Editing Surf music (section)

==Vocal surf==
===Distinctions===
{{See also|California sound}}

[[File:Sullivan Beach Boys.jpg|thumb|right|[[The Beach Boys]] performing "[[I Get Around]]" in 1964]]

In Matt Warshaw's ''The Encyclopedia of Surfing'', he notes: "Surf music is divided into two categories: the pulsating, reverb-heavy, 'wet'- sounding instrumental form exemplified by guitarist Dick Dale, and the smooth-voiced, multitracked harmonized vocal style invented by the Beach Boys. Purists argue that surf music is by definition instrumental."{{sfn|Warshaw|2005|p=584}}

This second category of surf music was led by the Beach Boys,<ref name=AllMusicSurf /> a group whose main distinction between previous surf musicians was that they projected a world view.{{sfn|Miller|1992|p=193}} In 1964, the group's leader and principal songwriter, [[Brian Wilson]], explained: "It wasn't a conscious thing to build our music around surfing. We just want to be identified with the interests of young kids."{{sfn|Nathan|Lindsay|2001|p=89}} A year later, he would express: "I hate so-called "surfin{{'"}} music. It's a name that people slap on any sound from California. Our music is rightfully 'the Beach Boy sound'—if one has to label it."<ref>{{cite journal|last1=Beach Boys|first1=The|title=The Things We LOVE and the Things We HATE|journal=[[16 (magazine)|16 Magazine]]|date=September 1965|volume=7|issue=4}}</ref>

Vocal surf can be interpreted as a regional variant of [[doo-wop]] music, with tight harmonies on a song's chorus contrasted with [[scat singing]].{{sfn|Edmondson|2013|p=1117}} According to musicologist Timothy Cooley, "Like instrumental surf rock with its fondness for the twelve-bar blues form, the vocal version of Surf Music drew many key elements from African-American genres&nbsp;... what made the Beach Boys unique was its ability to capture the nation's and indeed the world's imagination about the emerging New Surfing lifestyle now centered in Southern California, as well as the subtle songwriting style and production techniques that identify the Beach Boys' sound."{{sfn|Cooley|2014|p=56}} In 1963, [[Murry Wilson]], Brian's father, who also acted as the Beach Boys' manager, offered his definition of surf music: "The basis of surfing music is a rock and roll bass beat figuration, coupled with raunch-type weird-sounding lead guitar, an electric guitar, plus wailing saxes. Surfing music has to sound untrained with a certain rough flavor in order to appeal to teenagers. ... when the music gets too good, and too polished, it isn't considered the real thing."<ref name=Zhefo1963>{{cite magazine|last1=Zhefo|first1=Lee|title=Surfing Craze Ready to Splash Across Country to East's Youth|magazine=[[Billboard (magazine)|Billboard]]|date=June 29, 1963|volume=75|issue=26|url=https://books.google.com/books?id=XgsEAAAAMBAJ&pg=PA26|issn=0006-2510}}</ref>

====Hot rod rock====
{{Further|Car song}}
[[File:Little Deuce Coupe.jpg|thumb|right|The [[1932 Ford]] that appeared on the cover to the Beach Boys' album, ''[[Little Deuce Coupe]]'' from 1963]]
"Hot rod music" or "hot rod rock" evolved from surf music.{{sfn|Cozzen|2015|p=8}} Dick Dale recalled how surf music was re-imagined as hot rod music by a record company-inspired move to capture a larger market.<ref>{{Cite web|url=https://www.latimes.com/archives/la-xpm-1990-07-27-ss-819-story.html|title=SURF COUNTY, USA : No Words Can Describe Real Surf Music|date=July 27, 1990|website=Los Angeles Times}}</ref> According to ''The Ultimate Hot Rod Dictionary'', by Jeff Breitenstein: "While cars and, to a lesser degree, hot rods have been a relatively common and enduring theme in American popular music, the term ''hot rod music'' is most often associated with the unique 'California sound' music of the early to mid-1960s&nbsp;... and was defined by its rich vocal harmonies, amplified (generally Fender brand) electric guitars, and youth-oriented lyrics (most often celebrating hot rods and, more broadly, surfing and 'girls')."{{sfn|Breitenstein|p=107}}

