tF4A - The Mermen
Transcription
tF4A - The Mermen
i' I h*_* *4. ,, .F\ t o\ 9, in\ / n) , /t,{ ,.! ,"r(j ./{ ' lt ,{ 4 .a Uq 7/ )/ {} { I," I I I i I I S. ',\ \ tF4A, / R .z.. '\ n- F C} l ^:) rft (t %# Jl .f ; fih tilill * i h I $y Shred.Amped.Bitchin'.Dork.Dude.Dweeb.Gnorly.Rod.Theslongof SouthernColifornio ond Volley surfersof the eorly '6Osstillechoesthroughthe speechof everyslocker,rocker,indie o similor kid born o decodeor so ofterthot holcyonero. The lexiconof surf guiior hos survived mid '90s timeworp, riding o longwove from its loie-'Sosoriginsond breokingoncemorein the still More thon 30 yeorsofter its first big fode, the primol tonesond ottitudesof surf guitor lremont I}avid lillu$rftitn: i'i 69 Pl'AYtR t996GUIIAR StPItilBER rr $*l v I t: |$ hold our fascination. Guitar-fueled instrumental rock and roll was all over the radio dial in the late '50s.Pioneers such as the Ventures,Duane Eddy,Link Wray, Iohnny & the Hurricanesand the Fireballs-not to mention hundreds of lesssuccessfulbands from everycomer of the counuy-were por-Lnding out ferociousnew music that replacedlead vocals with lead guitar. Dick Dale & the Del-Tonescarried that spirit into the early'60s.Dale'sguitar sound, enhanced by Fender's new reverb unit, sparked a new genre:surf music. By the time the Surfaris'"Wpe Out" and the Chantays'"Pipeline"becamenational hits in late '62, surf music had exploded, first in SouthernCdliforniaand then acrossthe country. Although surf's popularitywaned after the British In'"asion,the music nevercompletely disappeared.Aspects of the sound worked their way into the fabric of American pop music. In the early'B0sbands such asJon & the Nightriders,the Surf Raidersand the Raybeatsled a brief surf revival.And now a new instrumental rock renaissanceis underway, with scoresofbands playing reverb-drenched surf tunes. I'ir/hydo insffumental rock in general and surf irsnrrmentals in particular remain so seductive after a third of a century? \Alhatarethe genre'sessentialtools, techniquesand lricks?How can sucha retrominded genrecontinue to evolve?We convened a stellar instrumental rock roundtable to answer these questions. Dick Dale forged the original surf sound' He worked with Leo Fender to develop the Dual Showman amp and the Fender reverb. Dale, alongwith Buddy Holly and Gene'Vincent,was central in popularizing the Stratocaster'For the leavlast severalyearshe has toured extensive.ly, ing fans and critics breathless.Dale categorizes his current sound as "Dick Rock."His latestCD Banquet]. is CaIIingup Spirits [Beggar's IimThomas is lead guitaristfor the Mermen, I996 STPTTMBTR P]AYER 7 o GUITAR When wos "surfmusic"creoted?lt wosn'fin the '60s, whenthe first"surf music"recordswere releosed.Theociuol songswere being creotedond os eorlyos,themid-'l950s.And the wet, sploshy ployedto liveoudiences soundof Fenderreverbhod nothingto do with creotingihe "surf sound'" lt wos onlv loter thot reverbond surf musicbecomesynonymous' Thereverbcomeoboutofter I exploinedto LeoFenderond FreddyTovores his number-onemon,thot I didn't hoveo noturolvibrotoin my voice,ond thot m1 live showwos 95% singingond thot my guitor ployedthe leodswhile I song' lwonted to susioinmyvoicelikeo piono sustoinpedol.ltold Leothot I hod o Hommond orgon ot home,ond it hod o buttonthot gove you o reverbsound.Leobuilt o devicethot hod o HommondOrgon Componyspringtonk mountedinside,ond when I pluggedo Shure into it, I wos oble to singond soundlike Elvis.Thotwos the Dynomicbirdcogemicrophone birth of ihe Fenderreverb. into the reverbond ployedsomeof my instrumenLoler,when I pluggedmy Strotocoster tols(ot showsin the SouthBoyond OrongeCountyoreos,wherethe Coliforniosurfscene took off), it wos the icing on the coke.Only fhen did my Fenderreverbsoundbecomeossoc DALE -DlcK otedwith surf music. From Rhino'sCowobungo surfCD compilotion.Reprintedby permission' PHOTO: IAY BLAKESBE t I luff i first"surf Co n d sploshy sound."lt r Tovores, rd thot my c mmo no e t ho t o Shure vos