Riders in the Sky
Dick Dale & His Del-Tones also known as Dick Dale & The Del-Tones were a su… Read Full Bio ↴Dick Dale & His Del-Tones also known as Dick Dale & The Del-Tones were a surf rock group from southern California, fronted by Dick Dale. Formed in the late 1950's it is considered one of the first (if not the first) surf bands.
Dick Dale (Richard Anthony Monsour, Boston, Massachusetts, May 4, 1937 – March 16, 2019) was an American surf rock guitarist, singer and songwriter known as The King of the Surf Guitar. He pioneered and created what many call the surf music style, drawing on Middle-Eastern music scales and experimenting with reverberation.
Dale worked closely with Fender to produce custom made amplifiers, including the first-ever 100-watt guitar amplifier. He pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing distorted, "thick, clearly defined tones" at "previously undreamed-of volumes." The "breakneck speed of his single-note staccato picking technique" and showmanship with the guitar is considered a precursor to heavy metal music, influencing guitarists such as Jimi Hendrix and Eddie Van Halen.
Dale was born Richard Anthony Monsour in Boston, Massachusetts, on May 4, 1937. He was of Lebanese descent from his father and Polish-Belarusian descent from his mother. His grandparents farmed in Whitman, Massachusetts.
Dale's family moved to Quincy, Massachusetts when Dale was very young. He learned to play music, starting with piano when he was nine.
He first started playing the piano when he was young from sitting with his aunt who played and listening to it.
"I first was given a trumpet when I was in seventh grade."
Dale admired Hank Williams, and wanted to be a cowboy singer, so he got a ukulele and taught himself to play by reading an instruction book.
"It was a ukelele, back when I was in kindergarten. I was reading a Superman magazine and it said: Sell so many jars of Noxzema skin cream and we'll send you this ukelele. And I got it. But it was a piece of crap, so I filled a red wagon with a bunch of Pepsi and Coke bottles, went down to the store, cashed them, and I got a basic ukelele for $6."
The first song he played on the ukulele was "Tennessee Waltz".
"And my buddy had a guitar for sale, so he sold it to me for $8, and I paid him 25 or 50 cents a week."
He then learned to play guitar, using a combination of styles incorporating both lead and rhythm aspects, so that the guitar filled the place of drums. He was raised in Quincy until he completed the eleventh grade at Quincy High School in 1954, when his father, a machinist, took a job working for Hughes Aircraft Company in the Southern California aerospace industry. His parents drove the family across the country to live in El Segundo, California. Dale spent his senior year at and graduated from Washington Senior High School. It was in Southern California that he learned to surf at the age of 17. He soon learned to play the drums and the trumpet.
When I was 18 at the Santa Ana River Jetty is where I put my first board in the water that I ever got from Joe Quigg. I was just riding the whitewater in, and I was just in heaven.
Due to his Lebanese heritage, he also had a strong interest in Arabic music, which later played a major role in his development of surf rock music.
Among his early musical influences was his uncle. According to Dale,
"My uncle taught me how to play the tarabaki, and I watched him play the oud.
We used to play at the Mahrajan while relatives belly-danced."
His early tarabaki drumming later influenced his guitar playing, particularly his rapid alternate picking technique. According to Dale,
"It's the pulsation," stating that whether he is playing the guitar, trumpet, or piano, "they all have that drumming beat I learned by playing the tarabaki."
Dale played at local country bars where he met Texas Tiny, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.
Dale is credited as one of the first electric guitarists to employ non-Western scales in his playing. His sound derives from Gene Krupa's jungle drum rhythms and wild animals' roars and other sounds, as well as from indigenous peoples' dance rhythms. Dale was among the first guitarists to use reverb—which gave the guitar a "wet" sound that has become a staple of surf music. His staccato picking, however, is his trademark. Being left-handed, he initially had to play a right-handed guitar, but then changed to a left handed model. However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down (Hendrix, in contrast, restrung his guitar), often playing by reaching over the fretboard rather than wrapping his fingers up from underneath. Dale is also noted for playing his percussive, heavy bending style, using what most guitarists consider very heavy gauge strings (16p, 18p, 20p. 38w, 48w, 58w guitar string manufacturers do not make string sets for standard tuned electric guitars heavier than 13 to 56).
