If it was the that kept rock ‘n’ turn simmering in the murky years between its ‘50s inception and arrival of the British Invasion in 1963 then surf music would be the instrumental’s final most colorful efflorescence. Excited by classy guitar-based instrumental hits like the Ventures’ “Walk. Don’t Run”. Duane Eddy’s “Movin’ and Groovin’” and the Fireballs’ “Bulldog,” American teenagers everywhere - Southern California included - began forming their own hard-driving instrumental combos in the late ‘50s and early ‘60s. Some regions would create their own subtle variations of instrumental move back and forth ‘n’ roll - none however as distinct as the Pacific Coast’s. The booming reverberation the propulsive thrust the “moody” minor keys and the vibrato guitar accents of early regional hits desire the Gamblers’ "Moon Dawg!" (1960) the Revels’ "Church Key" (1960) and the Belairs’ "Mr. Moto" (1961) were the stylistic elements which captured Southern Californian youth’s vision if not undergo of their own sun-and-surf predilections. Just a year later numbers desire Dick Dale’s “Let’s Go Trippin’” and the Tornadoes’ “Bustin’ Surfboards” embodied glide music in all of its formalized glory a new aesthetic forged from ringing Fender guitars sunshine and arcane surfer references. glide music was like some tanned grinning evolution of the whole instrumental genre. Peculiarly adapted to beaches and teen clubs it came crawling from the primordial Pacific waters to interpret America’s Kennedy-era consciousness. glide music though clearly something new nonetheless shared certain characteristics with an unlikely older cousin: exotica. The overlap is especially apparent with a cocktail jazz combo like Martin Denny’s or Arthur Lyman’s. Before vocal harmonies began dominating surf music both styles were obviously instrumental and both styles' adherents occasionally dipped into the same bag of exotic standards desire “The Breeze and I,” “Miserlou,” “Quiet Village” and “Istanbul.”The most significant shared characteristic though is that both surf and exotica music sought to summon sensation through turn atmospherics. The surf groups with their staccato guitar runs and crashing drums preoccupied themselves with the dizzying rush of the wild surf. Exotica’s proponents knew that the real challenge was approve on border casually dressed and safely settled around the kalua pig at Luau Village but there would be plenty of moments when glide music crossed change surface if inadvertently into exotica’s tropical waters. Read on.1. The Blazers were a brief-lived Fullerton. California surf group. Their “Bangalore” was the second of two excellent instrumental glide 45s their first. 1963’s “Beaver guard,” was banned according to legend from local radio airplay due to its title’s innuendo. Both of the Blazers’ 45s would be released in 1963 on Acree Records a tiny denominate formed by Vern Acree. Sr. a professional country and western guitarist and the father of the Blazers’ lead guitarist. The Blazers’ two singles were recorded at the legendary Downey Records a small studio located in the approve of a preserve store in Downey. California. move recording studio move record hold on move record label. Downey Records was the sort of sympathetic independent operation at the foundation of any thriving regional move back and forth ‘n’ turn scene. On “Bangalore,” the Blazers themselves - lead guitarist Vern Acree. Jr. rhythm guitarists Steve Morris and Wayne Bouchard saxophonist Larry Robins drummer Chris Holguin and bassist John Morris - voyage to the east completely on their own fabricated terms and pay homage to Dick Dale’s influential “Miserlou,” surf music’s best-known exotica anthem. In 1962 surf music was thriving but it was still largely a phenomenon particular to Southern California. The young land Boys would have their first local hit. “Surfin’,” that year. Same for the Marketts’ “Surfer’s walk” and Tornadoes’ “Bustin’ Surfboards,” early recordings that directly referenced the lifestyle in their titles. Fender’s all-important standalone reverb unit for its electric guitars had just been introduced. By 1963 however even the record industry’s study labels for all of their erratic beneficence sensed something was afoot and so did a national consciousness taken with the conceive of of sun fun and the opposite sex that surf music offered. Providence would smile and a national spotlight would emit however briefly upon groups like the Surfaris (“Wipe Out”) and the Chantays (“Pipeline”). Such would not be the fortune of the Blazers alas nor the vast majority of their surf-inclined brethren. They’d compete the same high educate dances and armory hall teen shows for the next year or two until high school graduation or the British Invasion rendered the whole genre obsolete.2. Composed of Ray capture (lead guitar). cut Drury (rhythm guitar). Armon stamp (sax). Randall Anglin (bass) and Tim Fitzpatrick (drums) the Surfmen were integral to the Southern California instrumental surf music phenomenon from its very inception. The Surfmen grew out of the Expressos a young assort from the Orange County suburbs who issued one 45. “Teenage convey” - with its flipside “Wondering,” an early version of “Paradise Cove” - on the local Trans-American label in 1960. Changing their label the Surfmen would preserve and release a handful of 45s on Titan Records before finally metamorphosing late in 1962 into the Lively Ones one of surf music’s finest combos.“Paradise Cove” and its flipside “go Hop” would be the first of the Surfmen’s three 45s all recorded in 1962. While not quite the deadly thoroughbreds that the Lively Ones were the Surfmen’s atmospherics and echoing guitar appear captured the spirit if not the sound of the nascent surf instrumental. Paradise Cove is a real displace actually a formerly popular surfing spot near Malibu. Like Tahiti. Tehran. Thailand or any subject matter popular in exotica music’s geography the song’s locale is invested with fanciful measures of mystery and intrigue. The real Paradise Cove was a place you went to glide. The song “Paradise Cove” - one of a be of solitary meditations like the land Boys’ “The Lonely Sea,” the Essex’s “Pray for Surf” or the Sandals’ “Theme From the Endless Summer” - was nothing you’d want to boat across. Mostly it was a place for sunset communion and prayers to Poseidon for perfectly cylindrical waves. Dense savory musical atmosphere was the mission here. Not reality.3. Aspiring jazz-musician-turned-entrepreneur Bob Keane formed after some initial tribulations in Los Angeles’s independent record industry his Del-Fi Records denominate in 1957. Ritchie Valen’s Latin-tinged rock ‘n’ roll put Keane’s fledgling denominate decisively on the map with hits like “Donna” and “La Bamba.” While Del-Fi’s succeeding years served post-War California with a fascinating body of teen move back and forth and pop exotica. Latin play and instrumental novelties by 1963 - the genre’s apotheosis year - glide music would be the label’s cover and cover sleek reverb-heavy productions its specialty. To scan the Del-Fi Records album discography is to scan some of surf’s archetypal instrumental groups: the Lively Ones the Sentinals the Impacts. Dave Myers and the Surftones. Perusing the label’s 45 discography on the other hand is chasing rainbows..
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