the ttrument scene n e o s so c i)ALE ian Francisco'sinnovative and critically ac:laimed progressiverock instrumental trio. lhomas, who usesheavily modified Statocasterc "nd a woody load of outboard effects,declines :r categorizethe Mermen'ssound exceptto say rat it's rooted in surf with lots of other influ=nces.Their latest album is Song r)f the Cows \Iesa/Blue Moonl. Formerly amember of influential'80s instrurentalists the Raybeats,DannyArnis is founder :-ndco-lead guitarist of Los Straitjackets.The \fexlcan rrurestlingmasks the band wears on.ragebelie their traditional approach to driv:ng rock instrumentals with strong neiodies and minimal effects.Their :nrrent releaseis ;I'4uaIns Straitiack:rs/ lUpstart/ Rounderl. Mikko Lankinen is lead gui-:rist for Finland's laika & the Cos:nonauts, a group finally achieving ',ridespreadrecognition after eight ',earstogether.The Cosmonautsde j.* <ribe themselvesaspurveyorsof "surfi;::. rriented guitar and organ spaceinstrunentals for the '90s."The recently released ZeroGrauity compilation [Upstart/ Rounder] feailes some of their choicest cuts. DonWilson is rhlthm gritarist and a founder .rfthe mosr influential,prolific and dor,tmright -egendaryinstrumental rock band of all time, rheVentures.Often refened to asa "surf band," tre innovative combo actually embraced many sryles,as superbly evidenced on EMI's twofer reissueof lhe Venturesin SpacelTheVentures PIay Tblstar-The Lonely Bull-and Others. Ih4ryare surf music and instrumental rock popular again? Amis: A better questionis why hasnt it been popular all along?Alot ofthe record-buyingpub[c doesrlt rememberwhen instrumenta]swere on the radio all the time. It's refreshingfor a lot of people. Listening to music without lyrics is a different way to listen to music. You can really appreciate the beauty of a melody when you aren't distracted by lyrics. Lankinen: Thesethings tend to go in rycles. Maybepeople aregetting bored with thoseheary metal sounds, and they d like to hear different tonesand melodiesagain. Wilson: Youngpeople are startingto realize rvhat good music that was! Da-le:Peopleshould give Dick Dale his fulI deservedcredit and say,"Yes,it's coming back becauseyou startedit." Four yearsago Dick Dale put out a surf albtm, Tribal Thunder, that became#l on KUSESanFrancisco,the altemative grunge rock station, the largestcollegestation going.NeedI saymore? Is surf guitar an outletfor seriausself-expression or just plain fun? * : , $t$'$ffi r lil$.trhfir l, +i:i:u Wk*L' ..i.ii'i' i.;ltl,:' thenyou're not ploying surf m u s i c - t ow h i c hI s o y : 1 ) b u l l - Shodows.Priorto the Beotles' rise,the Shodows'influence shit,ond 2) who wontsto limit to one tiny,olbeit themselves in Britoinwos so pervosive lmogit'solmostincolculoble. cool,genrein the firstploce? Thotsoid,if surfis o less thon spociousghetto,then "spoce"ond "spy" ore even When Guitor Ployer oskedme fo compilemy ",l5 GreotestMomentsin InRock,"I wos exstrumentol tremelyflotiered.After oll, betweenmy two CDs,l'd only releosed25 songsin oll. Thenthe stoffexploinedthot lhey were tolkingobout the Momentsin the 'l5 Greotest historyof instrumentolrock (specificolly surf,spoceond spy guitor).I wos o littleiess flottered,but flotteredoll the teenier;in foct,l'm not sureo few evocotivesongshere ond ine if the Ventureswere nol only the top rockcomboin Americo,but virtuollythe only onel This I 960 movie Honk B. themespotlights ihere,usuollywith less-thono subtletitles,constitute Morvin'songulorbut melodic linesond cleon,roundtone. 