The single peaked at number two on the chart of the Music Vendor trade paper (within a year renamed Record World) and at number three on the Billboard and Cash Box charts. Billboard ranked "Surfin' U.S.A." the number 1 song of 1963.[1] It has since become emblematic of the California Sound, and the song's depiction of California is emblematic of the genre. Professor Dale Carter notes that the Beach Boys' lyrics depict them as “enjoying all the material benefits of the promised land (typified by southern California) … liberty and security are accommodated at drive-in and drag strip, on surf board and in T-Bird, from hamburger stand to beach party...".[2] This theme is present in "Surfin' U.S.A," as well as other Beach Boys' songs.
The song features Brian Wilson's surfing-related lyrics set to the music and basic lyrical structure of Chuck Berry's "Sweet Little Sixteen". According to Wilson:
"I was going with a girl named Judy Bowles, and her brother Jimmy was a surfer. He knew all the surfing spots. I started humming the melody to 'Sweet Little Sixteen' and I got fascinated with the fact of doing it, and I thought to myself, 'God! What about trying to put surf lyrics to 'Sweet Little Sixteen's melody? The concept was about, 'They are doing this in this city, and they're doing that in that city' So I said to Jimmy, 'Hey Jimmy, I want to do a song mentioning all the surf spots.' So he gave me a list."[4]
With this idea, "Surfin’ U.S.A" uses the comparison of California to the rest of the United States to drive its stereotypical images of California. The song opens by posing an alternative reality: “If everybody had an ocean across the USA, then everybody’d be surfin’ like Californi-a.”[5] These opening lyrics show California in a favorable light, theorizing that if everyone in the United States had the same California-like privileges to a beach, they would enjoy going surfing.
Additionally, Surfin’ U.S.A uses a recognizable steady, upbeat drum tempo seen in many surf rock songs that seems to “drive” the music forward. The Beach Boys popularized this staccato drum style, and is reminiscent of “a locomotive getting up to speed”.[6] This technique was seen earlier in Jan & Dean’s 1963 hit “Surf City”, which was the first Surf song to achieve the number one position on the Billboard Hot 100.[7]
Authorship
When the single was released in 1963, the record only listed Brian Wilson as the composer although the song was published by Arc Music, Chuck Berry's publisher. Later releases, beginning with Best of The Beach Boys in 1966, listed Chuck Berry as the songwriter. Later releases list both writers although the copyright has always been owned, since 1963, by Arc Music. Under pressure from Berry's publisher, the Wilsons’ father and manager, Murry Wilson, had given the copyright, including Brian Wilson's lyrics, to Arc Music prior to the release of the single.[8]
Despite tensions with Berry at the time, Carl Wilson said the Beach Boys "ran into Chuck Berry in Copenhagen and he told us he loves 'Surfin' U.S.A.'."[9]
In 2015, Mike Love stated that "Surfin' U.S.A." was one of the Beach Boys songs he helped write but for which he did not receive credit. However, it has been difficult to quantify his contribution, as Love has in the past claimed that contributing 2-3 words to a song, represents a songwriting credit.[10] Love claimed he wrote the lyrics to the song but was not able to be credited in his successful lawsuit against Wilson and Almo/Irving Music in 1994 because the copyright was owned by Arc Music.[11] In a 1974 radio interview, Brian said "When we first got going, Mike was a Chuck Berry fan, so ... he and I turned the lyrics into a surfing song.".[12]
Surfing spots
In the song the following surfing spots are mentioned, mostly in California, as well as one in Hawaii (possibly two) and one in Australia:
The "Surfin' U.S.A." single, backed with "Shut Down", was released under Capitol Records in the United States in March 1963. The song peaked on the Billboard pop chart at number three,[13] the band's first top ten hit therein (see also Surfin' Safari). The B-side charted at number 23.[14] Although the double-sided hit single registered in Billboard as number one in chart points at the end of the year (tabulated up to mid November 1963) and was cited by Billboard as "best-selling record of the year", in a low-selling year for singles in the US it apparently did not initially sell a million copies—and has never been issued an RIAA Gold Disc award. The song was re-issued in the U.S. as a single in July 1974 backed with "The Warmth of the Sun". That single also hit the Billboard Hot 100 chart, peaking at 36.
Cash Box described it as "a pounding 'Sweet Little Sixteen'-flavored rocker...that the Beach Boys belt out with coin-catching enthusiasm" and added that it is a "terrific instrumental showcase."[15]
In the United Kingdom, the single was released in June 1963. The third single by the band to be issued in the UK, it became the first single to chart. It peaked at 34 (28 in the New Musical Express).
In Australia, the single was released in 1963 and peaked at 9, becoming the band's first single to chart in Australia. The single was re-released in Australia in 1974 and again charted, peaking at 66. In Canada and Sweden, the single was released in 1963 and peaked on the charts at 6 in both countries. In July 1963, in the national charts used by Billboard, it peaked at #9 in Hong Kong, #8 in Austria the following month; in August 1964 at #9 for two weeks in Japan.
