Instrumental Surf-Rock-Psychedelic Review: Kioea-Electric Surf EP

Release Date: June 7, 2025

Label: Independent

Website

Kioea Is:

Carand Burnet- Guitar, Sitar, Synth, Vocals

Neil Collins-Bass

Matt Wilson- Drums

When I received a package from the band Kioea, I knew that it was going to be something different. Based on the introduction I read, it wasn’t just going to be a surf instrumental album, and it got me excited for what I was about to hear. I love surf instro; however, hearing something that is a few steps beyond that can also be intriguing.

The Electric Surf EP is a unique blend of atmospheric surf, rock, and psych. This musical journey features intriguing Middle Eastern influences, courtesy of the sitar. The use of a synthesizer for various effects throughout the tracks is another notable element. This complex mixture of music, each bit of it superb, is a testament to the band’s innovative approach. Despite the name, Kioea is not a Hawaiian band; instead, it hails from the vibrant music scene of Portland, Maine, and its surrounding areas.

Every track you will hear Carand’s guitar and earthy, wordless vocals. This adds another layer to the many other layers of guitar, bass, synths, sitar, and drums.

“Orca” begins the journey with a slow tempo and an atmospheric drone sound, a continuous, low-pitched note that creates a sense of depth and space in the music. Then the tempo picks up with some fast picking and rhythm guitar. Surfy leads and powerful drums follow. Here they set the precedence for ever-changing tempos and a transitory sound that will keep you hooked from beginning to end.

“Canyon Wren” continues with the mellow vibes. A catchy melody then transitions to a different tempo, accompanied by a flash lead guitar lick before returning to the main melody. Another change comes with some echoing leads, which build up and then recede. Then you hear the bird itself (nice touch), and some wordless vocals come in again, and the bird sounds return with a dreamy atmosphere, creating an island paradise in your mind. Very picturesque and encouraging a listener to think about where they could be.

“Sun Fish” captivates the listener with its beautiful wordless vocals and strong bass and drums. The music’s transitory nature, changes in tempo and intensity, keep the listener engaged and intrigued. The band’s use of wordless vocals adds another layer of beauty to their music, making it a truly captivating listen.

“Paloma” is very melodic at the start, featuring wordless vocals. Drums and bass are excellent as they navigate through quick changes and sudden shifts in rhythm or melody, keeping the music fresh and engaging. Accompanied by guitar passages, which are a hallmark of these tracks, they provide a dynamic foundation.

The title track, “Electric Surf,” is quite different, featuring more wordless vocals. It is ambient and spacey, with a spacious and ethereal sound that creates a dreamy atmosphere, as the guitars, bass, and drums suddenly jump in. A smooth tempo is consistent, and excellent guitar work is a highlight. A changeover to some picking, followed by another switch, then a steady, rhythmic guitar, adds different layers of flavor as the tempos change. As with all their music, they create an atmospheric and dreamy soundscape with the addition of the wordless vocals.

“Province Lands” closes things out with a sitar and crickets chirping in the background. This is a live recording from a Simplify Yoga Retreat. It is an ambient meditative listen. So, the album ends like it was a new age instrumental album rather than a surf-tinged instrumental rock effort. Very different but quite enjoyable.

I would call their music progressive instrumental surf. Now that is a title you will rarely hear, and it takes a lot of elements for me even to suggest it. But here it is, have a listen and see for yourself.  If you are yearning for something entirely different, you will find it on the Electric Surf EP.

Keith “MuzikMan” Hannaleck-Surf Music and Art Reviews Founder

July 27, 2025

Tracks:

1. Orca 03:14

2. Canyon Wren 04:26

3. Sun Fish 03:31 video

4. Paloma 02:38

5. Electric Surf 05:34

6. Province Lands 03:44

Surf Rock Review: Magnatech! - 312 Magnatech Fans Can’t Be Wrong

Release Date: July 17, 2025

Magnatech! Facebook Page

Label: Constituent Records

Guest Review by Jimmy Dee 

The advantage of being a one-man band is that you know exactly what’s going on with your “fellow musicians”; the disadvantage is that no one is there to restrain you if you go over the top.

