Surf music
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.[7] 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]
Surf music
- Surf rock
- surf pop
- surf guitar
Late 1950s to early 1960s, United States
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.[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 rivaled girl groups and Motown for 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 write songs about cars and girls; this was later known as "hot rod rock".[14]
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.[15] 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.[51] 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.[44] The band only sparingly returned to the hot rod and surfing-themed music, beginning with 1968's "Do It Again".[53]
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][61][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]