The song was first released on an album as the title track on the band's 1963 album Surfin' U.S.A. In May 2003 Capitol issued the song on an EP along with "Surfer Girl", "Don't Worry, Baby", and "The Beach Boys Medley". However, the record failed to make an impact on the charts.
A demo version of the song featuring only Brian Wilson singing and playing piano was released on the 1993 box set, Good Vibrations: Thirty Years of The Beach Boys. A different demo version, in which Wilson is joined by drums was released on the 2001 archival release Hawthorne, CA. Both demos feature similar minor lyrical differences from the final recording.
The instrumental track of the final recording was also released on the Hawthorne, CA album. This version of the cut does not 'fade out', but continues on well past the original ending of the song until it ends abruptly.
Live performances
After being released the song became a concert regular for the band. The band recorded live versions of "Surfin' U.S.A." on several Beach Boys albums. It was first released on The Beach Boys in Concert album. A concert from Anaheim Stadium on July 3, 1976, which featured the song was filmed and produced by Lorne Michaels for a Beach Boys television special which first aired in the United States in August 1976. The TV special was later released on VHS and DVD as Good Vibrations Tour. In 1980, a live rendition was recorded, though not released until 2002 on the Good Timin': Live at Knebworth England 1980 live album. Footage from the concert was also released on VHS and DVD format. A live version was also released on the band's 1993 box set Good Vibrations: Thirty Years of The Beach Boys.
The band also performed a live version of the song at the NBC Television Studios in Burbank, California, which was filmed on March 14, 1964. Footage of the concert was later released on the DVD The Lost Concert. The band performed the song on The T.A.M.I. Show which was filmed at the Santa Monica Civic Auditorium on October 28 and 29, 1964, and featured other top artists of the day such as Chuck Berry, Marvin Gaye, The Supremes, James Brown & The Famous Flames and The Rolling Stones. The concert was released as a film in 1964 featuring the Beach Boys performance. However, after the initial showing of the film Brian insisted that the band's performance be cut from the film. Because of a rights dispute the footage of the Beach Boys' performance does not appear in most versions of The T.A.M.I. Show. The footage was eventually released on the DVD Sights of Summer included with the special 2004 edition of Sounds of Summer: The Very Best of The Beach Boys.
In August 1977, Leif Garrett released his version as the first single from his eponymous debut album. It reached No. 20 on the Billboard Hot 100 and No. 4 in Switzerland.[23]
↑ Davis, Jonathan (1966). The Influence of the Beatles on Rock and Roll (Vol. 13 No. 1ed.). King’s Crown Essays, College Journal of Social Sciences. p.55.
The Beach Boys are an American rock band formed in Hawthorne, California, in 1961. The group's original lineup consisted of brothers Brian, Dennis and Carl Wilson, their cousin Mike Love, and friend Al Jardine. Distinguished by its vocal harmonies, adolescent-oriented lyrics, and musical ingenuity, the band is one of the most influential acts of the rock era. The group drew on the music of older pop vocal groups, 1950s rock and roll, and black R&B to create its unique sound. Under Brian's direction, it often incorporated classical or jazz elements and unconventional recording techniques in innovative ways.
Surf music is a genre of rock music associated with surf culture, particularly as found in Southern California. It was especially popular from 1958 to 1964 in two major forms. The first is instrumental surf, distinguished by reverb-heavy electric guitars played to evoke the sound of crashing waves, largely pioneered by Dick Dale and the Del-Tones. The second is vocal surf, which took elements of the original surf sound and added vocal harmonies, a movement led by the Beach Boys.
Carl Dean Wilson was an American musician who co-founded the Beach Boys. He was their lead guitarist, the youngest sibling of bandmates Brian and Dennis, and the group's de facto leader in the early to mid-1970s. He was also the band's musical director on stage from 1965 until his death.
Surfin' Safari is the debut studio album by the American rock band the Beach Boys, released October 1, 1962 on Capitol Records. The official production credit went to Nick Venet, though it was Brian Wilson with his father Murry who contributed substantially to the album's production; Brian also wrote or co-wrote nine of its 12 tracks. The album reached number 32 in the US during a chart stay of 37 weeks.
Surfer Girl is the third studio album by the American rock band the Beach Boys, released September 16, 1963 on Capitol Records. It is largely a collection of surf songs. The LP reached number 7 in the U.S. and number 13 in the UK. Lead single "Surfer Girl", backed with "Little Deuce Coupe", was also a top 10 hit.
All Summer Long is the sixth album by the American rock band the Beach Boys, released July 13, 1964 on Capitol Records. Regarded as their first artistically unified collection of songs, as well as one of the first true concept albums, it marked the Beach Boys' first LP that was not focused on themes of cars or surfing. Instead, the songs are semi-autobiographical and relate to the experiences of a typical Southern Californian teenager, a theme encapsulated by the title track, "All Summer Long", and the often-imitated front cover, a modernist style photo collage depicting the band members fraternizing with young women on a beach.
