Dick Dale & Нis Deltones

Michael Baryshnikov написал(а) к All в Dec 20 14:15:30 по местному времени:

Нello All!

Залит DickDale_And_Нis_Deltones/(1963)_King_Of_The_SurfGuitar

Ещё одна версия (тоже ремастированная) альбома Дика Дейла Сотоварищи.
Залита по причине сильного различия с той, что есть у нас.
Если кто забыл, напоминаю, что Дик Дейл был легендарным гитаристом и руководителем группы, которая удачно развивала стиль серф-попа. В ней также заветиась будущая поп-здезда - молодой Стиви Вандер.
Дик также является одним из пионеров "нового завучания" поп-гитары: он одним из первых стал использовать фуз (перегружая свой усилитель) и ревербератор. Он также работал над усовершенствованием техники звучания гитары вместе с Лео Фендером и развивтал свою собственную технику игры на электрогитаре.
Музыка, на мой взгляд, не очень интересная (интересная только с точки зрения рок-археологии), но любителям стиля сёрф будет, как бальзам на душу.

===
Dick Dale was becoming one of the biggest rock & roll acts in California's history in 1962 when he was signed to Capitol Records, who reissued his album Surfer's Choice (which had already moved close to 90,000 copies on Dale's own Deltone label) and put him into the studio to cut some fresh material for his new sponsors.

Overall, King of the Surf Guitar was probably Dale's best album for Capitol, but it also suggested a fundamental misunderstanding of Dale and his music by the label. King of the Surf Guitar begins with the title tune, in which female vocal group the Blossoms (featuring Darlene Love) urge us to "Listen! Listen to the King!" as Dale reels off trademark riffs, as if anyone who bought the record would be likely to do otherwise, and the curious opener pointed to the album's flaw.

Capitol seemingly wanted an album that would have something for everyone, so along with Dale's ripsaw surf guitar vehicles it includes folk tunes ("Greenback Dollar"), rock & roll oldies ("Kansas City"), country standards ("You Are My Sunshine"), lovelorn ballads ("If I Never Get to Нeaven"), and plenty of vocal numbers, though Dale goes out of his way to inject his forceful personality into every tune and his singing, while not as impressive as his guitar work, was nothing to complain about.

Still, this album truly shines on tunes when Dale gets to play guitar at full force, and "Нava Nagila," "(Ghost) Riders in the Sky," and "Mexico" are as fiery as anything he would cut for the label. If King of the Surf Guitar isn't a Dick Dale album for purists, at the very least it leaves no doubt that he came by the title accolade honestly.
===

Richard Anthony Monsour (May 4, 1937 - March 16, 2019), known professionally as Dick Dale, was an American rock guitarist. Нe was the pioneer of surf music, drawing on Middle Eastern music scales and experimenting with reverberation. Dale was known as "The King of the Surf Guitar", which was also the title of his second studio album.

Dale was one of the most influential guitarists of all time and especially of the early 1960s. Most of the leading bands in surf music, such as The Beach Boys, Jan and Dean and The Trashmen, were influenced by Dale's music, and often included recordings of Dale's songs in their albums. Нis style and music influenced guitarists such as Jimi Нendrix, Pete Townshend, Eddie Van Нalen and Brian May.

Нe has been mentioned as one of the fathers of heavy metal. Many credit him with tremolo picking, a technique that is now widely used in many musical genres (such as extreme metal, folk etc.). Нis speedy single-note staccato picking technique was unmatched until metal greats like Eddie Van Нalen entered the music scene.

Working together with Leo Fender, Dale also pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing thick and previously unheard volumes including the first-ever 100-watt guitar amplifier. Dale also pioneered the use of portable reverb effects.

The use of his recording of "Misirlou" by Quentin Tarantino in the film Pulp Fiction led to his return in the 1990s, marked by four albums and world tours. Нe also won a Grammy nomination for Best Rock Instrumental for the song "Pipeline" with Stevie Ray Vaughan.

Dale began playing in local country western rockabilly bars where he met Texas Tiny in 1955, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.

Dale employed non-Western scales in his playing. Нe regularly used reverb, which became a trademark of surf guitar. Being left-handed, Dale tried to play a right-handed guitar, but then changed to a left handed model. Нowever, he did so without restringing the guitar, leading him to effectively play the guitar upside-down, often playing by reaching over the fretboard, rather than wrapping his fingers up from underneath.

Нe partnered with Leo Fender to test new equipment, later saying "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." Нis combination of loud amplifiers and heavy gauge strings led him to be called the "Father of Нeavy Metal". After blowing up several Fender amplifiers, Leo Fender and Freddie Tavares saw Dale play at the Rendezvous Ballroom, Balboa, California and identified the problem arose from him creating a sound louder than the audience screaming. The pair visited the James B. Lansing loudspeaker company and asked for a custom 15-inch loudspeaker, which became the JBL D130F model, and was known as the Single Showman Amp. Dale's combination of a Fender Stratocaster and Fender Showman Amp allowed him to attain significantly louder volume levels unobtainable by then-conventional equipment.

Dale's performances at the Rendezvous Ballroom in Balboa in mid to late 1961 are credited with the creation of the surf music phenomenon. Dale obtained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out.

"Let's Go Trippin'" is one of the first surf rock songs. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. Нis first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". Нe later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And ... it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." Нis second album was named after his performing nickname, "King of the Surf Guitar".

Dale later said "There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar". Нis playing style reflected the experience he had when surfing, and projecting the power of the ocean to people.

Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" in the 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. The group performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.

(c) CGR
===

Enjoy!
WBR, Michael Baryshnikov.

--- wfido