"When I met Leo Fender and he was creating Fender Equipment he wanted me to also pioneer it, proof it, and help take all the bugs out of it. Everything that came out of Leo Fender's head, I was his test pilot. He used to say, "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." So I blew up over 50 amplifiers. And that's why they call me the Father of Heavy Metal. Because I use 60-gauge strings and I make people's ears bleed."
"So when I had my first concert with Leo Fender, I went to Balboa, California, and then I started surfing. So when we opened up the ballroom at Stan Kenton that was the last act that was there, and they were going to tear it down, and I got permits to open it with my dad. It held 4,000 people of all ages. The stage was humongous and there were giant red curtains. I told the surfers I was surfing with, we had a club called the 5th Street Crew, and I told the guys I was going to be playing at a place called the Rendezvous, 'cause we had no money to promote. And the first group of people that came there were these surfers, about 17 of them."
His desire to create a certain sound led him to push the limits of equipment.
Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. (Freddie Tavares) went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of four thousand screaming and dancing Dick Dale fans, and said to Freddy, I now know what Dick Dale is trying to tell me. They went to James B. Lansing loudspeaker company and explained that they wanted a fifteen inch loudspeaker built to their specifications. The unit became famous as the 15" JBL D130F model. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and loudspeaker cabinet, he was probably the first performer to jump from the volume scale of a smaller amplifier to levels most amplifiers and loudspeakers could not attain. That is when Dale became the "Father of Heavy Metal" as quoted from Guitar Player magazine. Dale broke through the electronic barrier limitations of that era!
During a six-month period that began July 1, 1961, Dale's performances at the Rendezvous Ballroom in Balboa are credited with the creation of the surf music phenomenon. Dale asked for and gained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out. Paul Johnson, guitarist for the contemporary group The Bel-Airs, recalled the electric atmosphere of the shows:
I remember making the trek to the Rendezvous in the summer of '61 to see what all the fuss was about over Dick Dale. It was a powerful experience; his music was incredibly dynamic, louder and more sophisticated than The Belairs, and the energy between The Del-Tones and all of those surfers stomping on the hardwood floor in their sandals was extremely intense. The tone of Dale's guitar was bigger than any I had ever heard, and his blazing technique was something to behold.
"Let's Go Trippin'" is often regarded as the first surf rock song. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And...it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." His second album was named after his performing nickname, "King of the Surf Guitar".
Dick Dale stated his two passions, Surfing and Guitar, by saying:
There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar when I was playing surf music. The style of music I developed, to me at the time, was the feeling I got when I was out there on the waves. It was good rambling feeling I got when I was locked in a tube with the white water caving in over my head. I was trying to project the power of the ocean to the people. I couldn't get the feeling by singing, so the music took an instrumental form.
Dick Dale and The Del-Tones performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.
Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" / "Surfin' and Swingin'" in the popular 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. This helped bring Dale, surf music, and surf culture to national prominence. He also appeared in the 1987 film, Back to the Beach—in which Avalon's character, reluctant to attend a Dick Dale concert, remarks to Funicello, "We can come back here in the year 2000 and see Dick!"—a testimony to Dale's continued popularity and career longevity.
Surf rock's national popularity was somewhat brief, as the British Invasion began to overtake the American charts in 1964. Though he continued performing live, Dale was soon set back by rectal cancer. In the liner notes of Better Shred Than Dead: The Dick Dale Anthology, the thought, "Then you'll never hear surf music again," was Jimi Hendrix's reaction upon hearing that Dale had a possibly terminal case of colon cancer, intended to encourage his comrade to recuperate. Dale, in gratitude to his late friend, later covered "Third Stone from the Sun" as a tribute to Hendrix. Though he recovered, he retired from music for several years. In 1979, he almost lost a leg after being injured while swimming and a pollution-related infection made the mild injury much worse. As a result, Dale became an environmental activist and soon began performing again. He recorded a new album in 1986 and was nominated for a Grammy. In 1987 he appeared in the movie Back to the Beach, playing surf music and performing "Pipeline" with Stevie Ray Vaughan. In 1993, he recorded a guitar solo on the track "Should Have Known" on a vinyl single by a Southern California indie band, The Pagodas. The use of "Misirlou" in the 1994 Quentin Tarantino film Pulp Fiction gained him a new audience.
