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| King Of The Surf Guitar: The Best Of Dick Dale & His Del-Tones
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This collection rightly concentrates on Dale's instrumental exploits as the Jimi Hendrix of surf music. Nineteen sixty-one's "Let's Go Trippin'" was the first real surf instrumental, although the pyrotechnic fretwork of later Dale records is largely absent. Those divebomb runs, reverb drenchings, and impossibly quick picking displays materialize on the next single, "Shake & Stomp," then bloom on the revved-up Middle-Eastern standard "Misirlou." Dale's instrumentals generally fell into two camps: standard-progression frat blasts ("Take It Off," "Night Rider," "Mr. Eliminator") and minor-key Middle-Eastern excursions ("The Wedge," the "Pipeline"-esque "Banzai Wipeout," "The Victor," even "Hava Nagila"--which Jewish purists must have regarded as a hora of Babylon), on which his blistering technique was more likely to find its spotlight Some of his best work is found on "King of the Surf Guitar," a Duane Eddy knockoff with great vocals by the Blossoms garnished by lightning flashes of boss guitar. With all the dazzling axe-work on display (also including a beautiful 1987 duet with Stevie Ray Vaughan on the Chantays' unearthly "Pipeline"), the coolest cut here may be the sole vocal, "Mr. Peppermint Man," on which Dale's rasp oozes a concupiscent slime over the murky tale of a lollipop Lothario who "carries a little sign that says, Have some dessert." Frat rock godhead. --Ken Barnes
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| Jan & Dean - Greatest Hits
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| Rock Instrumental Classics, Vol. 5: Surf
List price: $13.96
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Brand: ROCK INSTRUMENTAL CLASSICS
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No Description Available
No Track Information Available
Media Type: CD
Artist: ROCK INSTRUMENTAL CLASSICS
Title: VOL. 5-SURF
Street Release Date: 03/22/1994
Domestic
Genre: OLDIES COLLECTIONS
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| The Ventures Play the Greatest Surfin' Hits of All Time
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Brand: VENTURES
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No Description Available
No Track Information Available
Media Type: CD
Artist: VENTURES
Title: VENTURES PLAY THE GREATEST SUR
Street Release Date: 08/28/2001
Domestic
Genre: OLDIES
If there's irony in the fact that the founding fathers of surf rock the Ventures hail from quarters not exactly renowned as bastions of sun-drenched wave-riding (Portland, Oregon, and Tacoma, Washington), it only stands to reason that their inspirations weren't exactly baggy-clad and bushy-blond-coiffed, either (Les Paul, Chet Atkins, Duane Eddy). But those unlikely roots did indeed spawn a 40-year career for the band as international stars and, more important, instrumental rock's first and foremost preservationists. This album replicates much of the Ventures' longtime tour repertoire, drawing on their own considerable hits ("Walk, Don't Run," "Perfidia," "Hawaii Five-O") as well as covers that range from Richard Rodgers ("Slaughter on 10th Ave.") to prime '60s bands like the Surfaris ("Wipe Out"), Marketts ("Out of Limits"), and Astronauts ("Baja"). All are performed with the verve and solid craftsmanship that has long characterized the band. Longtime fans should note the presence of guitarist Nokie Edwards (the band's most fabled soloist from their heyday) on most of the tracks, as well as Leon Taylor, who ably fills the drum throne of his late father, Mel. Later guitarist Gerry McGee's Nashville-influenced licks are featured on "Five-O" and "Bambora," with former Steely Dan-Doobies fretman Jeff "Skunk" Baxter also taking a solo turn on the latter. While some can't quite measure up to the originals, this collection often succeeds on the band's still-driving momentum and the obvious joy they continue to find in the material. --Jerry McCulley
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| Today/ Summer Days (and Summer Nights)
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Brand: Beach
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Put simply, this is the Beach Boys at their mid-'60s prime. Ironically, the band's greatest evolutionary leap was spurred by its leader, Brian Wilson, who decided to drop out of the band's live performances after a December 1964 nervous breakdown to concentrate on honing the Beach Boys' studio sound. With Wilson's productions gaining a significant new depth and confidence (note the innovative modulations on "Dance, Dance, Dance"), the first half of Today seems a logical, upbeat step forward from its predecessors. But it's the album's second act that steals the show, setting the stage for the triumph of Pet Sounds. Indeed, it's easy to imagine gorgeous, introspective tracks such as "Please Let Me Wonder," "She Knows Me Too Well," and "In the Back of My Mind" intertwined with the best of Sounds. Set against that standard, the follow-up, Summer Days, feels like a step backward, despite the presence of another Wilson world-beater production, "California Girls," and the band's second No. 1 single, "Help Me, Rhonda." Ever pressured by commercial concerns, Wilson and the band created what was in essence the true follow-up to the All Summer Long album. Still, there's a level of musical sophistication to tracks such as "The Girl from New York City," the Phil Spector tribute "Then I Kissed Her," and especially "Girl Don't Tell Me" and "Let Him Run Wild." Reissued (with 24-bit digital remastering) in a long out-of-print twofer edition to mark the band's 40th anniversary and Lifetime Achievement Grammy, this set features several bonus tracks as well as the insightful notes of David Leaf (The Beach Boys and the California Myth). Bonus cuts include the spectacular "The Little Girl I Once Knew" and revealing outtakes of "Dance, Dance, Dance," "I'm So Young," and "Let Him Run Wild," along with a studio version of a song previously only available on the Beach Boys Concert collection, "Graduation Day." --Jerry McCulley
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| Endless Summer
