Artist Biography by Steve Huey
Dick Dale wasn't nicknamed "King of the Surf Guitar" for nothing: he pretty much invented the style single-handedly, and no matter who copied or expanded upon his blueprint, he remained the fieriest, most technically gifted musician the genre ever produced. Dale's pioneering use of Middle Eastern and Eastern European melodies (learned organically through his familial heritage) was among the first in any genre of American popular music, and predated the teaching of such "exotic" scales in guitar-shredder academies by two decades. The breakneck speed of his single-note staccato picking technique was unrivaled until it entered the repertoires of metal virtuosos like Eddie Van Halen, and his wild showmanship made an enormous impression on the young Jimi Hendrix. But those aren't the only reasons Dale was once called the father of heavy metal. Working closely with the Fender company, Dale continually pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing the thick, clearly defined tones he heard in his head, at the previously undreamed-of volumes he demanded. He also pioneered the use of portable reverb effects, creating a signature sonic texture for surf instrumentals. And, if all that weren't enough, Dale managed to redefine his instrument while essentially playing it upside-down and backwards -- he switched sides in order to play left-handed, but without re-stringing it (as Hendrix later did).
Dick Dale was born Richard Monsour in Boston in 1937; his father was Lebanese, his mother Polish. As a child, he was exposed to folk music from both cultures, which had an impact on his sense of melody and the ways string instruments could be picked. He also heard lots of big band swing, and found his first musical hero in drummer Gene Krupa, who later wound up influencing a percussive approach to guitar so intense that Dale regularly broke the heaviest-gauge strings available and ground his picks down to nothing several times in the same song. He taught himself to play country songs on the ukulele, and soon graduated to guitar, where he was also self-taught. His father encouraged him and offered career guidance, and in 1954, the family moved to Southern California.
At the suggestion of a country DJ, Monsour adopted the stage name Dick Dale, and he began performing in local talent shows, where his budding interest in rockabilly made him a popular act. He recorded a demo song, "Ooh-Whee Marie," for the local Del-Fi label, which was later released as a single on his father's new Deltone imprint and distributed locally. During the late '50s, Dale also became an avid surfer, and soon set about finding ways to mimic the surging sounds and feelings of the sport and the ocean on his guitar. He quickly developed a highly distinctive instrumental sound and found an enthusiastic, ready-made audience in his surfer friends. Dale began playing regular gigs at the Rendezvous Ballroom, a once-defunct concert venue near Newport Beach, with his backing band the Del-Tones; as word spread and gigs at other local halls followed, Dale became a wildly popular attraction, drawing thousands of fans to every performance. In September 1961, Deltone released Dale's single "Let's Go Trippin'," which is generally acknowledged to be the very first recorded surf instrumental.
"Let's Go Trippin'" was a huge local hit, and even charted nationally. Dale released a few more local singles, including "Jungle Fever," "Miserlou," and "Surf Beat," and in 1962 issued his (and surf music's) first album, the groundbreaking Surfer's Choice, on Deltone. Surfer's Choice sold like hotcakes around Southern California, which earned Dale a contract with Capitol Records and national distribution for the album. Dale was featured in Life magazine in 1963, which led to appearances on The Ed Sullivan Show and the Frankie/Annette film Beach Party. He also released the follow-up LP King of the Surf Guitar and went on to issue three more albums on Capitol through 1965. During that time, he developed a close working relationship with Leo Fender, who kept engineering bigger and better sound systems in response to Dale's appetite for louder, more maniacally energetic live performances.
Surf music became a national fad, with groups like the Beach Boys and Jan & Dean offering a vocal variant to complement the wave of instrumental groups, all of which were indebted in some way to Dale. But in 1964, the British Invasion stole much of surf's thunder, and Dale was dropped by Capitol in 1965. He remained a wildly popular local act, but in 1966 he was diagnosed with rectal cancer, which forced him to temporarily retire from music. He beat the disease, however, and soon began pursuing other interests: owning and caring for a variety of endangered animals, studying martial arts, designing his parents' dream house, and learning to pilot planes. In 1979, a puncture wound suffered while surfing off Newport Beach led to a pollution-related infection that nearly cost him his leg; Dale soon added environmental activist to his resumé. In addition to all of that, he performed occasionally around Southern California throughout the '70s and '80s.