3 . " M i s e r l o u ,"D i ckD o l e . genreot oll. I've got o cool colled"Downhill insirumenlol Ihis 1962 clossicis oll Dick Dolewill everneedto bock Run"on on EPby ihe Shoutless,but I wouldn'thold it up up his brovodo-ond ensure his siolusos o irue originol. os the down of "ski" guitor. But,ironyof ironies,our ros- os uniqueo stylistos Merle Trovisor DjongoReinhordl. ter kicksoff with o cut thot both predoiesond declores He cloimsthe sessionpredoted.theFenderreverbunit's itself"spoce"guitor. orrivol;surfouthorityJohn Bloirsoysno woy; you listen some.Hopefullymy pickswill While the ployingon my choicesrongesfrom the eco- lurn you on to o few things you hoven'theord,ond your nomicolto the pyrotechnic, it's cleor thot sometimesthe own excovotingwill dredge up otherworlhygems. ore the simpleststotements w i t h s e l e cl i o n4s,7 o n d 9 , oppeor on Rhino'sCowobun- mostenduring. go! lhe Surfbox. (ond try re-creoting it sons tonk)ond decide.This,olong Surfmusicis certoinlynot with o guitorinsirumentol 1. "SpoceGuitor,"Young JohnWotson.A bluesshuffle sound with oheod-of-its-time slightretroelementond o touchof reverbis deemed effects,fhis I 954 Federolsingle by the loteJohnny"Gui- "surf."Butit'solsonot os nor- tor" Wotson(reissuedon the Chorly R&BCD I Heard os brood o cotegoryos mony defineit iodoy,whereony row os its postond present "King" would ho,reus believe. Ihot!) findsZoppo'sfovorite DickDoleorgueslhot unless pickertossingoff wigged-out slips,slidesond eventhe you'reployingo certoinmodel of guitor (evenspecifying stringgouges)througho certoin omp (nomely,his setup), Drogneffheme,with fhe mosi tone ever. drenched-in-reverb 2. "Mon of Mystern" the 4. "Pipeline,"the Chontoys.BrionCormont reverbed Continuedon Page73 PLAYtR7 I r996 GUITAR SEPTIMBIR LA KESBERG I lr n 1, T '3 a iI K c C :l t$fir -r i: Lankjnen: It's notjrst fun, at leastfor Laika & the Cosmonauts.We arevery seriousabout our music, though we try to have fun with it. Thomas: It's definitely a seriousoutlet. I dont consider myself a great player, but what I do seemsto causean emotionalresponseftom audiences. Dale: Music has alwaysbeen an extension of my feelings.My music is a completeoutlet of fiustration, anger,pain, sadness,unhappiness at what this country is doing to our children and our families. -]:' h .-r'- * 1i l rE.il' r996 PIAYER SIPTIMBER 7 2 GUITAR PI-IOTOS: MERMEN-NATHANIEL WELCH; LAIKA-ARTO FORSBLCI I # E Wilson: Peoplealwaystell me you look like inute having so much fun and the truth is, I am. There'sso much music today that purports to be seriouslyexpressive,but it's so negativeand angry like rap music or gangstarock. Amis: Playingthis snrffis a filn way to get my kicks,but it's still a serious expression.There's ,definitelya lot of emotion in what we do. The challengeof evoking emotion byplaying instrumental music is a kick in itself. Is too much technicalahilily a disaduantage? Wilson: It depends.Alot of people can't do rhat glissando in "Pipeline." Amis: Doing Dick Dale-styledouble picking is a real workout! It takes practice. Wilson: But too much technical ability does detract from the style.Ifyou have lots oftechnique but dont have the feel,you'rejust showing off Look at Duane Eddy.I dont think he was a technical giant, but he had a sound and a feel and style. Lankinen: You'vegot to have good songs.In everyverseyou have to create something different becausethere are no words, and you're playing the same melody. It's not so easy.But technical equipment and ability are just tools. Dale: There are many people who have the tools,but not the soul. IA/hois your fauorite guitarist? Amis: Hank Marwnlof England'sShadows) is my favorite "unknorryn" guitarist-unknovm in this country at least.EddieBertrand ofEddie & the Shovrmenwas great-their recording of "SquadCar" is one of my ail-time favorite surf instrumentals. I've also alwaysbeen very fond of Bob Demmon's work with the Astronauts. Thomas: Clarence\.ry'hite.I tried to get everything he ever played on-every Kentucky Colonelsrecord, everyByrdsrecord. GeneParsijns and Nokie Edwards are two others I greatly admire.And I reallylikeWes Montgomery Jimi Hendrix and the improvisational stuff Clapton played with Cream. Wilson: I havea lot of sentimentalfavorites: Duane Eddy,ChetAtkins, LesPaul,DannyGatton and certainly Dick Dale. Dale: LesPaul first ofall. But everytody plays something admirable when they play from their