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648549 Posts in 25940 Topics by 3701 Members - Latest Member: Little E. Honda July 16, 2019, 07:45:14 PM
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Author Topic: Dick Dale RIP  (Read 1057 times)
pmugghc
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« on: March 17, 2019, 06:11:49 PM »

https://variety.com/2019/music/news/dick-dale-dead-dies-surf-guitar-king-1203165282/
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pmugghc
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« Reply #1 on: March 17, 2019, 06:15:37 PM »

https://twitter.com/BrianWilsonLive/status/1107445386808041472?s=19
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dombanzai
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« Reply #2 on: March 18, 2019, 12:27:44 AM »

Very sad news. Such a phenomenal guitarist and inspiration to many. 2019 is already a very bad year for our musical heroes. Peter Tork, Hal Blaine, Daryl Dragon and now Dick gone in a matter of weeks.
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« Reply #3 on: March 18, 2019, 08:13:58 AM »

I’m reminded of the Jimi Hendrix quote "You'll Never Hear Surf Music Again.” Seems like 2019 is determined to take all the music greats. I’ll have to give Miserlou a listen in tribute.
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Debbie KL
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« Reply #4 on: March 18, 2019, 12:56:54 PM »

I found it fascinating to learn today that Dick Dale's "Misirlou" is an Arabic word and that he was of Lebanese/Syrian ancestry; thus, the musical influence on this.
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« Reply #5 on: March 18, 2019, 04:07:10 PM »

I found it fascinating to learn today that Dick Dale's "Misirlou" is an Arabic word and that he was of Lebanese/Syrian ancestry; thus, the musical influence on this.

Did not know that!
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« Reply #6 on: March 19, 2019, 05:57:20 AM »

I found it fascinating to learn today that Dick Dale's "Misirlou" is an Arabic word and that he was of Lebanese/Syrian ancestry; thus, the musical influence on this.


Yes, "Misirlou" means "egyptian woman", I believe. The scale is very "oriental", not just arabic. Note the similarities to the hebrew "Hava nagila".
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« Reply #7 on: March 19, 2019, 06:53:37 AM »

Misirlou: The song (more like melody...) itself has a fascinating cross-cultural pedigree, but for anyone interested this is one of the earliest if not *the* earliest recording of it, which was of Greek origin, from 1927:

https://www.youtube.com/watch?v=LW6qGy3RtwY

You'll hear the melody almost exactly as Dick Dale later reworked it, and as others in the roughly 35 years between this old recording and Dale's hit had done...with slight variations.

So there is a heritage in this song from Greece, to Turkey, to Egypt, to the Armenians and Lebanese who played and adapted it, and after that every fledgling guitar picker who took Dale's challenge. And that's how Dick Dale remembered seeing and hearing it played on an oud, by an uncle who picked it on one string. According to the legend, Dick was given a challenge to play a tune on one string, and he pulled out "Misirlou" as he remembered seeing it played on the oud. Then history was made and repeated 30-odd years later when Pulp Fiction brought it back and a new group of players took the challenge.
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« Reply #8 on: March 19, 2019, 07:14:30 AM »

Some cool backstory on Dick Dale and his influence on guitarists and guitar and amp technology in general, beyond his actual technique and sound...and that too.  Smiley  This is stuff I pass on to my students who discover something like "Misirlou" through whatever means and just like thousands of us before decide "I want to play THAT!"

This is of course info that most probably know, and if anything is wrong here please correct.

Dick of course was a Californian, and a surfer. He happened to be doing his thing at various teen hops, VFW/Legion hall dances and stomps, and the like...similar to the early Beach Boys.

But Dick Dale played LOUD, and intense. A few points that I find really cool...

The legends are that Dick would literally burn through multiple guitar picks during his shows. His picking would be so hard and so intense, that the picks would actually start melting as he played. Imagine that! Now that's rock and roll.

But beyond that, he played so hard and loud that he had a bad habit of blowing out his amps at these live shows. The good fortune was that he was doing all of this relatively close to the Fender factory. Since he was using Fender amps, he would be able to go directly to the factory if necessary, for repairs, complaints, reports of him blowing up Fender amps, etc.

And that's where it gets interesting beyond that moment.

Fender amps, and guitar amps in general in the late 50's were not designed with high wattage and high output. It just wasn't necessary, and even with the advent of rock and roll, I think Fender was still geared toward Country And Western and general business gig musicians, where high volume wasn't a thing on stage or in studio, when Dale was playing these local gigs.

Then here comes Dick Dale, returning often to Fender's factory with an amp he had blown out at a show. Something had to be done. Again, with the timing and location being fortuitous all around, you still had a Fender factory where Leo Fender himself would be there, along with those classic designers who came up with things like the Tweed Bassman, the Deluxe, and all those amazing amp designs in the 50's...and here was a ripped surfer who was blowing them up.

So all of this led to the need for a high-wattage, higher-output, hi-gain amplifier design that could handle the volume and intensity of someone like Dick Dale. There is more to the tale, but Dick Dale's gigs were used as something of a testing ground for Fender and those design engineers to develop something to handle all of this. They'd whip something up, Dale would take it and play it, and if it didn't blow up, they were onto something good.

Eventually all of this led to Fender designing and making available to the public the "Dual Showman" piggyback (separate amp head and speaker cabinet) amplifier. High wattage, higher output, etc. And similar designs were added to the revamped Fender Twin combo amp as it became higher output in a combo form. Dick Dale's intense playing wasn't as likely to blow those designs up when played at peak volume...and their sound eventually became the "California Sound" as used by countless musicians including the Beach Boys, who had a backline of Fenders that most musicians would be jealous of in the early 60's.


So as much as the stories of Pete Townshend in the mid 60's asking for a high output amp from Marshall led to the "stack"...It was Dick Dale's crazy gigs where he'd melt picks and blow up his amps on stage that led to the development of the high-wattage and hi-gain guitar amps that became essential for rock and roll in the 60's and beyond.

So there's Dick Dale in part to thank for that development.  Smiley
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"All of us have the privilege of making music that helps and heals - to make music that makes people happier, stronger, and kinder. Don't forget: Music is God's voice." - Brian Wilson
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« Reply #9 on: March 19, 2019, 11:25:49 AM »

The Beach Boys Remember Dick Dale: 'He Was Part of a Whole Other Category'

https://www.billboard.com/articles/columns/rock/8503160/dick-dale-dead-the-beach-boys-remembered?fbclid=IwAR17dfUOj7SA0L8oMZcY3OzBtNeb8fO0RB9He0TtNNjVOLME0d0WZr83dtg
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a diseased bunch of mo'fos if there ever was one… their beauty is so awesome that listening to them at their best is like being in some vast dream cathedral decorated with a thousand gleaming American pop culture icons.

- Lester Bangs on The Beach Boys


PRO SHOT BEACH BOYS CONCERTS - LIST


To sum it up, they blew it, they blew it consistently, they continue to blow it, it is tragic and this pathological problem caused The Beach Boys' greatest music to be so underrated by the general public.

- Jack Rieley
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