Surf music Stylistic origins. Cultural origins Late 1950s to early 1960s, United States Typical instruments. Derivative forms. Subgenres. Fusion genres.
Local scenes. Other topics. Surf music is a subgenre of associated with, particularly as found in. It was especially popular from 1962 to 1964 in two major forms. The first is instrumental surf, distinguished by -drenched played to evoke the sound of crashing waves, largely pioneered by and the Del-Tones.
The second is vocal surf, which took elements of the original surf sound and added, a movement led. Dick Dale developed the surf sound from, where he added and, a, and the rapid alternate characteristics. His regional hit ' (1961) launched the surf music craze, inspiring many others to take up the approach. The genre reached national exposure when it was represented by such as the Beach Boys. 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 and for top American popular music trends.
It is sometimes referred to interchangeably with the. During the later stages of the surf music craze, many of its groups started to write; this was later known as hot rod rock. 1963 performance flyer, promoting surf musicians Surf music emerged in the late 1950s as instrumental music, almost always in straight 4/4 (or common) time, with a medium to fast tempo. The sound was dominated by which were particularly characterized by the extensive use of the 'wet' that was incorporated into from 1961, which is thought to emulate the sound of the waves. The outboard separate 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 ' by the and 'Point Panic' by the. It had more of a wet 'plucky' tone than the 'built in' amp reverb, due to a different circuitry.
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Guitarists also made use of the on their guitar to bend the pitch of notes downward, electronic tremolo effects and rapid (alternating). Guitar models favored included those made by (particularly the, and guitars), or, usually with pickups (which had high treble in contrast to double coil pickups). Surf music was one of the first genres to universally adopt the electric bass, particularly the Fender. Classic surf drum kits tended to be,. Some popular songs also incorporated a tenor or baritone, as on ' ' (1963) and ' 'Comanche' (1961).
Often an electric organ or an featured as backing harmony. History By the early 1960s, had been pioneered successfully by performers such as,. This trend was developed by, who added and, the distinctive reverb (giving the guitar a 'wet' sound), and the rapid alternate characteristic of the genre (influenced by, which Dale learnt from his uncle).
His performances at the Rendezvous Ballroom in during the summer of 1961, and his regional hit ' later that year, launched the surf music craze, which he followed up with hits like ' (1962). 's ' (1962), a surf rock of a. It is often considered Dale's signature single. Problems playing these files? Like Dale and his, most early surf bands were formed in Southern California, with in particular having a strong surf culture, and the Rendezvous Ballroom in hosted many surf-styled acts. Groups such as (whose hit 'Mr.
Moto', influenced by Dale's earlier live performances, was released slightly before 'Let's Go Trippin'), (with their album ) and then followed Dale to regional success. Scored a top ten national hit with ', reaching number 4 in May 1963.
Probably the single-most famous surf tune hit was ' with its intro of a wicked laugh by the; 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, from;, from, who reached number 4 with ' in 1964; and, from, who reached number 5 in 1964 with '., from, were not exclusively surf musicians, but made a significant contribution to the genre, the most famous example being their hit 'Bombora' (1963). Also from Sydney were The Denvermen, whose lyrical instrumental 'Surfside' reached number 1 in the Australian charts. Another Australian surf band who were known outside their own country's surf scene was, backing band for singer; their hit 'Murphy the Surfie' (1963) was later covered by the Surfaris. European bands around this time generally focused more on the style played by British instrumental rock group. A notable example of European surf instrumental is Spanish band ' rendition of 'Misirlou.' , who were the British backing band for singer Billy J.
Kramer, gained some attention as surf musicians with 'Cruel Sea' (1963), which was later covered by, and eventually other instrumental surf bands, including the Challengers and the Revelairs. Vocal surf Distinctions. Released in March 1963, ' incorporated surf lyrics and the melody from 's ', later becoming one of the best known surf rock songs. Problems playing this file? This second wave of surf music was led by the Beach Boys, 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, 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.' Vocal surf can be interpreted as a regional variant of music, with tight harmonies on a song's chorus contrasted with. 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, 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.' Hot rod rock. The that appeared on the cover to the Beach Boys' album, (1963) Hot rod music, or hot rod rock, evolved from surf music.
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 ' 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', whereas author Geoffrey Himes elaborated '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, 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 ',' you warned of '.' ' Popularity.
's ' is the first song with a surf-related title to become a national number-one hit. The matter of which was the first surf song to top the charts remains a matter of dispute. Problems playing this file?
In late 1961, the Beach Boys had their first chart hit, ', which peaked at number 75 on the, followed by ' (1963) and ' (1963) which reached the Top 10. In mid-1962, the group released their major-label debut, '.
The song hit number 14 and helped launch the surf rock craze into a national phenomenon. Breitenstein writes that hot rod rock gained national popularity beginning in 1962 with the Beach Boys' ', which is often credited with initiating the hot rod music craze, which lasted until 1965. Several key figures would lead the hot rod movement beside Wilson, including songwriter-producer-musician and songwriter-.
Wilson then co-wrote ' (1963) for Jan and Dean, which spent two weeks at the top of the 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,. 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.' One-hit wonders included Bruce & Terry with 'Summer Means Fun', with ', with 'G.T.O.' , and with '. The latter two hits both reached the top ten, but the only other act to achieve sustained success with the formula were Jan & Dean.