 

Magnatech is the one-man music project of Dutchman Johannes B. Verhoef, and as soon as he plugs in his electric guitar, he’s unstoppable. On his seventh album, 312 Magnatech Fans Can’t Be Wrong, eighteen bombastic bangers ripple through the grooves, delivering an up-tempo surf guitar sound submerged in the breakwater noises of a cranked-up tube reverb. The solo entertainer doesn’t have to listen to bandmates telling him to turn his guitar down during rehearsal. This is surf, man!  

 

The title of the album alludes to the slogan of the 1962 hit collection Elvis’ Golden Records – Volume II. While Elvis Presley had “50 million fans”, who were clearly not wrong, Magnatech has at least “312”. This figure may also refer to record sales. Be that as it may, the borrowed title is an understatement that suggests this artist should not be underestimated.

 

The industrious sound tinkerer Verhoef plays all the instruments himself and has developed a multi-track recording process that faithfully recreates the sound of an early-sixties combo gone off the rails. His dedication to his craft is evident in every note, and how he achieves this is his well-kept secret.

 

As with all Magnatech releases, the new album is strongly conceptualized, full of eclectic ideas and associative playfulness. It exhibits the eccentric whims of a pronounced sentimentalist. The titles of the instrumental pieces are not only intended to evoke images and inspire the listener’s imagination; the artist himself has attached strong associations to them, mainly relating to the everyday culture of past decades or old films, as well as to current affairs (“On the Waves of Disinformatia”).

 

The artist has an unusual penchant of naming songs after famous people as a mark of admiration. With “Ladi Geisler”, he pays homage to the German jazz and studio guitarist Ladi Geisler, whose “Knackbass” was a decisive influence on the irresistible sound of the Bert Kaempfert Orchestra. However, there is no trace of this in the recording. Instead, a renowned name contributes to the fascination of an artistic vision.

 

Gimmicky noises such as whip cracking, rescue sirens, muezzin prayers, flies buzzing, and cows mooing are used by Verhoef to enhance the multidimensional stereo listening experience and add variety to the soundscape. These unconventional sounds are a testament to his experimental approach – only Pink Floyd used more of them.

 

Although Magnatech has primarily leased the surf genre, surf culture itself is often only featured marginally, such as in emergencies (“Surf Ambulance”), on days of penance (“Surf Apostle”), or concerning water shyness (“The Water’s Too Cold To Surf”). Didn’t Jack O’Neill invent the wetsuit in 1952?

 

The music itself is far more reckless, appearing to be played with bold impetuosity. In almost every song (four of which have already been released on the 2024 EP Tanzkapelle) Verhoef strums the strings masterfully in a mandolin style that is so characteristic of surf music. Alongside the dominant guitar thunderstorm, there is often little room for dynamic variation among the accompanying instruments. The programmed drums are rigid, and drum rolls sometimes resemble the noise techno of Rotterdam gabber.

 

Undoubtedly, the unbridled energy of surf music was given preference over composed pieces. The album features many exciting melodic approaches. However, sometimes the voice leading is not rounded off and leads nowhere on the fretboard. Not even a nimbly inserted drum roll can disguise this. As a result, much remains piecemeal. A track like “Camazotz” (named after the fearsome bat god of the Mexican Maya people) could almost have become a modern classic of the surf genre.

 

Special mention must go to the rhythmically accelerated instrumental cover of Kyu Sakamoto’s Asian ballad “Sukiyaki”, with which the singer from Kawasaki achieved the first – and, to date, only – Japanese number one hit in the US in 1963.

 

As a true whizz kid, Verhoef didn’t even outsource the artwork. Left to his own devices, he designed the album cover himself. To this end, he used AI-generated images depicting him as a pig mafia boss. Magnatech fans will find the pointed pig ears amusing. They are undoubtedly helpful for a loud listening experience.