In 1986, Dale attempted to mount a comeback. He first recorded a benefit single for the UC-Irvine Medical Center's burn unit (which had helped him recuperate from potentially serious injuries), and the following year appeared in the beach movie send-up Back to the Beach. The soundtrack featured a duet between Dale and Stevie Ray Vaughan on the Chantays' surf staple "Pipeline," which was nominated for a Grammy for Best Rock Instrumental. In 1991, Dale did a guest spot on an album by the San Francisco-based Psychefunkapus, and a successful Bay Area gig got him signed with Hightone Records.
The album Tribal Thunder was released in 1993, but Dale's comeback didn't get into full swing until "Miserlou" was chosen as the opening theme to Quentin Tarantino's blockbuster 1994 film Pulp Fiction. "Miserlou" became synonymous with Pulp Fiction's ultra-hip sense of style, and was soon licensed in countless commercials (as were several other Dale tracks). As a result, Tribal Thunder and its 1994 follow-up, Unknown Territory, attracted lots of attention, earning positive reviews and surprisingly strong sales. In 1996, he supported the Beggars Banquet album Calling Up Spirits by joining the normally punk- and ska-oriented Warped Tour.
Adding his wife and young drum-playing son to his band, Dale refocused on touring over the next few years. He finally returned with a new CD in 2001, Spacial Disorientation, issued on the small Sin-Drome label. Dale stepped away from his recording career after that release, but he continued to play out frequently, even as he struggled with myriad health problems, including diabetes, rectal cancer, and heart and kidney disease. Dale still had a busy schedule of concert dates on his schedule when he died on March 16, 2019, at the age of 81.
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Dick Dale, cuyo nombre completo es Richard Anthony Monsour (Boston, Massachusetts; 4 de mayo de 1937-Loma Linda, 17 de marzo de 2019), fue un músico y guitarrista estadounidense. Fue pionero del surf rock junto a The Ventures, así como líder de la banda Dick Dale & The Del-Tones.
Sus inicios
Dale nació como Richard Anthony Monsour en Boston, Massachusetts, el 4 de mayo de 1937. Hijo de un descendiente libanés por parte de su padre y de una descenciente polaco-bielorusa por parte de su mamá, Su familia posteriormente se mudó a Quincy, Massachusetts. Aprendió el piano cuando tenía 9 años después de escuchar a su tía tocarlo. Obtuvo una trompeta en el 7° grado y más tarde adquirió un ukelele (por 6 dólares fue el intercambio) después de ser influenciado por Hank Williams. La primera canción con el ukelele fue "Tennesse Walts" el 4 de mayo de 1937, en Boston, Massachusetts. También tuvo la influencia musical por parte de su tío Richard Anthony Monsour, quién le enseñó a tocar el tarabaki y podía tocar el oud.
Dale compró a un amigo una guitarra en 8 dólares, pagando en cuotas. Aprendió a tocar el instrumento, usando una combinación de estilos que incorporó al dirigir al estilo rítmico de la guitarra así que la guitarra llenaba el lugar de la baterías. La temprana influencia del tarabaki influyó más tarde al tocar la guitarra, particularmente en sus alternancia rápidas en su técnica. Dale se refería a esta como "la pulsación", ningún otro instrumento que tocaba derivaban del tarabaki. Se encumbró en Quincy hasta el 11° grado en Quincy High School en 1954, cuando su padre un maquinista, tomó un trabajo para Hughes Ariscraft Company en el Sureste de California en la industria aeroespacial. La familia se mudó a Segundo, California. Dale terminó su último año y se gradúo de Washington Senior High School. Aprendió el surf a los 17 años. Se interesó fuertemente en la música árabe, pero su papel principal fue tocando en la corriente musical del surf rock música.
Década de 1960
Dale inició tocando en un bar local de música country donde era conocido en Texas, Tiny quién le dio el nombre de "Dick Dale", porque este era un buen nombre para un cantante de country.
