User:KennyandtheSkull
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Surf Music Video
Surf Music Video is a unique and distinctive form of music video. Most music video's feature vocals with the recording artists telling a story through short form theater, e.g. U2, Madonna, Beyonce.
The original surf music tunes of the 60's were usually instrumentals, e.g. Pipeline, Mr.Moto. The Beach Boys certainly incorporated vocals (vocal surf music) into their songs, but many in the surf culture didn't consider these real "Surf Tunes". They were created for the mass national and international audience. To many surfers "instrumental surf music" was the only true surf music. "Probably the most widely known surf melody and rock drum solo in the history of rock and roll is from The Surfaris.The most famous surf tune hit was in 1963 by the Surfaris "Wipe Out", making it to # 2 and # 10 on Billboard in 1965."
Surf Music Video usually features instrumentals created with drums, bass, guitar and keyboard. Surf MV's also feature surfing video from all over the world. The instrumentals are created and edited to match the rhythm and feel of the waves and of the surfing, thus creating a Surf Music Video, aka "Surf MV" or "SMV".
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http://en.wikipedia.org/wiki/Surf_rock Surf rock is a style of music that originated in the USA that mixes elements of surf music and rock music. The most influential styles on surf rock were general rock 'n' roll, pop rock and surf music. While in the 1960s surf music and rock 'n' roll were distinct styles, associated with competing dance styles and representing distinct and competing youth cultures, the development of rock music since then has built upon both styles. Many authorities now retrospectively classify all surf bands as rock bands, and surf music therefore as a subgenre of rock music.
Duane Eddy's instrumental "Movin' and Groovin'" is thought by many to be the main contender for laying the groundwork as the first surf rock record, while others claim the genre was invented by Dick Dale on "Let's Go Trippin'", an instrumental which became a hit throughout California. Dale's influence on the surf genre was profound. He was a surfer himself and sought to transfer the excitement and adrenaline of the sport through his guitar playing. He often drew on his Lebanese heritage, incorporating modal tonalities and instruments such as finger cymbals and reeds. Many surf bands that followed him incorporated Eastern influences, as well as Dale's generous use of reverb. His rapid double picking and staccato playing was also very influential and an important part of the early surf sound, perhaps even more so than the reverb, which was only introduced years after Dale had already released his first singles. In Australia, which has always had a strong beach culture, the genre was strongly embraced in the 1960's, although Australian surf rock bands such as The Atlantics took their influences more from the famed British instrumental band The Shadows.
The Chantays recorded a top single with "Pipeline". However, probably the most widely known surf melody and rock drum solo in the history of rock and roll is from The Surfaris.The most famous surf tune hit was in 1963 by the Surfaris "Wipe Out", making it to # 2 and # 10 on Billboard in 1965. They had two other global hits "Surfer Joe" and "Point Panic". The Surfaris are known for their cutting edge avant garde lead guitar Jim Fuller and Ron Wilson drum songs. During the mid- to late 1990s, surf rock experienced a revival both of the music of older surf bands and in the formation of new ones. The popularity of the movie Pulp Fiction, which featured surf music, fueled the revival well into the 21st century.
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http://www.jeffosretromusic.com/surfmusic.html
The Surfing Lifestyle
This way of life was described by Rob Burt and Patsy North, in West Coast Story:
The surfer was not only different in the way he mastered his board at Malibu, but in the way he dressed. He wore pendletons, white levis, baggies; his hair was sun- bleached (or helped a little by peroxide), and he used slang surfing terms: "woodie" described his souped-up old wooden-sided station wagon, which he used to haul his boards; a "goofy foot" was a surfer who rode with his right foot forward on the board. He would most likely have a "hobie" surf-board, built of Clark Foam, and would use a special wax to prevent him from a having a "wipe-out." Schools were divided into the "Surfers" and the "Ho-Dads," who kept up a friendly rivalry.
Although he failed to achieve national stardom, guitarist Dick Dale is generally credited with introducing surf music. Backed by the Del-Tones, he developed a strong following in the Southern California area as the "Pied Piper of Balboa," most notably via weekend dances at the Rendezvous Ballroom. The essentially instrumental sound--a visceral stew of wailing saxophones and atmospheric guitar accented by a pounding twelve-bar bass beat--attempted to evoke tremendous sense of power felt through bonding with the forces of nature while surfing.
The Beach Boys almost single-handedly made the surf sound a national sensation through the addition of evocative song lyrics. Brian Wilson's compositional gifts were so fertile that he was able to give a number one hit to the comedy rock duo, Jan and Dean, while keeping his own band supplied with a steady succession of Top Ten material. That gift, "Surf City," catapulted Jan and Dean past second echelon surf interpreters such as the Surfaris, the Chantays, the Astronauts, the Challengers, the El Caminos, the Fantastic Baggys (featuring P.F. Sloan and Steve Barrie, later to make a name in protest music), and the Marketts. Like the Beach Boys, however, Jan and Dean were savvy enough to avoid too close an identification with the surf sound, mining the car songs genre ("Drag City"), new fads such as skateboarding ("Sidewalk Surfin'"), and assorted novelty material ("Batman").
At its peak, between 1963 and 1965, surf music was as popular with eastern and midwestern youth as in its native Pacific Coast environment. Bands like the Minneapolis-based Trashmen, Chicago's Rivieras, and New York's Trade Winds all climbed the upper reaches of the singles charts with surf songs. In addition, Hollywood supplied a steady stream of beach movies, most notably American International Pictures. The studio's highly successful titles--including Beach Party, Muscle Beach Party, Beach Blanket Bingo, How to Stuff a Wild Bikini, Bikini Beach, and Ski Party--helped expose many surf acts to a mainstream audience. Other popular surf films included Surf Party, Girls on the Beach, and Ride the Wild Surf.
Surf music gradually lost its momentum in the mid-1960s in the face of changing fashions. The pressing social imperatives of the period (e.g., civil rights, the Vietnam War) rendered the genre irrelevant. It retreated back to its former subculture status; however, a small core of cult bands (e.g., Man or Astro-Man, Agent Orange) continue to produce new music utilizing surf sound conventions into the new millenium.
Top Artists and Their Recordings:
The Astronauts--"Baja (Ba-Ha)" (1963)
The Beach Boys--"Surfin'" (1962); "Surfin' Safari" (1962); "Surfin' U.S.A." (1963); "Surfer Girl" (1963); "Do It Again" (1968)
The Chantays--"Pipeline" (1963)
Dick Dale and His Del-Tones--"Let's Go Trippin' (1961/2); "The Scavenger (1963)
Jan and Dean--Jan and Jean Take Linda Surfin' (1963); "Surf City" (1963); "Honolulu Lulu" (1963); "Ride the Wild Surf" (1964)
The Marketts--"Surfer's Stomp" (1962); "Balboa Blue" (1962)
The Pyraminds--"Penetration" (1964)
The Rivieras--"California Sun" (1963/4)
The Sunrays--"I Live For the Sun" (1965)
The Surfaris--"Wipe Out"/"Surfer Joe" (1963); "Point Panic" (1963)