heartandsoul.Segovia, B.B.King,RobbenFord, JamesBurton, Gary Hoey, SteveVai, John Lee Hooker, Eric Clapton. Lankinen: My favorite is, of course, Dick Dale. How did surfguitar influence the euolution of electricguitar? Wilson: Reverb started being used in surf music and was later used,mavbe to a lesserdegree,by almost every band Amis: I think it was much like the garage bands of the '60s and the punk rockers in the '70s-people who didnt have a lot of years of playingmusicbehindthem butwere ableto pull it off becausetheir passion made up for their i ff i i,. sloccotorhythmoll but drownsout BobSpickord's leod (ond the eleclricpiono), ond the drumsore neorlyin- for RCAin 1963 (now on o .l I I beqr romily Moter LU,/ bene-^ r fiting from engineerAl Schmitt (loterto recordJeffersonAir- oudible,but thisnever-to-be- ploneond others)ond thisditimproved-upon impressionis- ty by composerHenryMonci,l963 tic mosterpiece from is, ni. Listento Jozzmoster slinger for my money,the greotest RichFifield& Co. tocklesome 2:,l8 in rockond roll history. 5. "PointPonic,"the Sur- merelyfiller on onothergim,l966 mickyVenturesLPfrom (thehord-to-fin d Botman ThemeLPl,but Nokie Edwords'sleqd work ond the consummole combo'sflexibility shine.lf there'ssucho thing os "spy guitor,"this is it. iozzy syncopoiions. I l. "Mr. Moto," the 7. "LonelySurfer,"Jock Wedge. By now the surf Niizsche.In '63 PhilSpeclor's cognoscenliore wondering orronginggeniushoppedon- where this Beloirsclossicfrom boord the surfcrozewith this l 9 6 l i s h i d i n g .We l l , o f th e epic moodpiece,utilizing dozensof coverversionsof stringsond Frenchhorns. the regionolsingle,lhis non- Usuolsuspects GlennComp- purist|980 toke(distorted bell ond TommyTedescohon- leod, beefybossline, heoviry dled rhythmguitors,but ihe leodwos mostlikely6-string reorronged)by the shortlived Wedge (FredGrobert, bossspeciolist BillPitmon. leod) is my fovorite. 8. "Oui of Limits,"the 12. "LonkyBones,"the foris.lf you hod to hold up Morketts.ProducerJoe Soro- Pockords. TheBeloirs'Poul one song ond soy, "Thisis cenoenlisbd L.A.'s"wrecking Johnson,who composed"Mr. s ur fm u s i c , "t h i s 1 9 6 3 s i d e crew" of studiopros to essen- Molo" ot oge 15, become would be o strongcontender. The l2- b o r i o m i s o l m o s t tiolly poseos teenogebonds one of ihe leodinglightsof thot didn'i yet exist-some- the surfrevivolwith o killer generic,but the melodyond timeswith fonlosticresults. (noturolly) TommyTedesco side, not yet reissuedon CD), Jim Fuller'sleod ore coichy- I 980 LP,Proy for Surf(Surf- not to mentionthe croshing hondledleodon this 1963 hir, wovesond spookycockle olong with "Let'sGo" (the opening.(On Rhino'sLegends Routers), "No MotterWhot of Guitor-Surf .l Shope"{theT-Bones), etc.,etc. 9. "Penetrotion,"the Pyro- ond subsequent surf/gospel proiects.He [irstcut thisthunderingoriginolon 1964's Sidewolk Surfin' by the Good Guys, loter releosedunder mids.Everyothertrockthis shoved-heod quintelevercut ' wos prettylome,but Torone brief moment(borelytwo minutes)in 1964,lheytronscendedtheirlimitotions ond loid down o melodyond otmosphere olmostos memorobleos "Pipeline."Skip Mercierhondledleod ond 6. "BonzoiPipeline,"the Astronouts.Beforerevertingto their bor bond roots,these Colorodonsrecordedfhe sterlor Surfin'with the Astronouts rhythmbecousesecondguitoristWilly Gloverwos reportedlyout gettinghot dogs. 10. "007-1,l,"theVentures.Thisgrouporiginolwos the Chollengers' nome. 13. "Seorching," the Roybeots.Thisground-breoking Continuedon page75 SIPTEIilBtR r996 cUITAR PTAYER 73 I i il fiim page 73 New Yorkcombodoesn'tgel the credit it deserves,buf combiningsurf,R&B,ovontgordeond donceclub sens,- lack oftechnique. DaIe:Youguysneed to remember that Dick Dale is the father of loud. BeforeDick Dale came along,everybodywaslimited to the electronics of the '50s.Dick Dalewas the guywho changed it. He was the first power player in the world. Therewas no one on this earth who had what Dick Dale created. Lankinen: Certainly Dick Dale was the first