Dick Dale & The Del-Tones also known as Dick Dale & His Del-Tones were a su… Read Full Bio ↴Dick Dale & The Del-Tones also known as Dick Dale & His 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.
La Bamba
Dick Dale & The Del-Tones Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Cumbia, cumbia
Con la Ecos del Lago
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Los Incansables del sabor
La que suena brother
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Cumbia, cumbia
Con la Ecos del Lago
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Para bailar La Bamba
Para bailar La Bamba
Se necesita una poca de gracia
Una poca de gracia
Pa' mí, pa' ti, ay arriba, ay arriba
Ay arriba, ay arriba
Por ti seré, por ti seré, por ti seré
Yo no soy marinero (como)
Yo no soy marinero, soy capitán
Soy capitán, soy capitán
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Bamba, bamba
Los Incansables del sabor
La que suena brother
The lyrics to Dick Dale & The Del-Tones's song "La Bamba" revolve around the joy of dancing and the need for a little grace in order to do so. The repeated phrase "Para bailar La Bamba" translates to "To dance La Bamba" and sets the tone for the song. It emphasizes the importance of having a sense of rhythm and flowing movements.
The line "Se necesita una poca de gracia" means "A little bit of grace is necessary." This line suggests that to dance the Bamba, one needs to possess a certain elegance and poise. It implies that dancing is not just about moving one's body, but also about expressing oneself through graceful movements.
The repetition of "Pa' mí, pa' ti, ay arriba, ay arriba" adds a sense of liveliness and encouragement. It can be interpreted as an invitation for everyone to join in the dance and enjoy themselves. The phrase "Por ti seré, por ti seré, por ti seré" means "For you, I will be, for you, I will be, for you, I will be," suggesting that the singer's commitment and dedication to the dance is fueled by the presence or influence of someone special.
The lyrics also touch upon the singer's identity, stating "Yo no soy marinero, soy capitán" which means "I am not a sailor, I am a captain." This line suggests a sense of confidence and leadership, asserting that the singer is in control and capable of leading the dance.
Overall, the lyrics of "La Bamba" convey a celebration of dance, emphasizing the importance of having both physical grace and a vibrant, energetic spirit. It encourages listeners to let go and immerse themselves in the joy of dancing, while also showcasing the singer's self-assuredness and ability to lead.
Line by Line Meaning
Para bailar La Bamba
To dance La Bamba
Se necesita una poca de gracia
You need a little bit of grace
Una poca de gracia
A little bit of grace
Pa' mí, pa' ti, ay arriba, ay arriba
For me, for you, up above, up above
Ay arriba, ay arriba
Up above, up above
Por ti seré, por ti seré, por ti seré
For you I will be, for you I will be, for you I will be
Yo no soy marinero (como)
I am not a sailor (like)
Yo no soy marinero, soy capitán
I am not a sailor, I am a captain
Bamba, bamba
Bamba, bamba
Cumbia, cumbia
Cumbia, cumbia
Con la Ecos del Lago
With the Echoes of the Lake
Los Incansables del sabor
The Unstoppable Ones of flavor
La que suena brother
The one that sounds, brother
Lyrics © O/B/O APRA AMCOS
Written by: Mitchel Froom, Luis Martínez Serrano
Lyrics Licensed & Provided by LyricFind
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@snwbrdr642
anyone know if this song shows up on an album?