Jump to content

Surf music

From Wikipedia, the free encyclopedia
(Redirected fromSurf rock)
Surf music
Other names
  • Surf rock
  • surf pop
  • surf guitar
Stylistic origins
Cultural originsLate 1950s to early 1960s, United States
Derivative forms
Local scenes
Other topics

Surf music(also known assurf rock,surf pop,orsurf guitar) is agenreofrock musicassociated withsurf culture,particularly as found inSouthern California.It was especially popular from 1958 to 1964 in two major forms.[7]The first isinstrumental surf,distinguished byreverb-heavyelectric guitarsplayed to evoke the sound of crashing waves, largely pioneered byDick Daleand the Del-Tones. The second isvocal surf,which took elements of the original surf sound and addedvocal harmonies,a movement led bythe Beach Boys.[8][9]

Dick Dale developed the surf sound frominstrumental rock,where he addedMiddle EasternandMexicaninfluences, aspring reverb,and rapid alternatepickingcharacteristics. 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 byvocal groupssuch as the Beach Boys andJan and Dean.[10]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."[11]

At the height of its popularity, surf music rivaledgirl groupsandMotownfor the top American popular music trend.[12]It is sometimes referred to interchangeably with the "California sound".[13]During the later stages of the surf music craze, many of its groups started to writesongs about cars and girls;this was later known as "hot rod rock".[14]

Instrumental surf

[edit]

Form

[edit]
1963 performance flyer, promoting surf musicians

Surf music emerged in the late 1950s asinstrumentalrock and rollmusic,[8]almost always in straight 4/4 (common) time, with a medium to fast tempo. The sound was dominated byelectric guitars,which were particularly characterized by the extensive use of the "wet"spring reverbthat was incorporated intoFender amplifiersfrom 1963, and was meant to emulate the sound of waves.[15]The outboard separateFender Reverb Unitthat 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 theChantaysand "Point Panic" bythe 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 thevibrato armon their guitars to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating)tremolo picking.[18]Guitar models favored included those made byFender(particularly theJazzmaster,JaguarandStratocaster),Mosrite,Teisco,orDanelectro,usually withsingle coilpickups (which had high treble in contrast to double-coilhumbuckingpickups).[19]Surf music was one of the first genres to universally adopt the electric bass, particularly the FenderPrecision Bass.Classic surf drum kits tended to beRogers,Ludwig,GretschorSlingerland.Some popular songs also incorporated a tenor or baritonesaxophone,as onthe Lively Ones' "Surf Rider"(1963) andthe Revels' "Comanche" (1961).[20]Often an electric organ or anelectric pianofeatured as backing harmony.[citation needed]

History

[edit]

By the early 1960s, instrumental rock and roll had been pioneered successfully by performers such asLink Wray,Nokie Edwardsandthe VenturesandDuane Eddy.[21]This trend was developed by Dick Dale, who addedMiddle EasternandMexicaninfluences, the distinctive reverb[15](giving the guitar a "wet" sound),[22]and the rapid alternatepickingcharacteristic of the genre[15](influenced byArabic music,which Dale learnt from hisLebaneseuncle).[23]His performances at the Rendezvous Ballroom inBalboa, 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).[15]

While Dick Dale was crafting his new sound inOrange County,the Bel-Airswere crafting their own in theSouth Bayregion ofLos 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 andPaul Johnsonon 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 hisDel-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][21]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 albumSurfbeat) and thenEddie & the Showmenfollowed Dale to regional success.[28]

The Chantaysscored a top-ten national hit with "Pipeline",reaching number four in May 1963. Probably the single-most famous surf tune hit was"Wipe Out"bythe 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".[29]

The growing popularity of the genre led groups from other areas to try their hand. These includedthe Astronauts,fromBoulder, Colorado;the Trashmen,fromMinneapolis, Minnesota,who reached number four with "Surfin' Bird"in 1964; andthe Rivieras,fromSouth Bend, Indiana,who reached number five in 1964 with "California Sun".[15]the Atlantics,fromSydney, Australia,were not exclusively surf musicians, but made a significant contribution to the genre, the most famous example being their hit "Bombora", in 1963.[15]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 werethe Joy Boys,backing band for singerCol Joye;their hit "Murphy the Surfie" from 1963 was later covered by the Surfaris.[31]