one who played loud rock music with his 100rvatt amplifiers. He createdloud rock and roil! Is therea definitiue surf album? Thomas: Probably King of the Surf Guitar, the Rhino RecordsDick Dale anthology.That,s a greatoverviewnot only of Dick'scareerbut of surf guitar in general. Amis: The Astronauts' first album, Sarfn,. it pretty much defined the surf sound.The songs were beautifully written and recorded with tons of reverb. Lankinen: I don't know if it's considered a surf album, but the most influential for me was The Venturesin Space. Wilson: The Surfaris' Wipe Out and the Chantays'Pipeline. . Dale: Probablyone of my last three albums, becausethey've been the best of my life. IA/hatare the bestampsfor surf? Lankinen: We are using '70sFender silverfaceTWinReverbs.They are reliable workhorses. Amis: IVe just neverbeen ashappywith the sound I've gotten from any amp asI havewith the vintage Fenders.The Dual Shorr.rnanwith an outboard tank reverbis the classicsetup for pure surfsound. The TWinReverbis also quite good. I've found that I really like the sound of the Celestion vintage reissuespeakers.I have a 12" in myTWin and a 10" in myVibrolux. Wilson: I onlyknowwhat I use.The Fender amplifiers in the '60swere certainly adequate. I've used Shou,rnanand Concert amps, aswell asa Sunn.I use anAmpeg head now. I turn the reverb completely offwhen I'm playing rhythm. The only time I use reverb is when wete playing "Pipeline," "Diamond Head," "Walk Dont Run '64" or anything that requires that popping his 1987 self-titled Copito comebock(olsofoundon Rhino'slwong lhong). 1 5 . " F l o o t i n g , L" o i k o& tune'sfoster,possiblycooler versionof the some(nowon on AVI RoreSurfvolumewith roritiesby the equollycool bilities,theywere pivotolin the '80s instrumentol revivor. the Cosmonouts. Fourof the t o p m u s i c i o nisn F i n l o n d( o r This I 981 lrock (Guitor Beot onywhere),the Cosmonours "Blue'sTheme,""Lotin'io"oy combinebreokneckenergy the Sentinols, Jim Messino w i t h s k i l l f uw l r i t i n g ,l i k e t h i s (yes,thotJim Messino)& His i994 gem from TheAmazJesiers'"TheJester,"drum ing ColossolEond (Upstort) legendSondyNelson's"Cosby leod guitoris!Mikkb boh" (writtenond ployed by Lonkinen,the HonkMorvin guitoristRichiePodoler), ond on Englond's Don'tFollOff the Mountoinlobel,reissued in U.S.on PVC/Possport) feoturesPotlrwin's sox,-buf checkout.JodyHorris's joggedguitortwists. JohnnyBorokot),DovieAhon & fhe Arrows' fuzzed-oul' of the '90s. Nor limir;ng themselves to "surf" or "spoce" or "spy," they've fhe only threeinstrumentols ever woxed by the FenderlV: updgted instrumentolrock Up" ond "MolibuRun,"feoturingfutureBlueCheerguitoristRondyHolden.Not withoutbostordizingit or picklingit in formoldehyde. "Mor Goyo," "Everybody quite in the revivolcotegory, Obviouslytryingto limit something thisneorond deor to my heortto o mere l5 three recenttunesfrom odo sourcesdeservemention: "Surfin'& Spyin"'by the 14. "fhe Trembler,"Duone Eddy.Any tune credited fovesis excruciotingly difficull, so beforethey pull the Go-Go's,the ToilGqtors' to Shonkor(os in Rovi)ono plug on nie, here ore some "Swomp'sUp" ond Webb Wilder's "Ruff Rider." Eddy(os in Duone),with eerie slidecourtesyof honoroblementions: the twoguitors-only psychoriffingof ihe Fendermen's "Iorlure," "TheHeorse"by Al Cosey, And while you're record hunting, checkout Teisco Del Rey'sfwo CDs,The George Horrison,hos to be intriguing.Thoughhe predotedony ond oll subgenres, "Boss"by tlre Rumblers,Jet the mon who put the rock Horris's6-stringbosson "Diguitorinstrumentol on ihe omonds,"the LivelyOnes' mop recloimedhis throneon "Surf Rider,"JohnnyFor- rhythm. Dale: I really believe that vintage equipment is better than modern gear.you need the 100watt amps, like the Dual Shovrmanthat peaks at lB0watts,pumpingthroughtwo 15"D-130F Lansing speakers.Anyttring out there today cant capturethat sound.Eventhe newreplacements for those speakerssuck. IVe got two, and I use them for boat anchors. I