Dick Dale And His Del-Tones – Surfers’ Choice (1962)

FrontCover1.jpgGuitarist Dick Dale, whose fast, thunderous sound pioneered the California “surf rock” genre of the early 1960s and gained a new generation of fans decades later through its appearance in “Pulp Fiction,” has died. He was 81.
His former drummer Dusty Watson told CNN that Dale died Saturday night after “having issues related to his heart.”
Dale had a “wet,” reverb-heavy guitar sound that evoked crashing waves and sought to echo the sounds he played in his mind while surfing, according to the Huntington Beach Surfing Walk of Fame. His singular, staccato picking drew upon Middle Eastern music (his father was Lebanese) and influenced the Beach Boys, the Ventures and other surf-rock artists of the era.

His best-known song, 1962’s “Miserlou” (sometimes spelled “Misirlou”), was an adaptation of an early-19th century Middle Eastern instrumental folk tune. In Dale’s hands it became a furious rave-up that packed dance floors — and has had a long life in pop culture.

Quentin Tarantino used it over the opening credits of “Pulp Fiction,” giving the song a new veneer of retro cool, and the Black Eyed Peas sampled it prominently in “Pump It,” their 2006 hit. That same year the song also appeared in a “Guitar Hero” video game.
Dale’s early fame and impact brought him the nickname, “King of the Surf Guitar.”

DickDale01.jpg
“I’m sorry to hear about Dick Dale passing. Dick’s guitar playing was a big influence on all of us, and we covered ‘Misirlou’ on our Surfin’ USA album in ’63,” Beach Boys leader Brian Wilson said on Twitter.
Dale was born Richard Anthony Monsour in Boston but moved to Southern California as a teenager and quickly discovered surfing.
He and his band the Del-Tones began playing weekend gigs in the late 1950s at the Rendezvous Ballroom in the seaside Balboa neighborhood of Newport Beach. He played a Fender Stratocaster guitar and used a customized Fender amp to develop his signature thick sound and ear-shredding volume.

DickDale02

Dale’s “Let’s Go Trippin,'” first played in 1961, is viewed by many as the first-ever surf rock song. His debut album, “Surfers’ Choice,” came out in 1962 and earned him appearances on Ed Sullivan’s show and in “Beach Party,” the 1963 Frankie Avalon-Annette Funicello movie.
Dale’s later career was interrupted repeatedly by health problems. He had recurring battles with rectal cancer and toured into his 80s to help pay his medical bills.
“I want to thank all my music lovers for supporting me these last 3 months with your wonderful heartfelt letters praying for my speedy recovery as I battle this demon that attacks so many other friends and their loved ones,” he wrote on his website in 2008. “For now, no touring for a while.”
But Dale returned to the road and was still performing as recently as December.

DickDale03.jpg

Watson, his former drummer, called Dale “the creator of an entire genre of Southern California indigenous music — not by him, but by his fans who were surfers — a new craze that had taken over the beaches up and down the coast.”
Watson said Dale was a gracious performer who would stay for hours after each show talking to fans and signing autographs. Onstage, he said, Dale was “a true force of nature … delivering a punch that would ricochet off the back wall and punch us all in the chest.” (by CNN)

Single1.jpg

And here´s his debut album … from the early Sixties:

Very few early rock & roll albums were true groundbreakers, but this is one: not only did it single-handedly establish the surf music genre (and Dick Dale’s hegemony over it), but also sold the entire concept to mass America, where surfing in landlocked regions was only a state of mind. Largely recorded at the Rendezvous Ballroom in Balboa Beach — Dale’s ruling home turf, where one can clearly hear the kids screaming in anticipation at the start of “Surf Beat” — this lays out the vocal highlights from Dick’s set list (“Peppermint Man,” “Lovey Dovey,” “Night Owl,” “Fanny Mae,” and “Sloop John B.,” sounding very odd here with overdubbed strings) up against the instrumentals that truly forged the style.

DickDale04.jpg

“Miserlou Twist” — a different version than the original Del-Tone single — and the original, pre-reverb single version of “Let’s Go Trippin'” appear to be the only studio tracks aboard. But the live takes on “Surfing Drums” (later retitled “Tribal Thunder” on one of Dale’s comeback albums), “Take It Off,” “Shake ‘n’ Stomp,” and the lowdown stomp of “Death of a Gremmie” just as clearly delineate the wild, reverbed excitement of the new style in its native habitat. Without a doubt, surf guitar’s finest hour, the genre’s equivalent to Charlie Parker’s Dial recordings. (by Cub Koda)

AlternateFRontCover.jpg

Alternate frontcover

Personnel:
Dick Dale (guitar, vocals, piano)
Bryan Dietz (bass)
Armon Frank (saxophone)
Jack Lake (drums)
Art Munson (guitar)
Nick O’Malley (guitar)
Barry Rillera (saxophone)

