Posted on

Guitar World: 10 Instrumental Surf Rock Songs You Need to Hear Now

Posted 03/10/2016 by Damian Fanelli

Photo by Tim Mosenfelder/Getty Images
Photo by Tim Mosenfelder/Getty Images

I spent the good part of 10 years as the guitarist (and chief songwriter) in an instrumental surf-rock band.

We played for very little money … drove for hours looking for gig parking onManhattan’s Lower East Side … had people scream at us to turn down the freakin’ reverb …

As Slacktone’s Dave Wronski asked in a GuitarWorld.com column a few years ago, will surf guitar be the last electric-guitar genre to earn some long-overdue respect?

Sure, Pulp Fiction elevated surf guitar from under the seaweed to a spot on the party-song playlists of hipsters around the universe.

But what is surf guitar? How does it differ from other styles of guitar playing? What equipment is used to get the sound?

“Fender-style guitars with single-coil pickups have typically been the weapon of choice, while vibrato bars are used to help express the rolling of the surf,” Wronski wrote.

“Sometimes the vibrato bar is used very smoothly; sometimes it is shaken to the point of breaking off–enough to make Ike Turner proud! (Check out his instrumentals from the early 1950s). Big, gnarly guitar strings that, when played loud and proud through a huge Fender amp, could shake the building, even when drenched in reverb from a tube-driven Fender Reverb unit. Even with all that reverb, there’s still enough bigness to the sound to do some major crowd control.”

A lot of you—most of you, in fact—have heard the usual batch of surf-rock instrumental classics from the early Sixties. Things like “Pipeline,” “Out of Limits,” “Wipe Out” and my favorite, “Penetration.” However, it’s probably safe to surmise that millions of you might know almost nothing about the modern brand of instro-surf rock that you’re likely to witness in a club in 2016. Or about the bands that play it.

Below, check out a guide to 10 surf-rock tunes—played by nine different bands or artists—that should be on your reverb-drenched radar. The good news is, most of these bands still exist! In fact, my band even performed with a lot of these guys back in the day. Ah yes, Slacktone at Asbury Lanes in New Jersey in ’06 … Insect Surfers at the Purple Orchid in El Segundo, California, in ’07. Ah, the memories.

Anyway, enjoy!

P.S.: Dave Wronski, who is mentioned above, is the guitarist in Southern California’s Slacktone. You can check out two of their songs below.

CALHOUN SURF | Los Straitjackets

COFFIN CLOSER | Slacktone

THE BELLS OF ST. KAHUNA | Slacktone

SURF! SURF! SURF! | The Aqualads

FLIGHT OF THE SURF GUITAR | The Atlantics

FATHOMIZED | The Fathoms

GREASE YOUR HAIR AND GET TATTOOED | The Razorblades

NITRO | Dick Dale

VARYKINO SNOW | The Mermen

MOJAVE | Insect Surfers

Damian Fanelli is the online managing editor at Guitar World and Guitar Aficionado. His New York-based band, the Blue Meanies, has toured the world and elsewhere. Fanelli, a former member of Brooklyn jump-blues/swing/rockabilly band the Gas House Gorillas and New York City instrumental surf-rock band Mister Neutron, also composes and records film soundtracks. He writes GuitarWorld.com’s The Next Bend column, which is dedicated to B-bender guitars and guitarists. His latest liner notes can be found in Sony/Legacy’s Stevie Ray Vaughan: The Complete Epic Recordings Collection. Follow him on Facebook,Twitter and/or Instagram.

Original article: http://www.guitarworld.com/artists-artist-news-artist-lists/10-instrumental-surf-rock-songs-you-need-hear-now/28828

Posted on

The Age: Waxing lyrical: From The Atlantics to The Break, surf music refuses to die

by Damien Murphy

The Beach Boys were part of the gift of surf culture from the US: (clockwise from top left) Dennis Wilson, Al Jardine, Bruce Johnston, Brian Wilson, Carl Wilson and Mike Love.
The Beach Boys were part of the gift of surf culture from the US: (clockwise from top left) Dennis Wilson, Al Jardine, Bruce Johnston, Brian Wilson, Carl Wilson and Mike Love. Photo: Supplied

“To you I shall put an end, then you’ll never hear surf music again.”