buy up every D- 130F I can find. Then I put the Dick Dale kit in. The kit is thankfully srill avaitablefrom JBL,bur it's very expensive-about gl50 each. The "Dick Dale kit"? Mony Moodsof TeiscoDel Rey ond TeiscoDel Rey PloysMusic for Lovers/both on Upstort). tt Dale: It allows me to modi4rthe speakersto Dick DaIe and Fender specifications.There,sa larger magnet, a largervoice coil, thicker wires so theyworlt burn up, an aluminum dust cover and a rubberized front rim. Youreally need those vintage speakers,though. Is a Fenderguitar a giuen? Wlson: I dont think so.Onceyou master the sound you want, you can get it on just abodt any guitar. I mean, Duane Eddyplayed a Gretsch. Thomas: It's not necessaryto use Fenderguitars or amps, but they seem to have the tones and electronics to getrhe soundeasily.There StPTtIilBIR r996 GUtTAtptAytR7 5 P.Sl fihrf $tl I is a certain kind ofsound that you get trom an old FenderJaguar orJzzmaster going through a Shov,rnanor Bassmanamp, a really good Fenderreverbunit,and old JBLspeakers-it's like an old hot rod. You cant match it with any new gear. Amis: Youdon'I reallyn eedFenderguitais. although I prefer the ]azzmastetbecauseI can get all the tones I want with it. Lankinen:I don'tthink Fenderguitarsand ampsare particularlynecessary,though I happen to prefer mY'64Jazzmaster' Dale:You certainlydo need to play Fenders! For the parlicularsound you want-punch, power,a driving force of true rock and roll-then vou've got to play a Stratocaster.If there was somethingbetter out there,I d be playing it. That ,:i:{l:,*i: .":'.::,?: ii.ii ,,:'Si: r:'$j:: l;ii ,,tfi:, :]iil' :':iilii: .'r#: ,,,' i;i: '.;ai: j{- r;il: iir r,,iiijl ;s: ':.:4,:, .iiti ,tr: .,,$ :l*i: .tid:: i:iii:l rifi i.r:fi:: *i!l PHOTOS: VENTURES-GEMS/ REDFERNS/RgTNA; I,OS STRAIT]ACKETS-I]M HACANS PIAYER 77 ttPItllBER tlg6 GUITAR &hI 0n I l0 doesntmean that there'ssomethingwrongwith all the other guitars. They are made for what they are made for. How about reuerb?Is uinmgeFenderthe only option? Thomas: I alwayslook at setups holistically. It has to do with using all the gear togetherto get a certain sound. I've tried out a lot of differenttypesofreverbs:the one from Matchless, various spring reverbs,severaltransistorized spring reverbs.I now have a couple ofthe new six-tube SoldanoSurf Boxes.I'm overdriving the box with a Vox preamp, and it sounds amazing. I do believethat the Fenderreverbsare the definitive onesfor surl but I dont usethem since I playwith a lot of distortion and feedback.I cant get those effectswith the standardFenderreverb becauseit's a front-end devicebetweenthe zuitar and amp. Wilson: For me, it's not necessaryto have an outboard Fenderreverb.I havent tried digital reverb yet. Dale: I still use a Fender reverb,but I cant wait to leam how to use digital reverb.I just love electronicsof any sort. Amis: Digital reverb doesn't work for surf music like an old tube reverb does. The new Fenderreissuereverbsare actuallypretty njce. I\hat about Fender'sreissueamps and guitars? Amis: The reissueamps sound good but dont seemto last aslong asthe vintage amps.Mntage Fenderampshavea much nicer,warmertone. Someof the newer amps,like the onesby Matchless,sound wonderfrrl, but theyte so expensive. I think most of the reissueguitarsarepretty good. The Stratsarefabulous, but the reissueIazzmaster needswork. IVe found that the pickups they put in them are a little too harsh.I prefer using the Sel.rnourDuncan vintage-styleJazzmaster pickups.It alsoseemslike the neck and the hardware of thelazzmaster reissuesarent quite built to take the heavier-gaugestringsthat the older oneswere designedfor. I had to put some clear fingemail polish on eachof the set screwson the bridge to keep the saddlesfrom sinking dov,n due to the pressureof the hear,y-gaugestrings. It worked fine. You can always push an Allen wrench dor,nninto the set screwto break the lacquer ifyou need to adjust one ofthe bridges.If you ever need to take the lacquer off, just