Track List:

01. Surf Apostle

02. Desolation Angels

03. Surf Ambulance

04. Lilith

05. Camazotz

06. Anna Loos

07. Our Mother Anatolia (türk savaş marşı)

08. Agent Fruitfly

09. Aurora Borealis

10. Ladi Geisler

11. La Lupiada

12. Sukiyaki

13. On the Waves of Disinformatia

14. Lago di Constanza

15. Manchuria

16. Holy Cow!

17. La plus belle fille du village

18. The Water’s Too Cold To Surf

Surf Instro Review: Susan and The Surftones - All The Beat Live!!! All The Best (Live At The Bop Shop, Rochester, New York)

Susan and the Surftones, one of my favorite surf-instrumental groups, have finally released a live CD, All The Beat Live!!! All The Best. It was recorded Live At The Bop Shop, Rochester, New York.

Having never had the pleasure of witnessing a live show by the group, I was more than happy to give this disc a spin.

What sets Susan and the Surftones apart is their ability to bring the energy of a live show to their recordings. Their live, raw covers of familiar tunes explode with power. “Tramp” was my favorite track, a real classic surf-instro rocker that captures the band's live performance energy.

Susan told me in an interview earlier this year that they do covers because that’s what the crowd wants to hear at a live gig. Now we all get the opportunity to find why the crowd clamors for it.

This CD features twenty-one tracks of fun in the sun, along with sparkling waves of rock and roll to soothe your soul.

Susan is a straightforward woman, and her attitude is reflected in her music. When you listen to Susan and the Surftones, you're getting the real deal, straight up with no chaser. Their music is authentic and honest, just like Susan herself.

Keith “MuzikMan” Hannaleck
December 12, 2000

Tracks:
01. Pipeline 

02. Rumble  

03. Stinger 

04. Baja 

05. Apache 

06. Sunburn  

07. Walk, Don’t Run  

08. Jezebel 

09. Tiki Kiki 

10. Jack The Ripper

11. Tequilla 

12. Trembler/Ace Of Spades 

13. Topsy 

14. Penetration 

15. Tramp 

16. Diamond Head 

17. Raw-Hide 

18. Spanish Wave

19. Blue Moon 

20. Wipe Out 

21. My Generation

Documentary Review and Interview With John Blair: Sound of the Surf

Website

Buy The DVD

Note: I have included an interview with John Blair, who played a crucial role in completing this film, despite the passage of 30 years and the untimely death of the person who started it.

Vision Films recently released their tribute to surf culture, Sound of the Surf. If you're a fan of surf instrumental music and curious about its origins, evolution, and resurgence, this documentary is a treasure trove of information. It's a testament to the genre's rich history and the characters who shaped it, preserving their legacy for generations to come.

 

I would paraphrase that as the life and death of surf, and how it has continually renewed itself from the first to the third wave and into the present day. It's a story of resilience and adaptability, inspiring a whole new generation of bands and listeners.

 

The genre is often cited as both simplistic and powerful. Over the years, many subgenres have formed, making the genre more complex and eclectic. Many of the cornerstones have remained, like having songs generally run in the 2-minute-plus range and providing colorful artwork for recordings ranging from 7” 45s to full-length albums.

 

A series of events led to the creation of this music and contributed to the culture of surfers. Before surfers claimed the music as their own, they listened to jazz because it was complementary in terms of expression, much like riding the waves.

 

The Rendezvous Ballroom and The Lighthouse were key venues at the beginning. Dick Dale, considered the father of surf, was eventually fired from the ballroom because someone deemed it "evil devil music." Now, how silly is that? Yet, many people bought into it. That, of course, did not stop the tidal wave of interest that was to happen. Soon, there would be hundreds of surf instrumental bands all over the U.S., and it would spread worldwide.