Jimi Hendrix’s lyric from his 1967 album Are You Experienced delivered an elegy to surf music that was well past its use by date.

But it refuses to lie down and die.

Despite Jimi Hendrix's elegy to surf music in 1967, surf music has survived.
Despite Jimi Hendrix’s elegy to surf music in 1967, surf music has survived. Photo: Supplied

Even today, more than 50 years after they were hits Patricia Amphlett is asked to become her younger self, Little Pattie, and sing He’s My Blonde Headed Stompie Wompie Real Gone Surfer Boy and Stompin’ at Maroubra when performing at clubs or private functions.

Patricia Thompson, better known as Little Pattie: "They were such innocent joys and it's lovely to relive those innocent times."
Patricia Thompson, better known as Little Pattie: “They were such innocent joys and it’s lovely to relive those innocent times.” Photo: Supplied

“They were such innocent joys and its lovely to relive those innocent times,” she says.

Fourteen-year-old Amphlett sang Surfer Joe (“a truly dreadful song”) at a Maroubra Surf Life Saving Club talent quest, was spotted by a talent scout, signed up and had her first hit within weeks as surf music inundated teenage transistor radio programs.

Until the early 1960s, England set the benchmark for being young in Australia but as Baby Boomers hit puberty America stepped up to the plate, bestowing the gift of rock and roll and car idolatry to teenagers across the world.

Surf guitarist Dick Dale was part of the Los Angeles beach crew.
Surf guitarist Dick Dale was part of the Los Angeles beach crew. Photo: Supplied

The US also had a special present for Australia – surf culture. And it was Sydney’s beach suburbs that embraced California dreaming.

In 1961, the Beach Boys, Dick Dale, and the Chantelles started pumping out regional hits for the Los Angeles beach crew. Session guitarists like Jack Nitzsche and the arranger Henry Mancini took the music into mainstream USA – Mancini, who wrote Moon River, Peter Gunn and the Pink Panther Theme, had a hit with Banzai Pipeline that featured a big band sound laced with jazz accents.

But surf movies showing surfers riding waves in California and Hawaii had sound tracks that brought surf music ashore when the films played the northern beaches, the eastern suburbs and the Shire.

A group, The Denvermen, released Surfside in January 1963 and reached No 1 on the Sydney Top 40. In a nod to the tribal wars, a curtain raiser to the Cronulla riots five decade later, Digger Revell joined the Denvermen to record the deathless My Little Rocker’s Turned Surfie.

Other acts, including the Delltones and the Joy Boys, that had been performing a pale imitation of rock and roll switched to surf sounds. Long before the Bee Gees hit big, Barry Gibb wrote Surfer Boy for television songbird Noeleen Batley. And a New Zealander, Johnny Devlin, jumped on the bandwagon but became lost at sea with his hit, Stomp The Tumbarumba.

Barry Gibb wrote <i>Surfer Boy</i> for television songbird Noeleen Batley.
Barry Gibb wrote Surfer Boy for television songbird Noeleen Batley. Photo: Supplied

The high point came in mid-1963 when the Atlantics released Bombora and it too topped the charts in September. An Indigenous word for a wave breaking on an off shore reef, Bombora was a driving, pounding, much emulated sound that encapsulated a moment in Australian pop music and has continued to have a life of its own.

Although the band disbanded in 1969, their song is such a part of Australian life that they played at the 2000 Sydney Olympics closing ceremony and when the ABC’s 2001 documentary on Australian rock and roll Long Way to the Top breathed new life into their music, they toured Europe.

The Atlantics' <i>Bombora</i> created a much-emulated surf music sound.
The Atlantics’ Bombora created a much-emulated surf music sound. Photo: Supplied

“It was weird,” guitarist Jim Skiathitis says. “They even knew our music in Hungary.” The Atlantics hung up their instruments a couple of years back. “The spirit was willing, but the fingers were weak,” said septuagenarian Skiathitis.