In 1995, he recorded a surf-rock version of Camille Saint-Saëns's "Aquarium" from The Carnival of the Animals for the musical score of the enclosed roller coaster, Space Mountain at Disneyland in Anaheim, California. In 1997, Dale appeared in the campy cult film An American Vampire Story, performing a rousing guitar solo on the beach with his son on drums. In 2002, Dale appeared in The True Meaning of Christmas Specials, playing several original songs for the program.
The National Hockey League's Colorado Avalanche use Dale's song "Scalped" as their theme song. The Black Eyed Peas' song "Pump It" (from the 2005 album Monkey Business) heavily samples Dale's "Misirlou". "Misirlou" also features in the PlayStation 2/Xbox 360 video game, Guitar Hero II, as well as the Wii video game Rayman Raving Rabbids. In the feature film Space Jam, as Elmer Fudd and Yosemite Sam (in a parody of the Pulp Fiction characters Vincent Vega and Jules Winnfield) shoot out teeth from one of the Monstars, a clip from "Misirlou" plays.
In 2009, Dale was inducted into the Musicians Hall of Fame and Museum in Nashville, Tennessee. Dale is also a 2011 inductee into the Surfing Walk of Fame in Huntington Beach, California, in the Surf Culture category.
Dale was married at least twice. In the early 1970s, his wife Jeannie Monsour was a Las Vegas dancer who worked in a revue with Dale. Their son James was 20 years old in 2012, Dale said that same year he had not spoken to Jeannie in over a decade and rarely saw James. As of 2015, his wife Lana was his manager.
Dale said that he never used alcohol or other drugs, for health reasons, and discouraged their use by band members and road crew. In 1972, he stopped eating red meat. He studied Kenpo karate for over 30 years. In early 2008, he experienced a recurrence of rectal cancer and finished a surgical, chemotherapy, and radiation treatment regimen. In June 2009, Dale began a West Coast tour from Southern California to British Columbia, with approximately 20 concert dates. "Forever Came Calling" (or FCC) featured Dale's then-17-year-old son, Jimmie Dale on drums, who opened for him. He was scheduled to play the Australian One Great Night On Earth festival to raise funds to benefit those affected by the Black Saturday bushfires and other natural disasters. Dale continued to perform at venues across the U.S. into 2019 in order to pay for medical bills.
Dale died of heart failure on March 16, 2019, at the age of 81.
In addition to Fender amplifiers, Dale was associated with the Fender Stratocaster guitar. Fender makes a signature model, the Dick Dale Custom Shop Stratocaster, fitted with "Custom Shop '54" pickups and intended to recreate the sound of the first Stratocaster. Dale used a reverb unit with the signal split between two Fender Dual Showman amps. As of 2010, Dale continued to play with his original reverb unit and Showman amps from the early 1960s, continuing his practice of stringing his left-handed guitar upside down. The unique features of this guitar include a toggle switch that bypasses the three position blade switch to activate neck and middle pickups only. Fender also makes an acoustic signature model, the Fender Kingman Dick Dale guitar, with an all mahogany body so there is no loss in sound. The guitar is a three quarter size guitar but sounds like a dreadnought in Dale's words.
Dick Dale (Richard Anthony Monsour, Boston, Massachusetts, May 4, 1937 – March 16, 2019) was an American surf rock guitarist, singer and songwriter known as The King of the Surf Guitar. He pioneered and created what many call the surf music style, drawing on Middle-Eastern music scales and experimenting with reverberation.
