As was written, in 1994 Pulp Fiction was released to theaters, effectively attaching jumper cables to surf music. Not only did this give rise to countless new surf groups, but 60's acts found a new audience, which gave way to events like the one presented to us here: a recording of a 1995 gathering of surf greats at the Lighthouse Cafe in Hermosa Beach in 1995, organized in part by Paul Johnson (Bel-Airs and PJ and the Galaxies). It was truly a legendary night. I was ten years old, roughly 2000 miles away, and this was roughly around when I bought my first CD, so I can't vouch for that. But today I can get a glimpse!
This is a very interesting time capsule, as by-and-large these are 60's acts playing 30 years later. I think the expectation is something a little tamer and slower than their teenage output. What you get is almost entirely the opposite.
The first ten tracks are from Paul Johnson & the Packards. Paul Johnson, of course, goes back about as far as the term "surf music" goes, but The Packards were already quite established as a revival act through the 80's, so it's no surprise that they're very tight here and quite intense. I've been going back-and-forth between these versions and their 60's counterparts and though they sound quite different, I can't really pinpoint how. The dexterity on display is pretty similar, the 60's recordings of, say, "Tally Ho" have more bass than I'd expect. Maybe it's all just room-sound and recording equipment that makes a difference, but I'd also say that these versions are about as good as any you'll hear. In any case, PJ & The Packards earn their large portion of the album.
You have two from Davie Allan, and this is a key point that I want to make: we're listening to the 90's not the 60's. If you've heard 90's Davie, you'll know that that fuzz guitar is a bit less psychedelic, a bit more full-bodied, and maybe a bit more... wailin' guitar god style. It sounds good, but it may not be the flavor that fans of Cycle-delic Sounds fans would look for.
And then the Chantays with what might give listeners an audio double-take. This is 1995 Chantays, who have already reformed, have a new album under their belt, and new material. if you're expecting the muted menace of Pipeline, you'll instead two "new" songs that are loud, aggressive, and kinda rip. And really, while "Killer Dana" makes appearances on three 90's albums they released and I've only heard two, I'd reckon this is the version you want. Crisp but textured guitars, bass that sounds like it has the mass of a big swell, and momentum for days. That carries on through "Crystal-T" and then their legacy songs "Pipeline" and "Green Room". These are not the Chantays that I expected, but I'll take 'em!
And then you have two Lively Ones songs with their lead guitarist Jim Masoner (there was a backup band with Pete Curry from LSJ, Don Murray (Turtles, Surfaris), John Blair (Nightriders), and Elliot Easton (The cars). "Surf Rider" follows the pattern of a lot of these: accurate in a lot of ways, but sounds heavier and more raw than the more quaint original. I like it. "Happy Gremmie" has actually features a bit of psychedelic soloing, and I think it's tasteful enough to still be fun.
One quick one from Bob Dalley of the Surf Raiders. "Curl Rider" sounds excellent with the rhythm section really pumping that imperious lead guitar along.
Then two from John Blair that are as aggressive as you'd hope and expect, probably more so than any others on the record, but honestly the bar is so high that they don't stick out that far!
Then you've got three from Bob Demmon of The Astronauts, starting with "Baja" of course. Yep, the sound great, with shades of that lushness that you want from The Astronauts, though this is one case where maybe you'll be let down. When you want to hear Astronauts you might want a very specific sound from those records, and they're likely sharing the same backline as everybody else that we've heard. However, if you haven't sensed my pattern yet, I think it all sounds excellent, and I think this sounds excellent too. I'm not disappointed.
And then finally you've got Jim Pash of The Surfaris playing "WipeOut". Token surf song as it may be, I still love "Wipeout" and I think it's a great, fun way to end the record.
In a way this record feels like an array of mirrors. A 2025 treatment of a recording from 1995 of artists from the 60's. Aspects of each of those time periods are very much in play. While it may be looking back to the 60's, it's absolutely a snapshot of the 90's, but I'm kind of glad we're not hearing this until we could give it the modern treatment it deserves. Some of these bands (The Chantays for instance) did release versions of these songs in the 90's, and to be honest, those sound pretty weak with the recording equipment available to them at the time. The sound we get here smokes those versions, and this sort of thing always makes me wonder: are the recordings we attach to groups from the 60's or even through the 90's really representative of these bands? Even outside of surf, I think about this all the time. When I listen to, say, Lord "Mister Personalty" Price sing "Lawdy Miss Clawdy", are we hearing a much stuffier version of what he was trotting out live at the time? Clearly I just opened a can of worms that I've found inside a can of worms, but I feel good enough about this: this treatment is not masking the energy, and it paints this night, these songs, these artists, in a very flattering light. Kudos to Mark Linett and John Blair.
But even if you're listening on your Crosley Cruiser suitcase turntable that makes anything sound like a clock radio, what this is is fun. It's songs that have long been proven great, played by proven great musicians, and played impeccably. Sure, maybe Dick Dale would have been cool (reminder though, it's the 90's!), but there's not much else to ask for. Feels kinda must-have to me.
And you can have it in CD, vinyl and streaming forms via Oglio records.