The first surf music boom of the 1960s was ended by the Beatles but musicians recalibrated and when the next surf music fad landed, it was dressed in drugs and hipness.

The 1972 album that went with Albert Falzon’s surf movie Morning of the Earth featured a grab bag of musicians who either changed styles like underwear (Brian Cadd), were caught in some Woody Guthrie time warp (John J Francis), smoked too much dope (Taman Shud) or were slightly strangers in strange land (G. Wayne Thomas).

Whatever, MOTE went on to become Australia’s biggest-selling surf music album.

Richard Clapton and Midnight Oil, GANGajang , the Celibate Rifles and the Cruel Sea kept the surf music flag flying but their surf sound were heavily surrounded by other music.

Then came The Break. The perfect surf band, comprised of former members of Midnight Oil, Violent Femmes and now Hunters & Collectors, it arrived in 2010 and play that old surf beat, laced with reverb-heavy instrumental rock replete with high-pitched notes that can drill a listener to exhaustion: just ask the journalist George Negus who nodded off during the band’s debut at the Annandale Hotel.

The Break will play at the Groundswell Music Festival, Gippsland Victoria on January 2, proof that surf music can still be heard.

Footnote: Dick Dale has dismissed the belief that Hendrix had administered the last rites to surf music telling Surfer magazine in May 2010 that the guitar god had heard the surf guitar king had rectal cancer and had three months to live. “Jimi said, You’ll never hear surf music again. And then he said, I bet that’s a big lie. Let’s pack up, boys, and go home’.”

Original article: http://www.smh.com.au/nsw/waxing-lyrical-surf-music-sticks-around-20151130-glbcjc.html#ixzz3vyrhHO1h

Posted on

Continental Magazine (USA) – The Atlantics interview

Ivan Pongracic (The Madeira) interviewed The Atlantics for Double Crown Records’ Continental Magazine. The interview was conducted by email between January 2013 and March 2014 and is so lengthy that it was presented as two parts over two issues. The first part covered their early days from 62′ to 65′ (issue 21) and the second part covered what has become known as their Garage Days between 65′ to 70′. Also included is their come back, between 2000 to 2013. (issue22).

continental-mag-issue-21  continental-mag-issue-22

Here’s a sample of the interview from part 1 in issue 21.

Ivan: Jim, do you remember when you and Theo bought your first Strats?

Jim: I remember that it was Peter’s father that helped us buy the guitars under ‘hire-purchase’ with himself as guarantor. I think he also got Peter’s drums for him, too. He was always a stout supporter and motivator for the band as he was a drummer himself.

Peter: We bought our Strats in 1962. We bought the sunburst Strat first, and then the red Strat. In both cases, my father had to act as guarantor for the loans to buy the Strats. We paid 232 Pounds for each guitar – that was about AU$464.00 for each at that time [ed: roughly US$6000 today]. We put the Strats through a Fender Bandmaster amp. That was our sound at the time. We recorded “Bombora” and many of our earlier recordings using the Bandmaster amp and the Klemt Echolette for echo effects for the lead guitar. Both Theo and Jim used the Bandmaster for lead guitar. We bought the Fender Bandmaster at the same time we bought the Strats. We had no choice in the matter because Vox amps were not available at that time. The Echolettes we also bought in 1962. We had two of them. The Vox amps were bought later, probably 1964.

Jim: To the best of my memory, our Bandmaster only had one big speaker [ed: 12” tone-ring cab]. For a while it was the only amp we had, and both Theo and I played through it at the same time. Then we bought our first Vox amp, a piggyback AC-30, but it was really bassy. So we used the Fender for lead and the Vox for rhythm. Theo and I used to swap sides every time one of us had to play lead. Ahhh, the old days… lol!

Ivan: Are you saying that “Bombora” and those other early recordings were done with both Jim and Theo playing through the same amp?

