyclopedia of Popular Music of the World
. Vol. 8. New York; London:
A & C Black
. pp. 279?280.
ISBN
9781441148742
.
- Warshaw, Matt (2005).
The Encyclopedia of Surfing
. Houghton Mifflin Harcourt.
ISBN
0-15-603251-1
.
Further reading
[
edit
]
- Bovey, Seth (2019).
Five Years Ahead of My Time: Garage Rock from the 1950s to the Present
. London: Reaktion Books. pp. 40?55.
ISBN
9781789140651
.
- Chidester, Brian;
Priore, Domenic
(2008).
Pop Surf Culture: Music, Design, Film, and Fashion from the Bohemian Surf Boom
. Santa Monica Press.
ISBN
978-1-59580-035-0
.
- Crowley, Kent (2011).
Surf Beat: Rock 'n' Roll's Forgotten Revolution
. New York: Backbeat Books.
ISBN
9781617130076
.
- Dalley, Robert J. (1996).
Surfin' Guitars: Instrumental Surf Bands of the Sixties
(2nd ed.). Ann Arbor, Michigan: Popular Culture, Ink.
ISBN
1560750421
.
- Miller, Chuck (2011).
Warman's American Records
. Krause Publications.
ISBN
978-1-4402-2821-6
.
[
permanent dead link
]
- Valdez, Stephen K. (2006).
A History of Rock Music
. Kendall/Hunt Publishing Company.
ISBN
978-0-7575-3379-2
.
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Genres by
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1990s
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Regional scenes
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South America
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Asia
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Africa
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