Empleaba escalas musicales que no correspondían a los Western cuando tocaba. Utilizaba regularmente la reverberación que se convirtió en una marca registrada de una guitarra surf. Tocaba con la mano zurda, Dale tocaba su guitarra con la mano derecha. Lo hizo sin restricciones en la guitarra, con alta efectividad al tocar la guitarra al revés, frecuentemente tocando y alcanzando los diapasones, más el deslizamiento de sus dedos hacia abajo. Hizo pareja con Leo Fender el cual examinó un nuevo equipo comentando más tarde: "cuando puede soportar el bombardeo de castigo de Dick Dale es apto para el consumo humano". Su combinación de sonido amplificado y calibre pesado en las cuerdas, le llamaron el "Padre del Heavy Metal". Después de responder a varios amplificadores de Fender, Leo Fender y Freddie Tabares vieron que Dale podía tocar en the Rendezvouz Ballroom, California, identificándose con los problemas en su creación y en el sonido en donde podrían gritar la audiencia. El par visitó the James B. Lansing loudspeaker company preguntando por él. Un altavoz de 15 pulgadas siendo el modelo the JBL D130F conocido como the Single Showman amp. La combinación de Dale y de Fender Stratocaster y Fender Showman Amp siguiendo con un significante elevación de volumen obtenido por un equipo convencional.
La presentación de Bale en the Rendezvolus Ballroom en balboa, fue a mediados de 1961 recibiendo crédito por el fenómeno de surf music. Dale tuvo éxito llegando a tener asistencias de 3000 personas la capacidad máxima del ballroom para música surfer después de una sobrepoblación en un local de helados que tenían éxito en varias partes. El propietario de The Rendezvous y en la ciudad de Newport Beach contraraton a Dale con la condición que se probhibía la venta de alcohol y en el código de vestido. Los eventos de Dale en the ballrooms, llamados "tomps" fueron de leyenda y los eventos de rutina todos con boletos vendidos.
"Let's Go Trippin'" es la primera canción del surf rock. Fue seguida por muchas canciones locales que fueron liberadas, incluyen "Jungle Fever" y "Surf Beat" en su sello discográfico Deltone. Su primer álbum completo fue Surfers Choice en 1962. El álbum llegó al tope por Capitol Records a su distribución nacional. Dale se presentó en The Ed Sullivan Show y en las películas se ve en donde toca el sencillo "Misirlou". Más tarde su inicio "Recuerdo la primera noche que la tocamos (Mirislou). Cambie el tiempo y solo iniciamos manivelando. Y ... esto fue misterioso. La gente comenzó a aclamarlo en el salón y estuvieron cantando y parando. Los invitados fueron los que iniciaron surfer stomp. Su segundo álbum fue nombrado después de su presentación con el apodo del "King of th Surf Guitar".
Más tarde diría Dale: Hay un tremendo acumulamiento de poder. Siento que este sentimiento de poder del surfing ha sido transferido hacia dentro de mi guitarra. Su estilo refleja la experiencia del surfing proyectando el poder del océano hacia la gente.
Dale y the Del-tones grabaron en Capitol un sencillo en ambas caras: "Secret Surfin' Spot" en 1963 para la película Beach Party, prtagonizzada por Fankie Avalon y Annette Funicello. El grupo tuvo presentaciones con las canciones "My First Love," "Runnin' Wild" y "Muscle Beach", en la película "Muscle Beach" de 1964.
Detalles
Dale en 2005. En la imagen se aprecia el uso de las cuerdas sin invertir en la guitarra del artista.
Dick Dale fue conocido como el Rey de la guitarra surfera, y está incluido en la lista de los 100 guitarristas más grandes de todos los tiempos por la revista Rolling Stone.2
Grabó un total de 12 álbumes, siendo el primero Surfers' Choice, de 1962, que incluye la popular canción: Misirlou. Misirlou es su canción más conocida, estando incluida en la banda sonora de la película Pulp Fiction de Quentin Tarantino de 1994. El reverb de su canción Misirlou es una gran influencia para prácticamente todos los músicos de surf. En el álbum de estudio de 2005 Monkey Business, del grupo Black Eyed Peas utilizan el sonido de Dale para la canción Pump It.
Una característica de Dale es que, aun siendo zurdo, usó su guitarra eléctrica sin invertir las cuerdas, es decir: mantiene las cuerdas tal y como se ubican en el orden diestro de la guitarra, donde las cuerdas agudas quedan por encima de las graves. En ese caso, para un zurdo (cuando le das la vuelta a la guitarra) las cuerdas graves quedan por debajo y las agudas por encima (ver foto a la derecha).