Peter: Yes, that’s correct! They were both playing through the Bandmaster. I’m not sure which songs anymore, it’s been so long. I know this: “Moon Man”, “Dark Eyes”, “Bombora”, “Greensleeves”, “The Crusher” and “Hootenanny Stomp” were definitely recorded that way. I think the whole Bombora LP was recorded that way.

Ivan: How big of a deal was it to buy the Stratocasters and the Bandmaster? Fender instruments must have been very rare in Australia at that time.

Jim: Yes, they were, and it was a big deal. We had to order them from the States through a local shop here in Sydney, I think it was J Stanley Johnston’s. Of course, I ordered the Fiesta Red model. We were so excited when they called us and said the guitar had arrived, but that soon turned a bit sour when I discovered that they hadn’t sent a Fiesta Red but a Dakota Red. Still, it looked so mighty and new and exciting that I just kept it and used it – and still use it now. It is a 1961 pre-L Strat.

Get the magazines to read the full interview  …….   www.doublecrownrecords.com

Posted on

Cooly to rock on with blast from past

Bob Anthony, Sun Community Newspapers   |  12:01am April 14, 2013

20130414-ready-to-rock-n-roll-140413Cooly Rocks On is coming to Coolangatta and festival chairperson Gail O’Neill and CEO Bob Newman are revved up for the event.

BREAK out the boardies and wax up the malibu because Cooly Rocks On is hitting the beach in more ways than one this year.

The annual nostalgia festival at Coolangatta will incorporate a new “surf precinct” this year and to keep the crowds on their toes, Aussie surf band, The Atlantics, will be taking a trip down memory lane reviving music of the era.

The precinct, to be set up at the Gold Coast’s spiritual home of surfing – Kirra – will feature surfing memorabilia from the ’50s and ’60s, retro markets featuring surf wear and a range of classic surf vehicles such as Kombis, station wagons, panel vans and woodies.

Cooly Rocks On CEO Bob Newman said the action wouldn’t just be confined to the beach with an old malibu surfing competition. In July 1963, The Atlantics released their most famous track, Bombora, its name also derived from an unusual and widely unrecognised source – an Aboriginal term for large waves breaking over submerged rock shelves.

The Atlantics will play the Cooly Rocks On Kirra stage on Saturday and Sunday, June 8 and 9, along with a lineup of bands including The Shallows and Bridge and Brady.

Cooly Rocks On chairperson Gail O’Neill said this year shaped up to be the biggest festival yet with interest at an all-time high.

Ms O’Neill said the 1200 classic car and hotrod places had been filled with a strong demand for accommodation thanks to a big entertainment line-up.

“The festival is growing in strength and size each year and all we need is some fine weather and we will see all records broken this year,” she said.

Cooly Rocks On runs from May 31 to June 10. For details, go to www.coolyrockson.com

Read the original article: http://www.goldcoast.com.au/article/2013/04/14/450274_gold-coast-news.html

20130414-Gold-Coast.com.au

Posted on

ABC Radio RareCollections: Australia surf music in the ’60s

ABC Radio

ABC-canberra

20 June, 2011 9:37AM AEST

RareCollections: Australia surf music in the ’60s.

1963 was a big year for surf culture in Australia. David Kilby and Jordie Kilby speak to Tex Ihasz (Denvermen), Peter Hood (Atlantics) and songwriter Joe Halford about the music of that year.

Midget Farrelly was winning surf contests around the world and teenagers were flocking to the beaches to try the sport for themselves. While Dick Dale, The Beach Boys, The Chantays and The Surfaris were releasing classic singles like Pipeline, Wipeout and Surfin’ Safari in the U.S, a handful of local bands were developing a homegrown soundtrack for the action

The Denvermen – Surfside – HMV Records

The Denvermen formed in 1961 and quickly drew attention around Sydney for their distinctive and polished sound. The band had a family connection to a local music store and so had access to the latest equipment including an Echolette effects unit which quickly set them apart. In 1962 the New Zealand born pop star Johnny Devlin became their manager. Their first single was unsuccessful but their second, Surfside, with its sampled surf SFX throughout was picked up by local DJ’s and hit number one on the Sydney charts in January of 1963.