BackCover1.jpg

Tracklist:
01. Surf Beat (Dale) 3.01
02. Sloop John B. (Mays/Sandberg) 2.19
03. Take It Off (Dale) 2.11
04. Night Owl (Allen) 2.37
05. Fanny Mae (Brown) 2.38
06. Miserlou Twist (Russell/Wise/Rubanis/Leeds) 4.08
07. Peppermint Man (Willis) 2.25
08. Surfing Drums (Dale) 4.53
09. Shake N’ Stomp (Dale) 2.12
10. Lovey Dovey (Curtis/Ertegun) 3.34
11. Death Of A Gremmie (Dale) 2.48
12. Let’s Go Trippin’ (Dale) 2.12
+
13. Del-Tone Rock (Dale) 2.43
14. Jungle Fever (Dale) 2.17
15. Miserlou (Dale) 2.18
16. Eight Till Midnight (Wayne/Rasch) 2.09
17. Lovin’ On My Brain (Dick Dale solo) (Dale) 2.23
18. A Run For Life (Dick Dale solo) (Dale) 2.08

LabelB1.jpg

*
**

DickDale05.jpg

Dick Dale (May 4, 1937 – March 16, 2019)

Various Artists – Pulp Fiction (OST) (1994)

FrontCover1Music from the Motion Picture Pulp Fiction is the soundtrack to Quentin Tarantino’s 1994 film Pulp Fiction. No traditional film score was commissioned for Pulp Fiction. The film contains a mix of American rock and roll, surf music, pop and soul. The soundtrack is equally untraditional, consisting of nine songs from the movie, four tracks of dialogue snippets followed by a song, and three tracks of dialogue alone. Seven songs featured in the movie were not included in the original 41-minute soundtrack.

The album reached No. 21 on the Billboard 200, while Urge Overkill’s cover of the Neil Diamond song “Girl, You’ll Be a Woman Soon” peaked at No. 59 on the Billboard Hot 100.

Tarantino used an eclectic assortment of songs by various artists. Notable songs include Dick Dale’s now-iconic rendition of “Misirlou”, which is played during the opening credits. Tarantino chose surf music for the basic score of the film because, “it just seems like rock ‘n’ roll Ennio Morricone music, rock ‘n’ roll spaghetti Western music.”

Screenshot2

Many of the songs on the soundtrack were suggested to Tarantino by musician Boyd Rice through their mutual friend Allison Anders, including Dick Dale’s “Misirlou”. Other songs were suggested to Tarantino by his friends Chuck Kelley and Laura Lovelace, who were credited as music consultants. Lovelace also appeared in the film as Laura the waitress.

In addition to the surf-rock rendition of “Misirlou”, other notable songs include “Jungle Boogie” by Kool & the Gang, Dusty Springfield’s version of “Son of a Preacher Man”, “Flowers on the Wall” by the Statler Brothers and “Bustin’ Surfboards” by The Tornadoes, from 1962, which had been one of the first instrumental surf songs to hit the United States music charts after notables such as “Walk–Don’t Run” by the Ventures.

Excerpts of dialogue include Jules’ “Ezekiel 25:17” speech and the “Royale with Cheese” exchange between Jules and Vincent.

Screenshot.jpg

A two-disc collector’s edition of the album was issued in 2002 — the first disc contained the songs, including four additional tracks; and the second disc was a spoken-word interview with Tarantino.

Woody Thorne’s 1961 song “Teenagers in Love” and Link Wray’s 1965 single “Rumble” are two of the three songs missing from the collector’s edition soundtrack. The last song is unique to the movie: it is Ricky Nelson’s “Waitin’ In School” as performed by the actor Gary Shorelle, which plays as Vincent and Mia enter Jackrabbit Slim’s.

Screenshot3.jpg

The soundtrack reached No. 21 on the Billboard 200, and at the time, went platinum (100,000 units) in Canada alone. By November 12, 1994, total sales of more than 1.6 million were reached and by 1996 over 2 million units had been sold. In 1995 the soundtrack reached No. 6 on the charts according to SoundScan.

The soundtrack helped launch the band Urge Overkill, which covered Neil Diamond’s “Girl, You’ll Be a Woman Soon” (produced by Kramer) in 1993, into a mainstream market. Sony “received a nice sum” for “Son of a Preacher Man” and Kool & The Gang enjoyed a resurgence when “Jungle Boogie” was released on the soundtrack.