Dale worked closely with Fender to produce custom made amplifiers, including the first-ever 100-watt guitar amplifier. He pushed the limits of electric amplification technology, helping to develop new equipment that was capable of producing distorted, "thick, clearly defined tones" at "previously undreamed-of volumes." The "breakneck speed of his single-note staccato picking technique" and showmanship with the guitar is considered a precursor to heavy metal music, influencing guitarists such as Jimi Hendrix and Eddie Van Halen.
Dale was born Richard Anthony Monsour in Boston, Massachusetts, on May 4, 1937. He was of Lebanese descent from his father and Polish-Belarusian descent from his mother. His grandparents farmed in Whitman, Massachusetts.
Dale's family moved to Quincy, Massachusetts when Dale was very young. He learned to play music, starting with piano when he was nine.
He first started playing the piano when he was young from sitting with his aunt who played and listening to it.
"I first was given a trumpet when I was in seventh grade."
Dale admired Hank Williams, and wanted to be a cowboy singer, so he got a ukulele and taught himself to play by reading an instruction book.
"It was a ukelele, back when I was in kindergarten. I was reading a Superman magazine and it said: Sell so many jars of Noxzema skin cream and we'll send you this ukelele. And I got it. But it was a piece of crap, so I filled a red wagon with a bunch of Pepsi and Coke bottles, went down to the store, cashed them, and I got a basic ukelele for $6."
The first song he played on the ukulele was "Tennessee Waltz".
"And my buddy had a guitar for sale, so he sold it to me for $8, and I paid him 25 or 50 cents a week."
He then learned to play guitar, using a combination of styles incorporating both lead and rhythm aspects, so that the guitar filled the place of drums. He was raised in Quincy until he completed the eleventh grade at Quincy High School in 1954, when his father, a machinist, took a job working for Hughes Aircraft Company in the Southern California aerospace industry. His parents drove the family across the country to live in El Segundo, California. Dale spent his senior year at and graduated from Washington Senior High School. It was in Southern California that he learned to surf at the age of 17. He soon learned to play the drums and the trumpet.
When I was 18 at the Santa Ana River Jetty is where I put my first board in the water that I ever got from Joe Quigg. I was just riding the whitewater in, and I was just in heaven.
Due to his Lebanese heritage, he also had a strong interest in Arabic music, which later played a major role in his development of surf rock music.
Among his early musical influences was his uncle. According to Dale,
"My uncle taught me how to play the tarabaki, and I watched him play the oud.
We used to play at the Mahrajan while relatives belly-danced."
His early tarabaki drumming later influenced his guitar playing, particularly his rapid alternate picking technique. According to Dale,
"It's the pulsation," stating that whether he is playing the guitar, trumpet, or piano, "they all have that drumming beat I learned by playing the tarabaki."
Dale played at local country bars where he met Texas Tiny, who gave him the name "Dick Dale" because he thought it was a good name for a country singer.
Dale is credited as one of the first electric guitarists to employ non-Western scales in his playing. His sound derives from Gene Krupa's jungle drum rhythms and wild animals' roars and other sounds, as well as from indigenous peoples' dance rhythms. Dale was among the first guitarists to use reverb—which gave the guitar a "wet" sound that has become a staple of surf music. His staccato picking, however, is his trademark. Being left-handed, he initially had to play a right-handed guitar, but then changed to a left handed model. However, he did so without restringing the guitar, leading him to effectively play the guitar upside-down (Hendrix, in contrast, restrung his guitar), often playing by reaching over the fretboard rather than wrapping his fingers up from underneath. Dale is also noted for playing his percussive, heavy bending style, using what most guitarists consider very heavy gauge strings (16p, 18p, 20p. 38w, 48w, 58w guitar string manufacturers do not make string sets for standard tuned electric guitars heavier than 13 to 56).
"When I met Leo Fender and he was creating Fender Equipment he wanted me to also pioneer it, proof it, and help take all the bugs out of it. Everything that came out of Leo Fender's head, I was his test pilot. He used to say, "When it can withstand the barrage of punishment from Dick Dale, then it is fit for the human consumption." So I blew up over 50 amplifiers. And that's why they call me the Father of Heavy Metal. Because I use 60-gauge strings and I make people's ears bleed."