 

At least that is how it all started with the King of Surf, Dick Dale. His influence is undeniable.

 

The genre remains male-dominated to this day; however, when it first began, there were two central female characters, Kathy Kohner and Kathy Marshall. Kathy Kohner (Gidget, which stands for girl midget) decided that she wanted to write about her experiences, and her father took all the notes, wrote the book, and it was later adapted into a film in 1959. That propelled everything else to new heights, prompting an increase in movies and music about surfing. Kathy Marshall was good enough to play on stage with Dale and join a band. Dale anointed her “The Queen of Surf.” There is more to the story, of course, but you will have to watch the film.

 

Eddie Bertrand (of the Bel-Airs and Eddie and the Showmen) asked Fender to build a cabinet with two speakers for a bigger sound. And they did, but wanted it hushed because they were not producing them. Then, within a month or so, it became the standard, and Fender reaped the benefits.

 

John Blair formed Jon and the Nightriders in 1979 and released Surf Beat '80. This is what ignited the second wave to save the genre from falling into obscurity. It never truly went away; however, everything covered in the film was part of the music's growth and reach.

 

John had a significant hand in this documentary and handled all the narration for the film. He had the perfect demeanor and voice to pull it off.

 

When the 1990s rolled around, it was dubbed the “third wave.” At this time, some bands decided to mix punk with surf, creating an entirely new sound. So now surf morphed into something else entirely, spurring on a whole new generation of bands and listeners.

 

So that is the short version of what you will see and hear in this excellent documentary. It will create awareness and provide many people with a valuable history lesson on surf instrumental music. There is always something else to learn other than what you already know, so make sure you check this film out!

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

July 7, 2025

Surf Instro Review: The Human Tornados - Self Titled

The group's versatility is a standout feature of this album, covering several types of surf with finesse. 

The crisp sound from the top-notch production assures the listener of the album's professional standards. 

What truly impressed me was the range of the group's sound, from energetic surf to beautiful soundscapes that would be perfect for a soundtrack. 

The first track, "Pugsakuk," immediately captivated me with its unique sound. It set the perfect tone for the album, which I soon realized was a gem from start to finish. This is not just another surf album, but a standout in its genre.

This album is a must-have for any surf music enthusiast. Phil Dirt, the Surfmeister himself, has given it a glowing four-star review. He even compares the group to the legendary Aqua Velvets, a testament to their exceptional talent. This album is a strong contender for the top ten surf albums of the year.

Keith “MuzikMan” Hannaleck

June 2000

Note: In my first few years of reviewing, I had people like Phil Dirt to look to for guidance on what was happening in the community. He was one of many who helped me! Does anyone know if he is still around?

Tracks:

01. Pugsakuk   

02. The Man From N.O.R.K.A.   

03. I Surf In Black   

04. Del Surfin'

05. Incident At Broken Wind   

06. Princess SFWS   

07. Shadow Of The Rangemaster

08. Theme For Young Lovers   

09. Shempin' Surfari   

10. Hotel Loneliness   

11. Petey Kross The Merzey

12.Twister   

13.Wave

Surf Instrumental Review: The Ventures - Gold

https://theventures.com

The Ventures are back in America on Pat Boone's Gold label. The group couldn't have signed with a more focused and dedicated organization. Quality attracts quality.

With the group celebrating its fortieth anniversary, it's a testament to its unwavering dedication that it has come full circle and re-recorded its greatest hits. Utilizing today's exceptional recording technologies, it has breathed new life into these classics, making them sound better than ever.

 

This dedication to their craft is truly inspiring, and it's no wonder they continue to attract new audiences. Beginning their fiftieth decade of recording and touring, these fine musicians have made an indelible mark on music and our culture. The sounds perfected during the Gold sessions are outstanding, with each song offering new and interesting twists and turns that make for a thoroughly entrancing experience.