The Orange County Register described why the soundtrack of Pulp Fiction stood out from all the others: “Unlike so many soundtracks, which just seem to be repositories for stray songs by hit acts regardless of whether they fit the film’s mood, Tarantino’s use of music in Reservoir Dogs and Pulp Fiction exploded with a brash, Technicolor, pop-culture intensity that mirrored the stories he was telling.” Karyn Rachtman was the music supervisor on both Reservoir Dogs and Pulp Fiction.

Booklet-2A.jpg

Analyzing the success of Tarantino’s marketing, Billboard chalked up MCA’s compilation to identifying the market niche: “Pulp Fiction…successfully spoke to those attuned to the hip, stylized nature of those particular films.” The eclectic “mix-and-match strategy” is true to the film. “In some cases, like Pulp Fiction and Reservoir Dogs, which were not geared toward any specific demographic, the soundtracks were still very focused albums,” said Kathy Nelson, senior VP/general manager at MCA Soundtracks. “In both cases, the body of work — both the music and the film — has a specific personality.”[12]

In 1997, Gary Thompson of The Philadelphia Inquirer said that Pulp Fiction “reinvigorated surf rock”. That statement would be defining for Del-Fi Records, owned by legendary producer Bob Keane; the Pulp Fiction soundtrack contained two songs that were originally released on Del-Fi: Bullwinkle Pt II by The Centurions, and Surf Rider by The Lively Ones. Del-Fi Records released a compilation CD in 1995 entitled Pulp Surfin’ featuring songs by those bands plus sixteen other surf tracks from the vaults. The cover artwork was yet another parody of the Pulp Fiction movie poster.

Booklet-4A.jpg

Inspired by the soundtrack, advertisers started to use surf music in their commercials “to help sell everything from burritos to toothpaste”, making surf music hugely popular again.

More than two years after the film was released, the influence and monetary success was still being felt in the industry. “Mundane commercials using Dick Dale ’60s surf licks, the kind made popular again by the Pulp Fiction soundtrack…following a trend — in this case, a two-year-old hit movie.” (by wikipedia)

Screenshot4.jpg

The soundtrack to Quentin Tarantino’s darkly funny crime classic Pulp Fiction manages to re-create the film’s wildly careening sense of style, violence, and humor by concentrating on the surf music that comprises the bulk of the movie’s incidental music and adding a few sexy oldies integral to the film’s story (“Let’s Stay Together,” “Son of a Preacher Man,” “You Never Can Tell”). Of course, the inclusion of dialogue and Urge Overkill’s seductive cover of Neil Diamond’s “Girl, You’ll Be a Woman Soon” doesn’t hurt either. /by Stephen Thomas Erlewine)

Okay, boys and girls, this is trash, but what a wonderful trash !

BackCover1.jpg

Tracklist:
01.1. Amanda Plummer + Tim Roth: Pumpkin And Honey Bunny (dialogue) (Tarantino)
01.2. Dick Dale & His Del-Tones: Misirlou (Wise/Leeds/Roubanis/Russell) 2.30
02. John Travolta + Samuel L. Jackson: No Artist Royale With Cheese (dialogue) (Tarantino) 1.45
03. Kool & The Gang: Jungle Boogie (Smith/Thomas/Boyce/Brown/Westfield/Robert Bell/Mickens/Ronald Bell) 3.07
04. Al Green: Let’s Stay Together (Mitchell/Green/Jackson Jr.) 3.17
05. The Tornadoes: Bustin’ Surfboards (G.Sanders/JSanders/Delaney/N.Sanders) 2.29
06. Ricky Nelson: Lonesome Town (Knight) 2.15
07. Dusty Springfield: Son Of A Preacher Man (Hurley/Wilkins) 2.28
08.1. Bruce Willis + Marie De Medeiros: Zed’s Dead, Baby (dialogue) (Tarantino)
08.2. The Centurians: Bullwinkle Part II  (Rose/Furrow) 2.31
09.1. Rabbit Slims: Twist Contest (dialogue) (Tarantino)
09.2. Chuck Berry: You Never Can Tell (Berry) 3.14
10. Urge Overkill: Girl, You’ll Be A Woman Soon (Diamond) 3.10
11. Maria McKee: If Love Is A Red Dress (Hang Me In Rags) (McKee) 4.57
12.1. Duane Whitaker + Peter Greene: Bring Out The Gimp (dialogue) (Tarantino)
12.2. The Revels: Comanche (Hafner) 2.12
13. The Statler Brothers: Flowers On The Wall (DeWitt) 2.25
14. John Travolta + Samuel L. Jackson: Personality Goes A Long Way (dialogue) (Tarantino) 1.03
15. The Lively Ones: Surf Rider (Wilson/Edwards/Bogle) 3.20
16. Samuel L. Jackson: Ezekiel 25 – 17 (dialogue) (Tarantino) 0.52

CD1.jpg

*
**

Screenshot5.jpg