Pointers and background Courtesy of South Beach Magazine
Although their official output at the time was very limited, The Belairs were one of the key bands in the birth of surf music and in their short life span (1960-1963) they spawned an influential musical legacy, paved the way for many other surf bands and their members later on went to play with other famous outfits such as The Standells, Eddie & The Showmen and The Challengers.
Surf City Jan & Dean (1963)
Recognize the high voice in the background? It’s Brian Wilson of the Beach Boys singing along with friends Jan Berry and Dean Torrance on surf music’s national anthem of cars, girls and the eternal summer of youth.
Pipeline The Chantays (1963)
In the mid-sixties, every kid above the age of zero could play Pipeline’s haunting four-note backdrop. Pipeline, along with The Ventures’ Walk Don’t Run and Chuck Berry’s Johnny B. Good, probably inspired more budding guitar players over the next thirty years than any other songs in the history of rock.
OR perhaps you prefer the more athletic version:
And for every Pipeline, there were one hundred Wipeouts
Wipe Out The Surfaris (1962)
Conceived on the spot as a flip-side filler tune for the groups freshly recorded Surfer Joe, Wipe Out is surf music’s most recognizable song. Wipe Out / Surfer Joe went on to become a double-sided national hit –not bad for a group of 15-year olds from Glendora, California. (The cracking sound during the opening was supposed to represent the sound of a surf board smashing into a thousand pieces)
Surfer Girl The Beach Boys (1963)
because Man does not live by surf alone.
Miserlou Dick Dale & The Del-Tones (1962)
If you’ve ever wondered what it’s like to drive a nail through your own head, this tune will give you a general idea. Dick Dale got his start at the Rendezvous Ballroom in Newport Beach, California and the ripping guitar riffs coming out of his Fender amp soon filled the Southern California airwaves with a frenzied new sound that came to be known as surf music. Known for the last forty years as the King of the Surf Guitars, Dick Dale’s hammering Miserlou was most recently used as the title tune for Quentin Tarantinos warped masterpiece, Pulp Fiction. (Leo Fender designed the world famous Fender Dual Showman amp especially for Dick Dale’s live performances at the Rendezvous Ballroom)
In the end, Surf Music’s lasting contribution to America was to wish they all could be California Girls –