use some fingernail polish remover. Dale: Fender has made the Dick Dale signature Stratocaster,which is an exact copy of what I'm playing. Still, unlessyou've got certain pickups to find that particular sound, everything is custom. Wilson: I honestly dont know that much about guitars or amplifiers. All I knowis to plug in a guitar and flog it. Any outboard effects? Thomas: I'm usingatqxicon reverb, tube reverb,an Echoplex,and a DigiTech8000delay, though IVe only used delay on two songsthat we recorded.My effectsaremostly just feedback and reverb. Amis: An MXR Dynacomp compressor to keep myvolume levelsconsistent.The older Dynacomps with script writing on them dorit seem to cut out a lot of the high end like the newer ones do. Larkinen: A delay and a preamp. The delay and amp reverb are on all the time. The preamp boostssolosand addsa little bit of compression. Wilson: Chorus-but only very sparingly, For the faithful reproduction of sound, choose Barcus-Berry.For more than 30 years,BarcusBerry has beenthe leaderin acousticpickup technology.No matter what acousticinstrument you play,there'sa Barcus-Berrvpickup for you. From the delicateto the thunderous,pick up the full musicalrangewith integrity.Barcus-Berry pickups attachquickly and easilyand maintain the visual integrity of your instrument. Available for: . Wind instruments . String instruments . Acousticguitars ' DobroSbanjo, mandolin . Pianos Find out more at your Barcus-Berrydealer. 5381ProductionDriye, Huntington Beach,CA 92649 Phone/714-897-6766.Fu/711 896-0736 1996 Z8 G U I T API I A Y I RS E PIIfiT BIR P, BI and onlywhen I'm playing a slow ballad. Dale: Except for reverb, no outboard effects at all. I dont believe in any of that stuff because when you push buttons to switch from one effect to another, you either lose the volume or something else.I've always created effectswith my hands. I\lhat's your dream rig? Amis: Exactlywhat I'm playing now: a'62 Iazzmasterand a '64 Vibrohx. Lankinen: AII I really need is a loud, clean, reliable tube amp with reverb andvibrato. I like to keep it very simple. Dale: Exactlywhat I have nowwith an identical one to back it up. I d love to have four more Dual Showman heads. kw kwM & Heod of 9uitor',,,' Thomas: Ten guitars, all tuned differently. They can be Strats,whatever. At least one of them should be a l2-string. Id alsohave the best digital reverb that Lexicon makes and the best amplifiers around. The last thing I'd love to have wOuld be motors on all myvolume potentiometers controlled by a microprocessor in a foot pedal that I could move sidewaysto control the master amp output and up and down to control the preamp. Do you needheauystrings? Wilson: I think so. I get a real thin sound if I dont. I usegauges.011through.050.In the '60s I used a .052.I use a medium or a heavy pick, dependingon what I'm playing. Thomas: To play what I play,yes.My picks are on the healy side too. Amis: Yes,to get the rich tone it's important to use heavy-gaugestrings.I use Gibsons,.0ll to.048. Lankinen: We use GHS Boomers gauged .0I2to .052.I use a very thin pick. Dale: The Dick Dale sound is achievedonly by using a Stratocasterguitar with gauges.016, .018,.020,.038,.048and.05Bto .060and aheavy pick. D oes downp icking predominate ? Wilson: I used to use a lot of downpicking. Now it depends on what I'm playing. "Bulldog," forexample, is alldovrnpicking. Soisthe rhythm to "Walk Dont Run." Most of the time I emphasizethe downstroke.I may come back up on the strum, but I emphasize the down. Amis: I guessI playmostlywith dovr,nstrokes except, of course,when I'm double-picking. Iankinen: I play mostly down and up. Sometimes I play rhythm just up, like when we are playing a ska beat. Dale The rhythm of the notes is important. It's called syncopation.Without it, the rhlthm of the notesbecomestoo mundane.Evenwhen I'm playing all dovmstrokes,I always tryto vary the syrrcopation. Thomas: I use all myfingers. I double-pick a lot, and I use my other three fingers