Surf Instro Review: The Breakers-Triple-Sided Single

Release Date:  July 19, 2025

Label: Independent

The Breakers Catalog

As The Breakers gear up to release another full-length recording, they decided to give us a taste of what is to come. And they are doing it with a unique concept-the Triple-Sided Single, a collection of three distinct tracks that showcase their versatility and creativity.

THE BREAKERS ARE:

Jim Abrahams - Guitar, Effects

Marc Lockett - Drums, Percussion

Jayson Slater – Bass

 

Creating music is not just a passion, but also a labor of love. All of us working stiffs must set aside time for this kind of work, so it is a process to get everything together. Just about anyone who is an independent recording artist is leading this double life. So, listeners are required to have some patience as they strive to deliver the best music possible.

 

So, if you have a craving for more killer surf instro to digest, I have just the remedy for you with these three tracks.

 

“Injection” gets your motor running right from the starting line. Fueled by a locomotive rhythm section and lead guitar that offers a mix of first wave and today’s tech to give it a clear and crisp sound. Melodicism is the word of the day here. There is some slick guitar work going on here with Abrahams doing some quick slides down the fretboard, kind of like a surfer taking a massive wave and getting in a sustained tube. (Check the track video provided)

 

“Facing The Sun” marks a shift towards more complex compositions, incorporating a touch of psych garage influence. Some cool transitions are found within this number. Then the old school sounds jump out suddenly for the ’60s organ sound (*which I suspected was a guitar), kind of like The Munsters’ intro if you can remember that or are familiar with it. This was a big step away from the previous track, reminding you of how eclectic surf rock can be if you have the talent of this remarkable trio.

*I asked Jim Abrahams, and he confirmed that the organ sound was the Eastwood Backlund Model 100 DLX Guitar through the Electro Harmonix C9 Organ Machine.

“Adios, Consciousness” takes another turn on the musical road. This track is a journey, with a mellow start, a prominent bass line, and a 60s psych vibe. Then, it surprises us with a heavier, meatier sound, complete with a sax and trumpet. The guitar, switching to tremolo mode, adds to the variety. It’s like listening to several songs all rolled into one session. No wonder they go past 3 minutes!

 

If the Triple-Sided Single is a taste of what’s to come with the whole album, I, for one, am eagerly awaiting its release. If you’re a fan of The Breakers, you won’t want to miss this!

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

August 15, 2025

Tracks:

1. Injection 02:32

2. Facing The Sun 02:50

3. Adios, Consciousness 03:26

Surf Music Review: The Deweys – Search for Surf

Release Date: July 2025

Label: Independent
Website: Bandcamp

The Mother’s Tavern in Sunset Beach, California, is a cozy little pub where thirsty bikers gather. It’s one of those quaint places where the walls are lined with mementos and scribbled banknotes. Here and there, you’ll find car parts, and even bras, hanging from the ceiling. They serve Corona and English brown ale, and local hot rod bands perform at weekends. In late July 2025, it was the Deweys who presented their album Search for Surf in this worthy setting.

The somewhat simple graphic on the record sleeve depicts the silhouette of a lifeguard cabin, a typical feature of California’s wide, sandy beaches. A “Catalina” maritime patrol aircraft circles in the sky above. We read the label “sixteen surf instrumentals” as well as the promising listener note “recorded in full dimensional deweyphonic sound”.

The Deweys are Armin (guitar), Jeff (guitar), Dave (bass), and Johnny (drums), who all call themselves “Dewey” by their last name. A band is like a family. Their mutual passion for surf music bonded them together, and we can smell the beach with every beat. They look neat on stage in their Henley shirts, like the ones Californian surfers wore in the early 1960s. Might they be setting a fashion trend?

Straightforward, no-frills surf music is what we hear, and it immediately captivates us. “AMX”, the album’s opening song, has us cruising the boulevards in a sporty coupé. The sound is homogeneous throughout; unpretentious yet sparkling.

Track 2, “Surfa Nova”. We check in at the Hotel California and meet Martin Cilia in the lobby. He has just arrived on the “Flight of the Surf Guitar”. This isn’t unpleasant at all.