"So when I had my first concert with Leo Fender, I went to Balboa, California, and then I started surfing. So when we opened up the ballroom at Stan Kenton that was the last act that was there, and they were going to tear it down, and I got permits to open it with my dad. It held 4,000 people of all ages. The stage was humongous and there were giant red curtains. I told the surfers I was surfing with, we had a club called the 5th Street Crew, and I told the guys I was going to be playing at a place called the Rendezvous, 'cause we had no money to promote. And the first group of people that came there were these surfers, about 17 of them."
His desire to create a certain sound led him to push the limits of equipment.
Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. (Freddie Tavares) went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of four thousand screaming and dancing Dick Dale fans, and said to Freddy, I now know what Dick Dale is trying to tell me. They went to James B. Lansing loudspeaker company and explained that they wanted a fifteen inch loudspeaker built to their specifications. The unit became famous as the 15" JBL D130F model. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and loudspeaker cabinet, he was probably the first performer to jump from the volume scale of a smaller amplifier to levels most amplifiers and loudspeakers could not attain. That is when Dale became the "Father of Heavy Metal" as quoted from Guitar Player magazine. Dale broke through the electronic barrier limitations of that era!
During a six-month period that began July 1, 1961, Dale's performances at the Rendezvous Ballroom in Balboa are credited with the creation of the surf music phenomenon. Dale asked for and gained permission to use the 3,000 person capacity ballroom for surfer dances after overcrowding at a local ice cream parlor where he performed made him seek other venues. The Rendezvous ownership and the city of Newport Beach agreed to Dale's request on the condition that he prohibit alcohol sales and implement a dress code. Dale's events at the ballrooms, called "stomps," quickly became legendary, and the events routinely sold out. Paul Johnson, guitarist for the contemporary group The Bel-Airs, recalled the electric atmosphere of the shows:
I remember making the trek to the Rendezvous in the summer of '61 to see what all the fuss was about over Dick Dale. It was a powerful experience; his music was incredibly dynamic, louder and more sophisticated than The Belairs, and the energy between The Del-Tones and all of those surfers stomping on the hardwood floor in their sandals was extremely intense. The tone of Dale's guitar was bigger than any I had ever heard, and his blazing technique was something to behold.
"Let's Go Trippin'" is often regarded as the first surf rock song. This was followed by more locally released songs, including "Jungle Fever" and "Surf Beat" on his own Deltone label. His first full-length album was Surfers' Choice in 1962. The album was picked up by Capitol Records and distributed nationally, and Dale soon began appearing on The Ed Sullivan Show, and in films where he played his signature single "Misirlou". He later stated, "I still remember the first night we played it ("Misirlou"). I changed the tempo, and just started cranking on that mother. And...it was eerie. The people came rising up off the floor, and they were chanting and stomping. I guess that was the beginning of the surfer's stomp." His second album was named after his performing nickname, "King of the Surf Guitar".
Dick Dale stated his two passions, Surfing and Guitar, by saying:
There was a tremendous amount of power I felt while surfing and that feeling of power was simply transferred into my guitar when I was playing surf music. The style of music I developed, to me at the time, was the feeling I got when I was out there on the waves. It was good rambling feeling I got when I was locked in a tube with the white water caving in over my head. I was trying to project the power of the ocean to the people. I couldn't get the feeling by singing, so the music took an instrumental form.
Dick Dale and The Del-Tones performed the songs "My First Love," "Runnin' Wild" and "Muscle Beach" in the 1964 film, Muscle Beach Party.
Dale and the Del-Tones performed both sides of his Capitol single, "Secret Surfin' Spot" / "Surfin' and Swingin'" in the popular 1963 movie, Beach Party, starring Frankie Avalon and Annette Funicello. This helped bring Dale, surf music, and surf culture to national prominence. He also appeared in the 1987 film, Back to the Beach—in which Avalon's character, reluctant to attend a Dick Dale concert, remarks to Funicello, "We can come back here in the year 2000 and see Dick!"—a testimony to Dale's continued popularity and career longevity.