quite a bit. Not much dov,mpicking,though. IAlhat'sthe trick to palm muting? Amis: It's pretty self-explanatoryYoulayyour palm on the bridge in a position that allows you to keep the tone and then just pick the strings. Nothing too magical. Dale: There are a couple of ways to mute the strings.One way is to placeyour hand lightly over the strings next to the bridge where you are picking. The other way is to use your noteplaying hand and bounce your finger offthe string, then bring your finger back to the sting before the string can vibrate. You mute it with ybur flngertips while you attack the string. It's difficult, Iike rubbing your head and stomach at the same time. Is high action essential? Dale: Yes.\Mhenyou hit the strings so fast e 19f 8o GUITAR PIAYIR tIPIt[tBtR rlr6 frhrr $n I l0ar and hard, you're going to get string rattle ifthe action's too low. Amis: I'm more comfortable playing with the actionsethigher-it seemsto producea little more clarity, a slightly cleaner sound. Thomas: Mine's high. Lankinen: I dont know if this music hdJ to beplayedwithhighaction, butmine is setquite high to get a cleanersound. I like to fight my guitar a little. Wilson: Mine has to be set low, at least for rhythm guitar. I play more of a percussive rhythm, and I dont like a guitar that rings out whenlplayachord. Doessurf music haue to be played loud? Amis: Loud, not necessa,rilv, but hard, ves. Dale:,Loudandhard! That'swhat givesyou that fat, thick sound. Thomas: I playloud myself,but I think it can be done at lowervolumes, or at leastatrhe right volume. How much of this stylek aboutthe gearand how much is about attitude? Thomas: It's all in the attitude. The people who follow the Mermen dont know anything about the gear.I take greatpains with my equipment, but it's all just a way to get the sounds I needto expressmyself. Amis: I agree.It's raw energy it's fun, and it's never taken too seriously.Thosequalitieshave nothing to do with the gear. Lankinen: Yes,it's the attitude completely. Wilson: The attitude is stronger than the gear,but it's a combination. If I dont have a real good reverb, I'm bummed, and I'm not going to have a good attitude! Dale: Definitely attitude. First of all, you have to understand that to know one is to empty one'sself.You draw what you project. You can only either create happiness or bullshit with people. You've got to have your soul to be cleansed.YouVegot to go to the mountain, and you've got to understand what those words mean. To experienceis to know to know is to understand,to understandis to tolerate,to tolerate is to have peace. Wassurf guitar perfectedby 1964?Are we only screwingwith it, or can it gofurther? Amis: I dont think it peakedin the '60s.It's really limitless. I seea lot of surf and instrumental bands playing the samestandards.Theseare talented bands,and I know they'vegot it in them to come up with some new sound or style. Wilson: Definitely. Anymusical genre can be taken further. . Thomas: Did the rymphony achieveperfection with Beethoven?If we think that way about Dick Dale or the surf music that blossomed around that time, who knows, maybe that aas the perfection of what that music is all about. There are a thousand bands around the world patteming what they'redoing around what these people did in 1961,so we'reall coming from that place. As far as taking it furthea that's aII willynilly We all filter it through our ov,'nmusical expression,which allowsus eachto expresssomething different. Lankinen: Of course it can go further. Dont think aboutthe equipment and all that stuff.Iust use your earsand imagination. L John Blair is author o/ The Illustrated DiscographyofSurfMusic, I96L-1965,now in its third editionfrom Popular Culnre Ink, and co-producer of the recentRhino four-CD set, Cowabunga!The SurfBox He is ako leadguitaristfor thesuf reuiualbandJon& theNightriders, whosefifih album, FiberglassRocket, rsorz Atomic Beat Recordsldist. by AVII. 8 2 G U I T APRI . A Y ESRI P T IM BIR 1996