Es justo el caso contrario de Jimi Hendrix, que siendo zurdo invirtió las cuerdas y seguían colocadas como para un diestro (graves arriba y agudas abajo).
https://es.wikipedia.org/wiki/Dick_DaleTracklist:
A1 - Let's Go Trippin'
A2 - Del-Tone Rock
A3 - Shake-N-Stomp
A4 - Jungle Fever
A5 - Miserlou
A6 - Eight Till Midnight
A7 - Peppermint Man
B1 - Surf Beat
B2 - A Run For Life
B3 - Lovin' On My Brain
B4 - King Of The Surf Guitar
B5 - Hava Nagila
B6 - Surfin' And A-Swingin'
B7 - Secret Surfin' Spot
C1 - Wild Ideas
C2 - The Scavenger
C3 - The Wedge
C4 - Night Rider
C5 - Mr. Eliminator
C6 - The Victor
C7 - Wild, Wild Mustang
D1 - Grudge Run
D2 - Glory Wave
D3 - Never On Sunday
D4 - Who Can He Be
D5 - Oh Marie -
D6 - Let's Go Trippin' 65
D7 - Watusi Jo
Credits:
Arranged By [Original Recordings] – Dick Dale
Bass [Fender] – Bryan Dietz (tracks: A3 to A7, B1, B4, B5, C1 to C4, D1), Jerry Leverton (tracks: D6, D7), Ray Pohlman (tracks: D4, D5), Ray Samra (tracks: A1, A2), Steve LaFever (tracks: C5, C6, D2, D3)
Bass [Upright] – Steve LaFever (tracks: C7, D4, D5)
Coordinator [Production] – Stephanie Kennedy
Coordinator [Project] – Matt Marshall (2)
Design – Eric Schou
Drums – Earl Palmer (tracks: C3 to C6, D4, D5), Sharky Hall* (tracks: D2, D3), Frank DeVito* (tracks: D1), George Dumas (tracks: D6, D7), Hal Blaine (tracks: C2, C7), Jack Lake (tracks: A1, A2), Jerry Stevens (2) (tracks: A3 to A7, B1, C1), Tony Lobo (2) (tracks: B4, B5)
Guitar – Art Munson (tracks: B4, C1 to C4, D1), Glen Campbell (tracks: C5, C6, D4, D5), James Burton (tracks: D2, D3), Jerry Cole (tracks: C5 to C7, D4, D5), Lonny Fredericks (tracks: D6, D7), Neil Levang* (tracks: C7, D2, D3), Nick O'Malley (tracks: A1 to A7, B1, B4, B5)
Harmonica – Tommy Morgan (tracks: C5, C6)
Harmony Vocals – Gary Usher (tracks: D6, D7), The Blossoms (tracks: B4)
Lacquer Cut By – KPG@CA*
Lead Guitar – Dick Dale
Liner Notes [Annotation] – Scott Schinder
Management [Business Affairs] – Malcolm A. Wiseman*
Mastered By – Bob Irwin
Organ – Bruce Johnston (tracks: C5, C6), Gene Garf (tracks: D2, D3), Leon Russell (tracks: D4, D5)
Percussion – Emil Richards (tracks: C7), Frank Capp (tracks: C5, C6)
Piano – Bill Barber (7) (tracks: A3 to A7, B1, B4, B5, C1, D1, D6, D7), Leon Russell (tracks: D4, D5), Lincoln Mayorga (tracks: C2)
Producer – Dick Dale (tracks: A1 to A7, B1), Don Ralke (tracks: B2, B3), Gary Usher (tracks: B6, B7), Jim Economides (tracks: C1 to C7, D1 to D7), Jim Monsour (tracks: B2, B3, C1 to C7, D1 to D3, D5 to D7), Voyle Gilmore (tracks: B4, B5)
Production Manager [Project] – Tim Livingston
Saxophone – Armon Frank (tracks: A3 to A7, B1), Barry Rillera (tracks: A3 to A7, B1, B4, B5), Don Schraier (tracks: D6, D7), Jackie Kelso (tracks: C5, C6), Jay Migliori (tracks: D2, D3), Jim Horn (tracks: D1), Larry Gillette (tracks: B4, B5, C1), Plas Johnson (tracks: C3 to C7, D2, D3), Risdon Gwartney (tracks: A1, A2), Steve Douglas (tracks: C2, C7)
Trombone – Gail Martin (tracks: D2, D3)
Label: Sundazed Music – LP 5248
Released: 2010
Genre: Rock
Style: Surf
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