European bands around this time generally focused more on the style played by British instrumental rock groupthe Shadows.A notable example of European surf instrumental is Spanish band Los Relámpagos' rendition of "Misirlou".The Dakotas,who were the British backing band forMerseybeatsinger Billy J. Kramer, gained some attention as surf musicians with "Cruel Sea", in 1963, which was later covered bythe Ventures,and eventually other instrumental surf bands, including the Challengers and the Revelairs.[32]

Vocal surf

[edit]

Distinctions

[edit]
See also:California Sound
The Beach Boysperforming "I Get Around"in 1964

In Matt Warshaw'sThe 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."[33]

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.[34]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."[35]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 ofdoo-wopmusic, with tight harmonies on a song's chorus contrasted withscat singing.[37]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."[38]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]
Further information:Car song
The1932 Fordthat appeared on the cover to the Beach Boys' album,Little Deuce Coupefrom 1963

"Hot rod music" or "hot rod rock" evolved from surf music.[40]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 toThe 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 termhot rod musicis 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'). "[42]

Author David Ferrandino wrote that "the Beach Boys' musical treatments of both cars and surfboards are identical",[43]whereas authorGeoffrey Himeselaborated 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 theBillboardHot 100,[44]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.[11]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.[42][nb 1]Several key figures led the hot rod movement beside Wilson, including songwriter-producer-musicianGary Usherand songwriter-disc jockeyRoger Christian.[47]

Wilson then co-wrote "Surf City"in 1963 for Jan and Dean, and it spent two weeks at the top of theBillboardtop 100chart in July 1963.[48]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 Rivieraswith "California Sun",Ronny & the Daytonaswith "G.T.O.", andthe Rip Chordswith "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.[15]Hot rod groupthe Fantastic Baggyswrote 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 theBritish Invasionbeginning in early 1964.[15]Hot rod music also ceased to be prominent that year.[43]The emerginggarage rock,folk rock,blues rockand laterpsychedelic rockgenres also contributed to the decline of surf rock.[51]The Beach Boys survived the invasion by diversifying their approach to music.[52]Brian explained toTeen 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 divergentPet Soundsin 1966. Subsequently, they became the only American rock or pop group that could rivalthe Beatles.[44]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 theJames Bond Themeof the first Bond filmDr. Noin 1962, recorded byVic Flickwith theJohn 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, includingKeith Moonofthe Who,[15]East Bay Rayof theDead Kennedys,andPixiesguitaristJoey 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 moviePulp Fictionin 1994, which used Dale's "Misirlou" and other surf rock songs in the soundtrack.[15]

Surf punk

[edit]

Surf punk is a revival of the original surfing sound combining surf rock withpunk rock.[56]It was initiated in the late 1970s and early 1980s by groups and artists such as theRamones,who released their seminal surf-punk albumRocket To Russiain 1977, featuring a prominent cover of "Surfin' Bird"byThe Trashmen(a cover of which as served asThe Cramps' debut single in 1978). Other early surf punk artists includedJohnny Thunders,who opened his debut solo albumSo Alonewith an instrumental cover ofThe Chantays' song, "Pipeline";theForgotten Rebelsfrom Canada, who released "Surfin' on Heroin"in 1981;[56]andAgent Orange,from Orange County, California, who recorded punk cover versions of surf classics such as "Misirlou", "Mr. Moto", and "Pipeline", withAllMusic's Greg Prato calling the band "influential" and "a step ahead of the rest of the punk/hardcore pack".[57]The genre is related toskate punk,which rose to prominence at the same time in the Orange County beach towns that nurtured the first wave of surf musicians.[6]

Production

[edit]

Herb Alpertplayed a part in the genre, producing for Jan & Dean.[58]WithLou Adler,Alpert produced Jan & Dean's first Top Ten single, "Baby Talk".[59]Tony Hilderwho owned theImpactlabel was a prolific surf music producer,[60][61][62]whose 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 andthe Hondells.He also co-wrote "409" and "In My Room",which were hits for the Beach Boys.[65]In later years,Sundazed Recordswould release theBarefoot Adventure: The 4 Star Sessions 1962-66compilation album.[66]The notes sayGary Usher was a primary architect of the sound of the early-sixties West Coast; cars, girls, sun and surf!.[67]Terry Melcherwas 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 wasBob & Sheriwith their 1962 single, "Surfer Moon".[70]

Los Angeles session musicians,The Wrecking Crewplayed on many surf music recordings.[71][72]