Surf rock's national popularity was somewhat brief, as the British Invasion began to overtake the American charts in 1964. Though he continued performing live, Dale was soon set back by rectal cancer. In the liner notes of Better Shred Than Dead: The Dick Dale Anthology, the thought, "Then you'll never hear surf music again," was Jimi Hendrix's reaction upon hearing that Dale had a possibly terminal case of colon cancer, intended to encourage his comrade to recuperate. Dale, in gratitude to his late friend, later covered "Third Stone from the Sun" as a tribute to Hendrix. Though he recovered, he retired from music for several years. In 1979, he almost lost a leg after being injured while swimming and a pollution-related infection made the mild injury much worse. As a result, Dale became an environmental activist and soon began performing again. He recorded a new album in 1986 and was nominated for a Grammy. In 1987 he appeared in the movie Back to the Beach, playing surf music and performing "Pipeline" with Stevie Ray Vaughan. In 1993, he recorded a guitar solo on the track "Should Have Known" on a vinyl single by a Southern California indie band, The Pagodas. The use of "Misirlou" in the 1994 Quentin Tarantino film Pulp Fiction gained him a new audience.
In 1995, he recorded a surf-rock version of Camille Saint-Saëns's "Aquarium" from The Carnival of the Animals for the musical score of the enclosed roller coaster, Space Mountain at Disneyland in Anaheim, California. In 1997, Dale appeared in the campy cult film An American Vampire Story, performing a rousing guitar solo on the beach with his son on drums. In 2002, Dale appeared in The True Meaning of Christmas Specials, playing several original songs for the program.
The National Hockey League's Colorado Avalanche use Dale's song "Scalped" as their theme song. The Black Eyed Peas' song "Pump It" (from the 2005 album Monkey Business) heavily samples Dale's "Misirlou". "Misirlou" also features in the PlayStation 2/Xbox 360 video game, Guitar Hero II, as well as the Wii video game Rayman Raving Rabbids. In the feature film Space Jam, as Elmer Fudd and Yosemite Sam (in a parody of the Pulp Fiction characters Vincent Vega and Jules Winnfield) shoot out teeth from one of the Monstars, a clip from "Misirlou" plays.
In 2009, Dale was inducted into the Musicians Hall of Fame and Museum in Nashville, Tennessee. Dale is also a 2011 inductee into the Surfing Walk of Fame in Huntington Beach, California, in the Surf Culture category.
Dale was married at least twice. In the early 1970s, his wife Jeannie Monsour was a Las Vegas dancer who worked in a revue with Dale. Their son James was 20 years old in 2012, Dale said that same year he had not spoken to Jeannie in over a decade and rarely saw James. As of 2015, his wife Lana was his manager.
Dale said that he never used alcohol or other drugs, for health reasons, and discouraged their use by band members and road crew. In 1972, he stopped eating red meat. He studied Kenpo karate for over 30 years. In early 2008, he experienced a recurrence of rectal cancer and finished a surgical, chemotherapy, and radiation treatment regimen. In June 2009, Dale began a West Coast tour from Southern California to British Columbia, with approximately 20 concert dates. "Forever Came Calling" (or FCC) featured Dale's then-17-year-old son, Jimmie Dale on drums, who opened for him. He was scheduled to play the Australian One Great Night On Earth festival to raise funds to benefit those affected by the Black Saturday bushfires and other natural disasters. Dale continued to perform at venues across the U.S. into 2019 in order to pay for medical bills.
Dale died of heart failure on March 16, 2019, at the age of 81.
In addition to Fender amplifiers, Dale was associated with the Fender Stratocaster guitar. Fender makes a signature model, the Dick Dale Custom Shop Stratocaster, fitted with "Custom Shop '54" pickups and intended to recreate the sound of the first Stratocaster. Dale used a reverb unit with the signal split between two Fender Dual Showman amps. As of 2010, Dale continued to play with his original reverb unit and Showman amps from the early 1960s, continuing his practice of stringing his left-handed guitar upside down. The unique features of this guitar include a toggle switch that bypasses the three position blade switch to activate neck and middle pickups only. Fender also makes an acoustic signature model, the Fender Kingman Dick Dale guitar, with an all mahogany body so there is no loss in sound. The guitar is a three quarter size guitar but sounds like a dreadnought in Dale's words.