The Atlantics – Bombora – CBS Records

The band named themselves after a brand of petrol (rather than the ocean) several years before they began developing their surf sound. A bona fide classic, Bombora was their second single and it was produced by Sven Libaek who knew it was a hit the moment he heard it. Oddly enough for a surf track it was released jn the middle of winter 1963. Its success saw it released overseas in countries like Japan, England and South America. It was single of the week in Cashbox magazine upon its release in the U.S.

Stompin’ At Maroubra – Little Pattie – HMV Records

Songwriting team Joe Halford and Jay Justin came up with this hit for Little Pattie at the end of 1963. The Stomp was a dance craze popular at surf clubs and beaches around the country. Johnny Devlin, Jimmy Hannan and Tony Brady were just a few of the stars of the day who released stomp singles in late ’63 and into 1964. The other side of the single was the memorable He’s My Blonde Headed Stompie Wompie Surfer Boy. Pattie was only 14 when the record was released.

[Subscribe to RareCollections here]

Read the original article: http://www.abc.net.au/local/stories/2011/05/04/3207608.htm

Posted on

ABC Radio: Sunday Performer – The Atlantics

Sunday Performer – The Atlantics (15/5/11)

15/05/2011 , 10:58 AM by june cowle

f9af1494351654e9ad9d9f87801447ad_resized California may have had the Beach Boys and Jan and Dean, but back in the day when Surf Music was all the rage, Australia had the Atlantics.

Download the audio file

They split for several years but reformed back in 1999 thanks to guitarist Martin Cilia.

This month, the group released their latest album  “The collectibles”  a collection of  their songs between 1966 and 2010, including a couple of rare recordings.

On Sunday Original Atlantic Drummer, Peter Hood and the boys spoke to Philip Clark about those early days.

Original article: http://blogs.abc.net.au/nsw/2011/05/sunday-performer-the-atlantics-15511.html

Posted on

Legendary Aussie surf rockers The Atlantics return to Coogee

DID you know one of Australia’s surf rock classic songs, Bombora was written by Jim Skiathitis and Peter Hood (from The Atlantics ) in a house that Skiathitis lived in with his parents in Oberon St, Coogee in 1963?

Back to where it started. The Atlantics will play at Coogee Diggers later this month, almost 50 years since writing the classic surf rock anthem 'Bombora' on Oberon St.
Back to where it started. The Atlantics will play at Coogee Diggers later this month, almost 50 years since writing the classic surf rock anthem ‘Bombora’ on Oberon St.

The instrumental Bombora shot to number one for a record eight weeks in 1963 and charted around the world.

In 2000 Bombora was given the accolade of being used in the closing ceremony of the Sydney 2000 Olympic Games.

The band itself had decided to reform only a year earlier with a line-up featuring original members Skiathitis, Hood and Bosco Bosanac along with new guitarist Martin Cilia.

In a strange twist of fate they discovered Cilia lived just around the corner from Oberon St when he wrote The Atlantics comeback album Flight of the Surf Guitar.

The Atlantics journey has now come full circle with the band back in Coogee as part of the tour for the new release, The Collectibles, a memorable collection of songs between 1966 and 2010.

See them at Coogee Diggers on May 28. Bookings coogeediggers.com.au.

Read the original article.

20110510-Southern-Courier-article

Posted on

Manly Daily: 30th October 2009

The old wave – Boatshed sixties’ reunion

news-manlyMusic has long been synonymous with the surfing culture. But like the trends in surfing styles and the lifestyle surrounding it, music styles in the genre have also changed.
For next weekend’s first Festival of Surfing in Manly the evolving beast of surf culture will be revisited and celebrated.