Hot rod group wrote many songs for Jan and Dean and also performed a few vocals for the duo. Decline The surf music craze, along with the careers of nearly all surf acts, was effectively ended by the beginning in early 1964. Hot rod music also ceased to be prominent that year. The emerging, and later genres also contributed to the decline of surf rock.
The Beach Boys survived the invasion by diversifying their approach to music. Brian explained to: '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.' After the decline of surf music, the Beach Boys continued producing a string of hit singles and albums, including the sharply divergent (1966). Subsequently, they became the only American rock or pop group that could arguably rival, The band would only sparingly return to the hot rod and surfing-themed music, beginning with 1968's ' Influence and revival Instrumental surf rock style guitar was used in the of the first Bond film in 1962, recorded by with the. The theme became a signature for Bond films and influenced the music of spy films of the 1960s. Surf music also influenced a number of later rock musicians, including of, of the, and guitarist. 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 (1994), which used Dale's 'Misirlou' and other surf rock songs in the soundtrack.
New surf bands were formed, including,. In 2012, premiered 'Surf', a symphonic homage to surf music, the ocean, and surfing, by classical composer. Surf punk Surf punk is a revival of the original surfing sound. It was initiated in the late 1970s and early 1980s by groups such as from - who released in 1981 - and from, who recorded punk cover versions of surf classics such as 'Misirlou', 'Mr Moto', and 'Pipeline' that same year, with 's Greg Prato calling the band 'influential' and ' a step ahead of the rest of the punk/hardcore pack'. The genre is related to, which rose to prominence at the same time, in the Orange County beach towns that nurtured the first wave of surf musicians. Skatepunk band combined the Dead Kennedys' ' with the Chantays' 'Pipeline' to create the revved-up surf/skate homage 'Pipe Truck.' .
^ Zhefo, Lee (June 29, 1963). Marcel Danesi, 'Forever young: the teen-aging of modern culture' (University of Toronto Press, 2003), p. Besssman (1993), p. 16; Marcus (1979), p. 114; Simpson (2003), p. 72; McNeil (1997), p.
Bovey, Seth (2006). 'Don't Tread on Me: The Ethos of '60s Garage Punk'. Popular Music & Society.
29 (4): 451–459., pp. 7, 49, 119. Romanowski, The New Rolling Stone Encyclopedia of Rock & Roll: Completely Revised and Updated (Simon & Schuster, New York, 2nd edn. Rev., 1995), p., pp. 7, 49. ^ Himes, Geoffrey. Rock and Roll: An American History.
Archived from (PDF) on 2015-11-25. Retrieved 23 April 2011. ^, pp. 1313–1314. Millard, The Electric Guitar (JHU Press, 2004), p. Wheeler, The Stratocaster chronicles: Fender: celebrating 50 years of the Fender Strat (Hal Leonard, 2004), p. Unterberger, S. Dempsey, Music USA: the rough guide (Rough Guides, 1999), p.
Retrieved 2012-03-03. Holgate, Steve (14 September 2006). The Washington File.,. Archived from on 2011-10-20. Retrieved 29 August 2010.
Huntington Beach International Surfing Museum. Archived from on 2011-07-19. Retrieved 13 February 2011. Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p.
Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p., MILESAGO: Australasian Music and Popular Culture 1964-1975, retrieved 18 May 2010., pp. 776–777. Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 2nd edn., 1985), p. Beach Boys, The (September 1965). 'The Things We LOVE and the Things We HATE'. 16 Magazine, Inc. ^, pp. 71–72.
Retrieved 23 April 2011. Milward, The Beach Boys Silver Anniversary (Doubleday, 1985), p. Retrieved 23 April 2011.
Blair, The Illustrated Discography of Surf Music, 1961-1965 (Pierian Press, 1985), p. (November 14, 1964). 'Beach Boys Brought Their Own Vegetables - So Audiences Beware!' Melody Maker: 10. Badman, Keith (2004). The Beach Boys: The Definitive Diary of America's Greatest Band on Stage and in the Studio.
Spencer, Film and television scores, 1950-1979: a critical survey by genre (McFarland, 2008), pp. Vorhees and J. Spelman, Lonely Planet Boston (Lonely Planet, 3rd edn., 2007).
San Diego Reader. Retrieved 10 June 2012. Archived from on March 23, 2012. Retrieved 3 May 2011. Bibliography. Blair, John (2015).
Arcadia Publishing.; Woodstra, Chris;, eds. Backbeat Books.
Breitenstein, Jeff. MotorBooks International. Cooley, Timothy J. University of California Press. Duane (2015). DeWitt, John (2001).
Edmondson, Jacqueline, ed. Ferrandino, David (2015). Turner, Katherine L., ed. Farnham:: 145–158. Marcus, Ben (2013).
MBI Publishing Company. Henderson, Lol; Stacey, Lee (2014). In DeCurtis, Anthony; Henke, James; George-Warren, Holly. New York: Random House. Nathan, David; Lindsay, Susan Gedutis, eds. Berklee Press. Perna, Alan di (2012).
Hal Leonard. Roberts, Jim (2001). Backbeat Books. Shuker, Roy (2012). Horn, David; Shepherd, John, eds.
New York; London:: 279–280. Warshaw, Matt (2005). Houghton Mifflin Harcourt. Further reading.
Chidester, Brian; (2008). Santa Monica Press. Miller, Chuck (2011). Krause Publications. Valdez, Stephen K.
Kendall/Hunt Publishing Company.
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