"Rock and Roll Music" is a song by American musician and songwriter Chuck Berry, written and recorded by Berry in May 1957. It has been widely covered and is one of Berry's most popular and enduring compositions.
"Fun, Fun, Fun" is a song by the American rock band the Beach Boys from their 1964 album Shut Down Volume 2. Written by Brian Wilson and Mike Love, it was released as a single in February, backed with "Why Do Fools Fall in Love". "Fun, Fun, Fun" is one of the Beach Boys' many songs that defined a genre of music called the California myth.
"Little Deuce Coupe" is a song written by Brian Wilson and Roger Christian. The song first appeared as the B-side to The Beach Boys' 1963 single "Surfer Girl". The car referred to is the 1932 Ford Model 18. "Little Deuce Coupe" became The Beach Boys' highest charting B-side, peaking on September 28, 1963, at No. 15 on the Billboard Hot 100.
"Do It Again" is a song by the American rock band the Beach Boys that was released as a standalone single on July 8, 1968. It was written by Brian Wilson and Mike Love as a self-conscious callback to the group's earlier surf image, which they had not embraced since 1964. Love and Wilson also share the lead vocal on the song.
"Surfin' Safari" is a song by American rock band the Beach Boys, written by Brian Wilson and Mike Love. Released as a single with "409" in June 1962, it peaked at number 14 on the Billboard Hot 100. The song also appeared on the 1962 album of the same name.
"Dance, Dance, Dance" is a song by the American rock band the Beach Boys from their 1965 album Beach Boys Today!. Written by Brian Wilson, Carl Wilson, and Mike Love, it was first issued as a single in October 1964, backed with "The Warmth of the Sun". "Dance, Dance, Dance" marked Carl's first recognized writing contribution to a Beach Boys single, his contribution being the song's primary guitar riff and solo.
"Shut Down" is a song written by Brian Wilson and Roger Christian for the American rock band the Beach Boys. The primary melody is a twelve-bar blues. On March 4, 1963, it was released as the B-side of the single "Surfin' U.S.A.", three weeks ahead of the album of the same name on which both tracks appeared. Capitol Records released it again later that year on the album Little Deuce Coupe. The single peaked at number 23 in the US on the Billboard Hot 100 chart, and number 34 in the UK.
"County Fair" is a song written by Brian Wilson and Gary Usher for the American rock band The Beach Boys. It was originally released as the second track on their 1962 album Surfin' Safari. On November 26 of that year, it was released as the B-side to The Beach Boys' third single, "Ten Little Indians". The same single was released in the UK in January 1963.
"Papa-Oom-Mow-Mow" is a novelty nonsensical doo-wop song by the Rivingtons in 1962. It peaked at number 48 on the Billboard Hot 100, and number 35 on the Cashbox charts. The band released two similar follow-up songs over the next several months, "Mama-Oom-Mow-Mow " and "The Bird's the Word".
"Sweet Little Sixteen" is a rock and roll song written and first recorded by Chuck Berry, who released it as a single in January 1958. His performance of it at that year's Newport Jazz Festival was included in the documentary film Jazz on a Summer's Day. It reached number two on the Billboard Hot 100, one of two of Berry's second-highest positions—along with Johnny Rivers cover of "Memphis, Tennessee"—on that chart. "Sweet Little Sixteen" also reached number one on the R&B Best Sellers chart. In the UK, it reached number 16 on the UK Singles Chart. Rolling Stone magazine ranked the song number 272 on its list of the "500 Greatest Songs of All Time" in 2004. He used the same melody on an earlier song, "The Little Girl From Central" recorded on Checkmate in 1955.
"Surf City" is a 1963 song recorded by American music duo Jan and Dean about a fictitious surf spot where there are "two girls for every boy". Written by Brian Wilson, Jan Berry and Dean Torrence, it was the first surf song to become a national number-one hit.
Made in U.S.A. is a 1986 double vinyl album compilation of some of The Beach Boys' biggest successes. Released by their original record label, Capitol Records, it marked a brief return to the label, with whom The Beach Boys released one further album, 1989's Still Cruisin'.
"Sidewalk Surfin'" is a song with music by Brian Wilson and lyrics by Roger Christian, which was recorded by 1960s American pop singers Jan and Dean. The song was recorded as a single and then appeared on the 1964 album Ride the Wild Surf, and later on the Little Old Lady from Pasadena album. The B-side of the single is "When It's Over." "Sidewalk Surfin'" reached number 25 on the Billboard Hot 100 on October 31, 1964, which was Jan and Dean's lowest-charting single in a year and a half since the release of their number one hit single "Surf City." Jan and Dean were known for their music of the 1960s surf era with songs like "Dead Man's Curve," "Drag City," and "The Little Old Lady from Pasadena."
The California sound is a popular music aesthetic that originates with American pop and rock recording artists from Southern California in the early 1960s. At first, it was conflated with the California myth, an idyllic setting inspired by the state's beach culture that commonly appeared in the lyrics of commercial pop songs. Later, the sound was expanded outside its initial geography and subject matter and was developed to be more sophisticated, often featuring studio experimentation.
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