Possibly the most broad representation of this is the three bands over three nights at the Old Manly Boatshed. They’ll be hanging from the rafters like the old days,” organiser Heritage Surf’s Chris Moss joked. The reason it’s at the Old Manly Boatshed is because it brings back together the guys who worked on the Delightful Rain project. So Delightful Rain does the Boatshed”.
It’s on for three nights in a row, beginning on Wednesday with the Celibate Rifles, The Atlantics on Thursday and Tamum Shud on Friday.  The Atlantics are known internationally as a surf band, especially with their massive hit Bombora. In Sydney, it was number one for eight weeks in 1963.” guitarist Martin Cilia said. “Then after a couple of singles the disc jockeys who were playing our songs realised we were Australian and stopped playing our records. They thought we were American. They thought ‘we shouldn’t be playing them because they’re from here’.”
Cilia said he was looking forward to playing in Manly. He could not remember when the Atlantics had played here last but was adamant they had. We’ve noticed a resurgence in the great surf bands over the last four-or-five years.” he said. It’s a fresh sound to young people,. something new.” For the gig on Thursday, Cilia said he is expecting a cross-section of ages in the audience. “Certainly people from the 1960s, but also younger people coming along to check it all out,” he said.

Surfers, especially of the late 1960s-early 1970, will remember Tamum Shud for their inclusion in surf films of the era, such as Abe Falzon’s Morning of the Earth. The band, now based in Queensland, have not played in Sydney for “no one can remember how long”. Tamum Shud guitarist Tim Gaze said the band’s founder wrote music that really tapped into what the young people of the era wanted.  Lindsey Bjerre knew how to write the kind of music pertinent to what was going on at the time,” Gaze said. “Some of the Shed stuff can get a little psychedelic.” Gaze said the four-piece was really looking forward to coming to Sydney to perform.
Written by: Rod Bennett
Picture: Simon Dean

http://manly-daily.whereilive.com.au/lifestyle/story/surf-bands-boatshed-reunion/

manly-daily-cover

manly-daily-article

Posted on

Adelaide Now: David’s mates on crest of a wave

LOCAL businessman David Minear three years ago created a company and a record label called Bombora.

Music producer and surfing enthusiast David Minear.
Music producer and surfing enthusiast David Minear.

Named after a chart-topping Australian surf song from iconic 1960s band The Atlantics, David had little idea where the company would lead.

He certainly did not expect it to lead to Freshwater Surf Life Saving Club on the North Shore of Sydney.

That, however, is where David and music producer Kerryn Tolhurst ended up this year with some of Australian music’s biggest names, including The Atlantics themselves, Richard Clapton and members of Midnight Oil to record an album of great Australian surf songs.

The Atlantics were the first band to sign on to the project, rerecording their hit for the album Delightful Rain.

“Peter Hood the (Atlantics) drummer said, ‘Hey, there’s a lawsuit going to go on here’,” David says.

“But no, they were very happy. They understood my seriousness to the whole thing.”

As a youngster, David grew up on Jetty Rd, learning his surfing basics at Glenelg. The music he says was all just part of the surfing lifestyle.

Many Australian bands have taken their influence from surf music, with Midnight Oil going on from their surf music beginnings to represent Australian rock to the world.

On Delightful Rain drummer Rob Hirst teams up with guitarist Martin Rotsey to record a cover of song Big Wave.

“When I explained the concept to Rob, he was in straight away. Given the timing, that they’ve just been made ARIA Hall of Fame we couldn’t have asked for anything better,” David says.

  Read the original article

Posted on

ABC TV: Studio 22

Studio-22-title

The Atlantics
Thursday 9 March 2000
Presented by Clinton Walker

The seeds of what evolved into the quartet known as The Atlantics were sown in the eastern suburbs of Sydney. Musically The Shadows and The Ventures were the group’s early heroes and this blending of American and British influences provided a foundation on which they built their individual style. Swept up in by the surf sound from the US, the most famous, and biggest, hit by the Atlantics was “Bombora,” a tune still recorded in the `90s by current surf bands.

Musicians:
Bosco Bosanac – Bass
Martin Cilia – Guitar
Peter Hood – Drums
Jim Skiathitis – Guitar

Performed:
Bombora
The Crusher
Fight Of The Surf Guitar
Nightstar
Freakout
Saturday Night
Thunder Down Under

Read the original article: http://www.abc.net.au/tv/studio22/programs/s283033.htm