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Brian Wilson's brilliance manifested itself in the euphoric, cheerfully square, sun-and-fun stuff heard here early on, before it got darker and more complicated. Endless Summer runs from the beginning of the Boys' pinstriped career to 1965, right before the melancholy of Pet Sounds, but also includes the inescapable "Good Vibrations." You can hear a few hints of adolescent sadness and fear--"Help Me, Rhonda" is essentially a kids' sing-along about a wrenching emotional rebound, and the shadow of death is hiding somewhere in "Don't Worry, Baby"--but Wilson is mostly concerned with the cars, waves, and girls that made up the Boys' public image, and his ingenious arrangements (coupled with the group's inimitable harmonies) make everything go down as smoothly as lemonade. --Douglas Wolk
Brian Wilson's brilliance manifested itself in the euphoric, cheerfully square, sun-and-fun stuff heard here early on, before it got darker and more complicated. Endless Summer runs from the beginning of the Boys' pinstriped career to 1965, right before the melancholy of Pet Sounds, but also includes the inescapable "Good Vibrations." You can hear a few hints of adolescent sadness and fear--"Help Me, Rhonda" is essentially a kids' sing-along about a wrenching emotional rebound, and the shadow of death is hiding somewhere in "Don't Worry, Baby"--but Wilson is mostly concerned with the cars, waves, and girls that made up the Boys' public image, and his ingenious arrangements (coupled with the group's inimitable harmonies) make everything go down as smoothly as lemonade. --Douglas Wolk
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| Venus on Earth
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"A unique and surprisingly danceable group that combines a beautiful Khmer-language vocalist from Cambodia and a quintet of seasoned locals with a knack for mixing Southeast Asian pop, Vietnam-war-era lounge music, klezmer, ska, surf rock, and Ethiopian jazz." -- SPIN psychedelic. They are world music. They are anything but mainstream. There is virtually no other band in the world playing "Khmer Rock," the style of 1960s Cambodian rock derived from Armed Forces Radio in Southeast Asia during the Vietnam War. Sophomore album Venus On Earth features eleven original songs that expand on the band's sound but will please hardcore fans of both the group and the genre. There is no other band like Dengue Fever, which garners fans in everyone from indie kids to well-heeled world music consumers.
At last, Dengue Fever has made an album that quite nearly matches their incredible live performances. The group began at least as a tribute to the playful yet heavy psychedelic pop scene that flourished in Cambodia before Pol Pot came to power and silenced countless suspected dissidents in that country's infamous killing fields in the mid-1970s. Like the Cambodian pop music that so enamored them, Dengue Fever began by revitalizing strong elements of '60s surf and garage rock in their sound. Over time, they've expanded their influences to Ethiopian funk and modern dance-rock. Once a multi-culti California band with a Cambodian-born singer paying homage to the past, Dengue Fever now plays original, swirling, psychedelic pop. With Western audiences ever more open to hybrid sounds, it will be a huge surprise if Venus on Earth doesn't allow Dengue Fever to quit their day jobs for good, especially after the film about their trip to Cambodia, Sleepwalking through the Mekong, hits the festival circuit in 2008. --Mike McGonigal
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| The Complete Liberty Singles
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Brand: Jan
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A big part of our job here at Collectors' Choice Music is to survey the pop music landscape (or in this case, seascape) for artists whose collections don't really do them justice, and we think there's a strong case to be made that Jan & Dean are at the head of the line. Sure, their classic Liberty recordings have been anthologized, but never comprehensively, and almost always in re-mixed stereo, NOT in their original mono. Well, not this time. We've gone back to the original mono single tapes of EVERY one of Jan & Dean's Liberty singles, both their A and B-sides, then checked and checked again to make sure they were the RIGHT tapes, to bring you the ORIGINAL MONO SINGLE VERSIONS of these songs, exactly as they were released and exactly as they sounded when they climbed the charts and blared out of your Woody's car radio. The package includes extensive liner notes by Ed Osborne and David Beard featuring interviews with those close to the action, like engineer/producer Bones Howe, Jan Berry friend/co-writer Don Altfeld and Dean Torrence himself, plus photos of Jan and Dean and shots of some of the single's label and jacket art.
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| Escape from Dragon House
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"If you can imagine a band where a Cambodian beauty queen shares the stage with Rasputin, Barry White, Allen Ginsberg, Michael Hutchence, and Brian Wilson, you'd have a pretty good idea of the group Dengue Fever." -- L.A. TIMES "Her voice is swathed in reverb, becoming instantly mythic." -- THE WIRE "The culture clash inherent to this band gives its debut a dynamic flair." -- TIME OUT NEW YORK "Dengue Fever is at the vanguard of an emerging global pop sensibility, making familiar yet eerily unique music." -- KEXP Fronted by Cambodian pop star Ch'hom Nimol, who sings in Khmer, Los Angeles sextet Dengue Fever blends the rhythms of sixties Cambodian pop--heavily influenced by American surf, rock, and early psychedelic garage bands--with their own eclectic mix of American and international styles. Unlike the world music bands of the late eighties, Dengue Fever is more concerned with a universal groove and breaking down musical barriers than with notions of authenticity. There are echoes of Bollywood soundtracks, Ethiopian soul, American R&B, Cambodian folk, Spaghetti Western weirdness, and girl-group angst in the mix, but the resulting concoction is the band's own. On Escape from Dragon House, the sound is denser, thicker, and richer than on the group's 2003 self-titled debut. Escape from Dragon House is also darker, both musically and lyrically, with a fully realized style that melts all of the band's influences into one realized voice that is pure Dengue Fever.
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| All Time Greatest Hits
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A budget-priced 12-track collection of the Ventures' greatest hits. All original recordings.
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