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. ~ Steve Huey