Author David Ferrandino wrote that "the Beach Boys' musical treatments of both cars and surfboards are identical",{{sfn|Ferrandino|2015|p=149}} whereas author [[Geoffrey Himes]] elaborated on "subtle" differences: "Translating the surf-music format into hot-rod tunes wasn't difficult... If surf music was a lot of Dick Dale and some Chuck Berry, hot-rod music was a little more Berry and a little less Dale — i.e. less percussive staccato and more chiming riffs. Instead of slang about waxes and boards, you used slang about carburetors and pistons; instead of name-dropping the top surfing beaches, you cited the nicknames for the top drag-racing strips; instead of warning about the dangers of a 'wipe out', you warned of 'Dead Man's Curve'."<ref name=HimesSurf />

===Popularity===
In late 1961 the Beach Boys had their first chart hit, "[[Surfin' (song)|Surfin']]{{-"}}, which peaked at number 75 on the [[Billboard Hot 100|''Billboard'' Hot 100]],{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=71–72}} In mid-1962, the group released their major-label debut, "[[Surfin' Safari (song)|Surfin' Safari]]", which hit number 14 and helped turn the surf rock craze into a national phenomenon.<ref>{{cite web| url =http://www.allmusic.com/artist/the-beach-boys-p3640/biography |author=J. Bush|title= The Beach Boys|website=Allmusic|access-date =23 April 2011}}</ref> Next, the Beach Boys released "[[Surfin' U.S.A. (song)|Surfin' U.S.A.]]" (1963), a Top 3 hit, and "[[Surfer Girl (song)|Surfer Girl]]" (1963), which reached the top 10.{{sfn|Blair|2015|p=49}} Breitenstein writes that hot rod rock gained national popularity beginning in 1962 with the Beach Boys' "[[409 (song)|409]]", which is often credited with initiating the hot rod music craze, which lasted until 1965.{{sfn|Breitenstein|p=107}}{{refn|group=nb|"[[Little Deuce Coupe (song)|Little Deuce Coupe]]". from 1963, has been cited by John Milward as one of the earliest forms of [[hard rock]] with its series of buzzing beats.<ref>J. Milward, ''The Beach Boys Silver Anniversary'' (Doubleday, 1985), {{ISBN|0-385-19650-4}}, p. 48.</ref>}} Several key figures  led the hot rod movement beside Wilson, including songwriter-producer-musician [[Gary Usher]] and songwriter-[[disc jockey]] [[Roger Christian (songwriter)|Roger Christian]].{{sfn|Shuker|2012|p=279}}

Wilson then co-wrote "[[Surf City (song)|Surf City]]" in 1963 for Jan and Dean, and it spent two weeks at the top of the ''[[Billboard (magazine)|Billboard]]'' [[Billboard Hot 100|top 100]] chart in July 1963.{{sfn|Marcus|2013|p=95}} In the wake of the Beach Boys' success, many singles by new surfing and hot rod groups were produced by Los Angeles groups. Himes notes: "Most of these weren't real groups; they were just a singer or two backed by the same floating pool of session musicians: often including Glen Campbell, Hal Blaine and Bruce Johnston. If a single happened to click, a group would be hastily assembled and sent out on tour. It was an odd blend of amateurism and professionalism."<ref name=HimesSurf />{{refn|group=nb|From 1961 to 1965, around fifteen-hundred car songs were recorded.{{sfn|DeWitt|2001|p=44}} As in the 1950s, many groups adopted the names of car brands, but with a greater emphasis on [[hot rod]]s, such as the Duece Coupes, the Duals, the GTOs, the Dragsters, the Roadsters, [[the T-Bones]], and the Roadrunners.{{sfn|DeWitt|2001|p=44}}}} One-hit wonders included Bruce & Terry with "Summer Means Fun", [[the Rivieras]] with "[[California Sun]]", [[Ronny & the Daytonas]] with "G.T.O.", and [[the Rip Chords]] with "[[Hey Little Cobra]]". The latter two hits both reached the top ten, but the only other act to achieve sustained success with the formula was Jan & Dean.{{sfn|Bogdanov|Woodstra|Erlewine|2002|pp=1313–1314}} Hot rod group [[the Fantastic Baggys]] wrote many songs for Jan and Dean and also performed a few vocals for the duo.<ref>{{cite web| url =http://www.allmusic.com/artist/the-fantastic-baggys-p17435/biography|title=The Fantastic Baggys |website=Allmusic|access-date =23 April 2011}}</ref>