 

Nokie Edwards, a key figure in The Ventures' history, returns as a guest on fourteen tracks. His return is a significant event for the group and their fans, as he brings back the signature sound that defined The Ventures in the sixties. Edwards still has what it takes. Those quick fingers go to work, making melodious twang-filled notes that strike like lightning, stoking the fire that once burned in the sixties.

 

Bob Bogel, who plays the bass, steps in on lead guitar on four tracks: "Walk Don't Run," "Perfidia," "Guitar Boogie Shuffle," and "Wipe Out." Then Leon Taylor shows why he is Mel's son. What a nice job he does with that classic song. 

 

Taylor adds some of his style and percussive variation, while the diverse Bogel cuts loose with some tasteful and well-placed lead guitar notes. It's not as powerful as "Wipe Out 2000"; nevertheless, it's just as intriguing as any version I have ever heard. You can tell when Gerry McGee steps back in on lead guitar, and his sound is distinctive. He plays with more of an R&B flavor, with fatter chords, whereas Nokie has a more twangy reverb style. Nokie's trademark sound of instro-surf inspired a new genre in the sixties.

 

The late great Mel Taylor does one of his best numbers ever, and one of my favorites is "Bongo Rock." What an exciting rocker it turns into, thanks to the lightning-fast hands of one of music's greatest drummers. We miss him dearly.

 

After forty years, The Ventures haven't lost a step; they have gained a few on their contemporaries. They are a truly exceptional group that consistently produces excellent sound. Their music, whether a new song or a remake, is a testament to their superb talent and dedication. It's a sound that's truly heavenly to the ears, and we can't help but appreciate their musical prowess.

 

Nobody does it like The Ventures. They are like the 'Beatles' of instrumental rock and pop. They are living legends in every sense of the word, and their energy and vitality seem to surpass that of groups half their age. Their performances and recordings testify to their enduring passion and commitment to their craft.

 

The Ventures are an original slice of Americana, making history with every performance and every recording. Yes, this is pure Gold, and it's a thrill with a chill that will run up your spine, leaving you wanting more.

Keith "MuzikMan" Hannaleck 

June 14, 2000

Tracks:

01. Walk Don't Run

02. Telstar 

03. The Cruel Sea

04. Slaughter On 10th Avenue 

05. Yellow Jacket

06. Apache 

07. Perfidia 

08. Diamond Head  

09. The House Of The Rising Sun 

10. Secret Agent Man 

11. Bumble Bee Rock 

12. Pipeline 

13. Wipe Out 

14. Caravan 

15. Tall Cool One 

16. Red River Rock 

17. The James Bond Theme 

18. Guitar Boogie Shuffle 

19. Bongo Rock

20. Honky Tonk

Surf Instro Review: The Surfaris-Basic Tracks

I was intrigued when I received a professional letter from Paul Johnson's management about the recent The Surfaris release. PJ, a surf-instrumental guitar legend, and this band, one of the originals from the first wave of surf-instrumental, coming together to remake the essential tracks that helped to spawn an entire genre is a significant event. Their influence on the surf-instrumental genre is undeniable, and their music should be appreciated and respected.

Basic Tracks is a title that means more than it implies. These songs set the standard and paved the way for an entire genus of music. They are classics that will never age as long as someone is willing to play them, re-record them, and engage new listeners.

The Surfaris have reformed and updated each song with the crackling sparkle of a cold wave crashing to the shoreline, that shoreline being your ears, mind, and senses. How many versions of "Wipe Out" and "Misirlou" have you heard? I reckon quite a few, but if you are a true instro fan, you never tire of hearing those songs. Look at the mileage groups like The Ventures and artists like Merrell Fankhauser (the original creator of "Wipe Out," in case you did not know) have gotten from their catalogs of extensive material over the years.

There is an apparent reason for this: their music has qualities that people can relate to; it enables listeners to find validation in a particular time or place. This collection is no different, and the effect is the same; the songs sound new and refreshing again.

