One reason they chose the name Surfaris was quite obviously from its surfing connotation. After receiving ten dollars for their show -at a Catholic school -the name The Surfaris was chosen. Drummer, Ron Wilson was also recruited for the show. Fellow contestants Pat Connolly, also a guitarist, and bass player Jim Fuller, remembered Berryhill and one year later asked him to join them for a party gig they had hustled up. A guitar teacher and his pupil, Bob Berryhill, took the stage and played “Rebel Rouser ” by Duane Eddy. With the popularization of surfing in southern California in the 1950s, a new genre of music was born.Ī junior high school talent show in 1961 was The Surfaris beginning. A whooshing, gusty, almost ghostly sound was created suggesting the feeling of riding a wave. ” Dale ’s sound, created with a loud trebly Fender Stratocaster through a wall of spring reverb was fast, with his pick moving in staccato bursts carrying the melody over a backing characterized by an incessant ride cymbal and snare hits on the twos and fours. The Surfaris, like many other Southern California bands of the early 1960s, were initially influenced by Dick Dale ’s 1961 single “Let ’s Go Trippin. The Surfari ’s tale displays the saddening paradox of vital music being made by un-business savvy kids who, only in it for the fun, unknowingly fill the coffers of the record executives who profit the most from their naive golden geese. Plagued by deceitful record company practices, elusive royalty payments, and of course the ever popular “too much, too soon ” teenaged rock ’n ’roll effect, the Glendora, California quintet ’s saga is one that has been repeated many times. The story of the Surfaris is similar to scores of other bands of the 1950s and 1960s.
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