Riders in the Sky
Dick Dale & His Del-Tones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
An old cowpoke went riding out one dark and windy day,
Upon a ridge he rested as he went along his way,
When all at once a mighty herd of red-eyed cows he saw,
A ploughin' through the ragged skies
And up a cloudy draw.
Yippee-yi-ay, yippee-yi-o,
The ghost herd in the sky.
Their brands were still on fire and their hooves was made of steel,
Their horns wuz black and shiny and their hot breath he could feel,
A bolt of fear went through him as they thundered through the sky,
For he saw the riders comin' hard
And he heard their mournful cry.
Yippee-yi-ay, yippee-yi-o,
Ghost riders in the sky.
Their faces gaunt their eyes were blurred and shirts all soaked
With sweat,
They're ridin' hard to catch that herd but they ain't caught them yet
'Cause they've got to ride forever on that range up in the sky,
On horses snortin' fire
As they ride on, hear their cry.
Yippee-yi-ay, yippee-yi-o,
Ghost riders in the sky.
As the riders loped on by him he heard one call his name,
"If you want to save your soul from hell a-riding on our range,
Then cowboy change your ways today or with us you will ride
A-try'ng to catch the devil's herd
Across these endless skies."
Yippee-yi-ay, yippee-yi-o,
The ghost herd in the sky.
Ghost riders in the sky.
Upon a ridge he rested as he went along his way,
When all at once a mighty herd of red-eyed cows he saw,
A ploughin' through the ragged skies
And up a cloudy draw.
Yippee-yi-ay, yippee-yi-o,
The ghost herd in the sky.
Their horns wuz black and shiny and their hot breath he could feel,
A bolt of fear went through him as they thundered through the sky,
For he saw the riders comin' hard
And he heard their mournful cry.
Yippee-yi-ay, yippee-yi-o,
Ghost riders in the sky.
Their faces gaunt their eyes were blurred and shirts all soaked
With sweat,
They're ridin' hard to catch that herd but they ain't caught them yet
'Cause they've got to ride forever on that range up in the sky,
On horses snortin' fire
As they ride on, hear their cry.
Yippee-yi-ay, yippee-yi-o,
Ghost riders in the sky.
As the riders loped on by him he heard one call his name,
"If you want to save your soul from hell a-riding on our range,
Then cowboy change your ways today or with us you will ride
A-try'ng to catch the devil's herd
Across these endless skies."
Yippee-yi-ay, yippee-yi-o,
The ghost herd in the sky.
Ghost riders in the sky.
The song "Riders in the Sky" by Dick Dale and His Del-Tones depicts an old cowboy who witnesses a supernatural stampede of cattle on a dark and windy day. Suddenly, a group of spectral horsemen appears, galloping behind the herd, chasing them eternally across the skies. The cowboy is terrified and hears the ghost riders calling his name, warning him to change his ways or face eternal damnation. Through this haunting narrative, the song explores the concepts of life, death, redemption, and the afterlife.
The imagery of the song contains several references to cowboy culture and the American West, including the mention of "red-eyed cows" and "their hooves [being] made of steel." The references to the devil, eternal damnation, and salvation further suggest a religious or spiritual interpretation of the lyrics. The song's melody and rhythm reflect its dramatic and haunting lyrics, creating an eerie and suspenseful atmosphere.
Line by Line Meaning
An old cowpoke went riding out one dark and windy day,
Once upon a time, a senior cowboy set out riding one overcast and blustery day.
Upon a ridge he rested as he went along his way,
He paused on a crest while moving on his course.
When all at once a mighty herd of red-eyed cows he saw,
In a moment, he caught sight of a colossal group of angry-looking cattle.
A ploughin' through the ragged skies
They seemed to navigate through the bumpy clouds.