Songs constructed like this are different; there are no words, just music. That gives each track an edge and flexibility, allowing many types of musical styles to be used and reshaped time after time.

Although this is not common practice, as these songs usually remain intact within the framework of this particular musical style, they can come back again like unlimited refills at a soda fountain, with a little more juice and a twist of lime for flavor.

As the back of this CD says, legends live forever. Yes, they do, and so does their music. 

"Keith "MuzikMan" Hannaleck

February 18, 2003

Tracks:

1. The Wedge

2. Penetration

3. Apache

4. Point Panic

5. Hawaii 5-0

6. Misirlou

7. Wipe Out

8. Similau

9. Link Wray Medley 

Credits:

Robert Watson-Keyboards

David Raven-Drums

Brian Condren Hampton-Percussion

Jim Fuller-Acoustic Guitars

Jay Truax-Bass

Greg Simp-Band Tech

Paul Johnson-Guitar

Jim Pash-Guitar/Saxophone

 

The Final On Vinyl Podcast: Merrell Fankhauser Interview - January 15, 2025

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I have been covering Merrell Fankhauser’s music since 1999, when I conducted a two-part internet (email) interview with him.

This current audio interview was long overdue and was my absolute pleasure. Merrell was one of my primary inspirations when I started reviewing music.

His longevity in the business speaks volumes. He started in the ’60s and is still going strong at 81!

In this interview, he discusses how his music has reached fans over the years and his relationship with keyboard player Nicky Hopkins (Rolling Stones, etc.)

Please sit back and listen to a music legend about how he has stayed fit and successful, and take some time to stream some of the best of his catalog via Spotify.

Keith “MuzikMan” Hannaleck-Surf Music and Art Founder

January 19, 2025

Space Pop-Surf Review: Merrell Fankhauser-Area 51 Suite

Website: http://www.merrellfankhauser.com

It has been several years since Merrell Fankhauser released new studio recordings (he has also released several compilations and DVDs over the years). Rockin and Surfin was a 2004 release that I enjoyed immensely, so it was no surprise that I had a similar experience listening to the latest release, Area 51 Suite. Please remember, music fans, that Fankhauser has been getting it done in the recording studio since the '60s and has overcome health issues and every other obstacle thrown his way to continue entertaining us all. Two versions of the release are available, the CD and the CD/DVD, which feature music videos and interviews with people from the ET and Sci-Fi community.

 

This collection of tracks, called space pop, is a delightful blend of influences with a significant surf undertone. The subject matter, revolving around space and extraterrestrials, adds an intriguing layer to the instrumental tracks, creating a unique and captivating hybrid of 'space pop.'

 

The first and title track, "Area 51," effectively creates an air of mystery and intrigue. Indeed, that was the intent, so mission accomplished and a great way to open the curtain to the show.

 

"Signals From Zoran, " also an excellent track, takes a page out of the surf-instrumental book.

 

The following track, "Stardazed," is a slower bluesy ballad that puts you in a starry-eyed mood and may have you looking up at the sky, wondering who is out there watching us.

 

"Bimini Road," an underwater rock formation near North Bimini Island in the Bahamas, is a very appropriate surf-blues number that takes you on an underwater adventure. Instrumental music, if it is terrific, takes little time to create a picture of the track title in your mind; here again, Fankhauser succeeds.

 

"Shadow People" is a picturesque instrumental that brings those in the shadows to life. The music flows along and rocks its way into your psyche, making it inevitable to start thinking about unexplained phenomena and people you do not know or why they are here. It's one of the more complex and changing tracks that takes things to another musical level for the artist.

 

Then, to switch things up yet again, "Cocktails In Space" is entirely different from all the previous tracks. It includes a segment with a flute, giving it a new-age feel and texture.

 

When "Crash Landing" comes at you with a synthesizer depicting a spacecraft coming your way and Merrell's guitar kicks in, it forms a spy thriller surf sound that keeps you hooked. This track was the one that reminded me a lot of his previous surf-instrumental work. Many tracks begin with a spacey laser or craft landing-like sound to ensure you stay with the overall Area 51 Suite theme.