Notes

[edit]
  1. ^"Little Deuce Coupe".from 1963, has been cited by John Milward as one of the earliest forms ofhard rockwith its series of buzzing beats.[46]
  2. ^From 1961 to 1965, around fifteen-hundred car songs were recorded.[49]As in the 1950s, many groups adopted the names of car brands, but with a greater emphasis onhot rods,such as the Duece Coupes, the Duals, the GTOs, the Dragsters, the Roadsters,the T-Bones,and the Roadrunners.[49]

References

[edit]
  1. ^Sabin 1999,p. 159.
  2. ^Marcel Danesi, "Forever young: the teen-aging of modern culture"(University of Toronto Press, 2003),ISBN0-8020-8620-9,p. 83.
  3. ^Besssman (1993), p. 16; Marcus (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p. 206.
  4. ^Bovey, Seth (2006). "Don't Tread on Me: The Ethos of '60s Garage Punk".Popular Music & Society.29(4). Routledge: 451–459.doi:10.1080/03007760600787515.S2CID143841415.
  5. ^Sabin 1999,p. 99.
  6. ^abPerna 2012,p. 117.
  7. ^Blair 2015,pp. 7, 49, 119.
  8. ^abc"Surf".AllMusic.
  9. ^P. Romanowski,The New Rolling Stone Encyclopedia of Rock & Roll: Completely Revised and Updated(Simon & Schuster, New York, 2nd edn. rev., 1995), p. 973.
  10. ^Blair 2015,pp. 7, 49.
  11. ^abBlair 2015,p. 49.
  12. ^abcdHimes, Geoffrey."Surf Music"(PDF).teachrock.org.Rock and Roll: An American History. Archived fromthe original(PDF)on 2015-11-25.
  13. ^Browne & Browne 1986,p. 194.
  14. ^"Hot rod rock".Allmusic.Retrieved23 April2011..
  15. ^abcdefghijBogdanov, Woodstra & Erlewine 2002,pp. 1313–1314.
  16. ^"Secrets of the Surf Guitar Sound".reverb.com.18 January 2018.Retrieved2021-08-23.
  17. ^"How to get the surf guitar drip sound".menga.net.Retrieved2021-08-23.
  18. ^A. J. Millard,The Electric Guitar(JHU Press, 2004), p. 129.
  19. ^T. Wheeler,The Stratocaster chronicles: Fender: celebrating 50 years of the Fender Strat(Hal Leonard, 2004), p. 117.
  20. ^R. Unterberger, S. Hicks and J. Dempsey,Music USA: the rough guide(Rough Guides, 1999), p. 382.
  21. ^abSabin 1999,p. 158.
  22. ^Ian S. Port, "The Birth of Loud: Leo Fender, Les Paul, and the Guitar-Pioneering Rivalry That Shaped Rock 'n' Roll"(Simon and Schuster, 2019),ISBN1-5011-4176-7,p. 164
  23. ^Holgate, Steve (14 September 2006)."Guitarist Dick Dale Brought Arabic Folk Song to Surf Music".The Washington File.Bureau of International Information Programs,United States Department of State.Archived fromthe originalon 2011-10-20.Retrieved29 August2010.
  24. ^abc"Rendezvous Ballroom".Huntington Beach International Surfing Museum. Archived fromthe originalon 2011-07-19.Retrieved13 February2011.
  25. ^"Benefit Show Lends A Hand To Surf Rock Legend Paul" Mr. Moto "Johnson".OCWeekly. 6 December 2018.Retrieved6 December2018.
  26. ^"The South Bay Bands that Created the 60's Surf Music Sound".Southbay. 20 July 2017. Archived fromthe originalon 28 November 2022.Retrieved6 July2020.
  27. ^"They called it surf: 40 years after its peak, genre still rides wave of popularity".The San Diego Union-Tribune.26 September 2004.Retrieved26 September2004.
  28. ^Blair 1985,p. 2.
  29. ^Blair 1985,p. 75.
  30. ^"The Denvermen, Sydney, 1961–65",MILESAGO: Australasian Music and Popular Culture 1964–1975,retrieved 18 May 2010.