And up a cloudy draw.
They headed towards a furrow amidst the fog.
Yippee-yi-ay, yippee-yi-o,
Exclamation of excitement or exuberance.
The ghost herd in the sky.
He referred to the eerie-looking herd as a ghost posse in the sky.
Their brands were still on fire and their hooves was made of steel,
The cattle's marks were aflame, and their feet were metallic.
Their horns wuz black and shiny and their hot breath he could feel,
Their black and shiny horns, terrifying breaths, and intense heat were all evident to him.
A bolt of fear went through him as they thundered through the sky,
As they roared through the air, he was downright terrified.
For he saw the riders comin' hard
He can spot riders arriving with great intensity.
And he heard their mournful cry.
He heard their woeful scream
Yippee-yi-ay, yippee-yi-o,
Exclamation of excitement or exuberance.
Ghost riders in the sky.
He labeled the alarmed riders as ghost riders in the sky.
Their faces gaunt their eyes were blurred and shirts all soaked
Their exhausted faces and shirts, and blurred vision were all visible.
With sweat,
They were dripping with sweat.
They're ridin' hard to catch that herd but they ain't caught them yet
They rode with great determination to capture the herd, but they hadn't done so.
'Cause they've got to ride forever on that range up in the sky,
As per his understanding, they were destined to ride eternally across that sky range.
On horses snortin' fire
The horses under them were blowing fire through their nostrils.
As they ride on, hear their cry.
Their howls echoed as they continued their journey.
Yippee-yi-ay, yippee-yi-o,
Exclamation of excitement or exuberance.
Ghost riders in the sky.
He referred to them as ghost riders in the sky.
As the riders loped on by him he heard one call his name,
As they rode past him, he could hear one of them yelling out his name.
"If you want to save your soul from hell a-riding on our range,
The rider warned him to change his ways if he wanted to keep his soul safe from riding on their range.
Then cowboy change your ways today or with us you will ride
He advised him to alter his style immediately, or he would be compelled to ride with them.
A-try'ng to catch the devil's herd
He stated that he'd be attempting to catch the devil's herd
Across these endless skies."
Throughout these neverending skies, they would travel after the devil's herd.
Ghost riders in the sky.
He repeated his reference to them as ghost riders in the sky.
Lyrics © Universal Music Publishing Group
Written by: STANLEY JONES
Lyrics Licensed & Provided by LyricFind
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@archangele1
Dick Dale was amazing. Was sad to hear of his passing. He was the king of the surf guitar.
But, the reverb or delay sound was pioneered by another great guitarist way back
around 1950 by Johnny Guitar Watson in his epic recording "Space Guitar".
He used a classic trick of recording thanks to the spacing of record, play back, and monitor heads on
old reel to reel recording tape decks. Dick used Leo Fender's reverb unit to get that
classic wet, delayed reverb effect. I have a tube Fender reverb unit and nothing else has
that classic surf guitar sound.
I really enjoy listening to both Dick Dale and Johnny Guitar Watson. Two totally different
types of music, but both musicians are just so great, May they both rest in peace...
Or, maybe start an amazing guitar band in heaven!
@poughkeepsiejohn1
They HAVE to put Dick Dale in The Rock And Roll Hall Of Fame! He's become one of those individuals whose talent is now unquestionable.
@NormAppleton
Simple Fact, nobody sounded like him, ever.
@GoodNewsJim
Ah frick All halls of fame. Political cess pools. I mean hhof changed my life n all as a video gamer, but pick your favorites yourself, not some jagoffs with comittee lol
@JohnWhorphin
Saw him play at Club Soda in Kalamazoo in 1995. He was amazing. The kid who was playing drums for the show? A really young Jack White.
@cameronragsdale1402
Right on!
@jamespfitz
He's great in those Panda movies.
@JorgeGeorgeD
The bassist? Abraham Lincoln.
@yurikorosal4813
The engineer? Einstein.
@MM-op6ti
The trombonist? William Riker
@josephwiggins642
RIP Dick Dale. The Surf will always be up for you Bro