 

The biggest treat for old and new fans will be Fankhauser's most prolific track, "Calling From A Star." I go back to 1999 with Merrell, and that is when I first heard of this fantastic track. The title says it all, and his voice is exceptional, backed by perfectly placed instrumentation. I don't think he could have recorded a better track in his long and influential career. Every track offers the listener something different, and even though the premise is visitors from outer space, you will hear the diversity of an artist on display at every turn. Surf, space, pop, rock, blues, and country- about every main genre- get superb coverage on this eclectic slice of musical excellence.

 

This is a solid release and one of Merrell Fankhauser's most exceptional releases in his career. He has made some great music over the years, and this reminds us all once again of his importance to the history of rock music and how his capabilities to entertain have not waned. His candle is still burning brightly, and Area 51 Suite gives you a one-way ticket to the stars.

5/5 Stars

Key Tracks: Area 51, Calling From A Star, Crash Landing

Keith “MuzikMan” Hannaleck-Founder MuzikReviews.com

May 12, 2013

Tracks:

Disc 1

1. Area 51

2. Signals From Zoran

3. Stardazed 

4. Bimini Road 

5. Catalina USO 

6. Crash Landing

7. Aliens In The Mist

8. Shadow People 

9. Cocktails In Space

10. Lost Continent Blues

11. Alien Talk

12. Calling From A Star

 

Disc 2

1. Area 51 

2. Vitina Marcus: Interview

3. Alien Talk

4. Dr. David Jungclaus: Interview

5. Out on the Desert

6. The Little A'le'inn 

7. Beyond The Rainbow

8. Calling From A Star

Review: Susan & The Surftones-Wrap-Around

If you want to Wrap-Around some of the best  surf instro music on the planet, I have just the group to set you straight. Susan Yasinski and her group, The Surftones, blaze a trail in the sand and leave a huge wake in a sea of music with their sizzling instrumental surf rock band.

Not only is Yasinski an inspiration to women everywhere in music, but she has also become a pioneer of a genre. With each successive album the band has released, there has been growth, evolution, and maturity. They proved that they could cover all of the classic first-wave surf-instro hits with proficiency, and over the last few years, they have earned their keep and gained respect as original artists. It is a huge accomplishment in a genre with little room for experimenting and expansion. After hearing this new album, it is more than apparent to me that they have come full circle in their development playing this style of music. Therefore, what could be next to overcome and accomplish? We must find out when a studio album comes out next time.

This album has a vibe and feeling that has never been there before and is very cool. Fresh, tight, crisp sounds come straight at you on tracks like the excellent "Clash "and "Should I Stay Or Should I Go," the impressive curtain closer "Blues Theme," and the reflective and powerful "Lonely Crimson Sea."

The names of the tracks alone invoke visions of pounding surf, beautiful sunsets, and Enrico Morricone films while the music sets the stage. "Ghost Riders In The Sky" has enough to get up and go to give you saddle sores from the fast and furious ride…and what a great version of that classic tune. Think Clint Eastwood and spaghetti westerns, and you will get the picture.

There is enough excellent music on Wrap-Around to create plenty of soundtracks inside your head. Good instrumental music can do that.

The Surftones Are:

Susan Yasinski-Guitar

Avory Gray-Organ

Bob Becker-Drums

Jim Fritz-Bass

Keith "MuzikMan" Hannaleck

December 11, 2002

Tracks:

    01. West 30

    02. Wrap Around

    03. Blondes In Cars

    04. Peter Gunn

    05. Lonely Crimson Sea

    06. Nina’s Empty Glass

    07. More

    08. Moon Woman

    09. Ghost Riders

    10. Leopard Spots

    11. Sand Dreamer

    12. Should I Stay Or Should I Go

    13. Casper Reef

    14. Blues Theme