  31. ^Warshaw 2005,pp. 776–777.
  32. ^Blair 1985,p. 126.
  33. ^Warshaw 2005,p. 584.
  34. ^Miller 1992,p. 193.
  35. ^Nathan & Lindsay 2001,p. 89.
  36. ^Beach Boys, The (September 1965). "The Things We LOVE and the Things We HATE".16 Magazine.7(4).
  37. ^Edmondson 2013,p. 1117.
  38. ^Cooley 2014,p. 56.
  39. ^Zhefo, Lee (June 29, 1963)."Surfing Craze Ready to Splash Across Country to East's Youth".Billboard.Vol. 75, no. 26.ISSN0006-2510.
  40. ^Cozzen 2015,p. 8.
  41. ^"SURF COUNTY, USA: No Words Can Describe Real Surf Music".Los Angeles Times.July 27, 1990.
  42. ^abBreitenstein,p. 107.
  43. ^abFerrandino 2015,p. 149.
  44. ^abBogdanov, Woodstra & Erlewine 2002,pp. 71–72.
  45. ^J. Bush."The Beach Boys".Allmusic.Retrieved23 April2011.
  46. ^J. Milward,The Beach Boys Silver Anniversary(Doubleday, 1985),ISBN0-385-19650-4,p. 48.
  47. ^Shuker 2012,p. 279.
  48. ^Marcus 2013,p. 95.
  49. ^abDeWitt 2001,p. 44.
  50. ^"The Fantastic Baggys".Allmusic.Retrieved23 April2011.
  51. ^Blair 1985,p. 9.
  52. ^Welch, C. (November 14, 1964). "Beach Boys Brought Their Own Vegetables – So Audiences Beware!".Melody Maker:10.
  53. ^Badman, Keith (2004).The Beach Boys: The Definitive Diary of America's Greatest Band on Stage and in the Studio.Hal Leonard Corporation. p.221.ISBN9780879308186.
  54. ^K. Spencer,Film and television scores, 1950-1979: a critical survey by genre(McFarland, 2008), pp. 61-70.
  55. ^M. Vorhees and J. Spelman,Lonely Planet Boston(Lonely Planet, 3rd edn., 2007). pp. 6 and 34.
  56. ^abHenderson & Stacey 2014,p. 619.
  57. ^"Living in Darkness - Agent Orange | Songs, Reviews, Credits".AllMusic.
  58. ^Dean, Maury (2003).Rock N Roll Gold Rush: A Singles Un-Cyclopedia.Algora Publishing. p. 297.ISBN978-0-87586-207-1.
  59. ^K-TEL -The Story....,Jan Berry and Dean Torrence
  60. ^Larkin, Colin (2006).The Encyclopedia of Popular Music: Grenfell, Joyce - Koller, Hans.MUZE. p. 287.ISBN978-0-19-531373-4.
  61. ^Blair 1985,p. 102.
  62. ^Otfinoski, Steven(1997).The Golden Age of Rock Instrumentals.Billboard Books.ISBN978-0-8230-7639-0.
  63. ^CD Review Volume 12,1995 -Page 70
  64. ^Greg Shaw (1975).Bomp 14 (Fall 1975).
  65. ^Archives, L. A. Times (1990-06-02)."Gary Usher; Co-Writer of Beach Boys Hits".Los Angeles Times.Retrieved2023-06-25.
  66. ^Amazon -Barefoot Adventure: The 4 Star Sessions 1962-66
  67. ^Amazon -Barefoot Adventure: The 4 Star Sessions 1962-66, Editorial Reviews
  68. ^Leeds, Jeff (2004-11-22)."Terry Melcher, 62, Creator of Hits in Surf-Music World, Is Dead".The New York Times.ISSN0362-4331.Retrieved2023-06-25.
  69. ^"Surf music producer Terry Melcher dies".ABC News.2004-11-22.Retrieved2023-06-25.
  70. ^Lambert, Philip (2007-03-19).Inside the Music of Brian Wilson: The Songs, Sounds, and Influences of the Beach Boys' Founding Genius.Bloomsbury Publishing USA.ISBN978-1-4411-0748-0.
  71. ^Inc, CMJ Network (October 1997).CMJ New Music Monthly.CMJ Network, Inc.
  72. ^Smucker, Tom (2018-10-02).Why the Beach Boys Matter.University of Texas Press. p. 74.ISBN978-1-4773-1872-0.

Bibliography

[edit]

Further reading

[edit]
Retrieved from "https://en.wikipedia.org/w/index.php?title=Surf_music&oldid=1231109104"