“Victory at Mr. C’s” recounts a fortunate purchase at Mr. C’s Records, a renowned record store in Orange, California — the band’s hometown. A lucky fellow acquired an original Dick Dale record there.

Well waxed we continue on to “C.C. Slider”. “Slider” is surfing slang for a dude who rides a longboard. Honor to whom honor is due. There are handclaps for Curt Culver (C.C.), the band’s best surfing buddy.

The band is very compact yet still has a youthful vibe, reminiscent of a school band from the economic miracle era. The dynamic is thoroughly massaged and deeply relaxed. There’s no bandmate hopping around on stage thinking he’s in a heavy metal band.

Bob, an enthusiastic attendee of the release party, describes the foursome’s delicate Showmaster roaring in detail: 

“With Armin on his clean Jaguar and Jeff on his lush and drippy Jazzmaster, they form the perfect two-guitar surf attack.” 

Fullerton, where these electric instruments were manufactured initially, is nearby. 

“All the guitars and amplifiers are by Fender — just how God intended it”, Bob raves, deciding that very evening to start his own surf band and learn the guitar.

In addition to the aforementioned division of tasks, it is the sequences featuring dual lead guitar that particularly delight. However, the most beautiful thing is when Armin and Jeff’s guitars flow together like ocean waves. This is where the band’s most significant potential lies. (Keith and Ron from the Stones would call this “guitar weaving.)

With every note, you can hear that the band members live by the Pacific Ocean. With their streamlined signature sound, the band has created a repertoire that listeners can enjoy all the way through for hours. (The band performs the entire album live in one set.) However, certain elements provide variety:

They strike some off-key notes in “Woe to Woe Fat” and “Off the Rails”, while “War Path” is based on an ancient Amerindian rhythm. The Tex-Mex interlude “Uncle Stanley” is a memorial to a colorful family member, who enjoyed drinking and dancing in a local country music bar.

In “Oasis”, the Deweys relish oriental scales in a sashay step change. “Talkin’ Tiki” is a gentle hammock song with a rimshot beat and a plenty of exotica flair. The moody “The Hidden Beyond” leaves us feeling deeply satisfied at sunset after a fulfilling day at the beach.

The catchiest song is perhaps “The Last”, which certainly would have deserved a more auspicious title. The album’s track listing could also have been arranged better. Two interesting cover versions round off the album: 

One is by Neil Diamond — not the resounding stadium anthem, but “Solitary Man”, one of the singer’s earlier works. The choice of this song as a cover once again highlights the band’s elegance.

“Major Tom (Coming Home)” is likely to surprise German-speaking listeners in particular. Peter Schilling topped the German charts in 1983 with this robotic Neue Deutsche Welle pop song, which reached number 14 on the US Billboard Hot 100 charts the following year.

Although Search for Surf is their debut album, the band has a long history. The Deweys more or less emerged from the Torquays, a band formed in 1964. Armin Dewey took over on guitar in their later phase. He’s the surfer in the band and writes the songs, which let us smell the beach air with every beat. 

This is how the Deweys emerge from the transfiguration of surf music history as if nothing had happened in between. Undoubtedly, this is not a mimicry of the first wave — this IS the first wave! It’s bands like the Deweys who make traditional surf music the lively folklore of California in the here and now.

Jimmy Dee, Staff Writer at Surf Music and Art

August 14, 2025

Tracklist:

01. AMX
02. Surfa Nova
03. Victory at Mr. C’s
04. The Hidden Beyond
05. C.C. Slider
06. Oasis
07. Overhead
08. Talkin’ Tiki
09. War Path
10. Solitary Man
11. Woe to Woe Fat
12. Uncle Stanley
13. Major Tom (Coming Home)
14. Off the Rails
15. The Last
16. Deweys Theme

Surf-Garage Rock Vinyl Review: The Knights-I Don't Need You

Visit Artist Website

I Don’t Need You is the kind of music that reaches way back to another time, another world. Before the 60s became tumultuous, there were surf instrumental bands like The Ventures with a worldwide fan base. Then the mop tops in 1964 ruined all their fun.

Some bands emulated those wonderful Ventures like The Knights, led by guitarist Dick Stewart (AKA King Richard). Dick, who will be turning 80 this July, is more than just a musician to me. I met him when he was around 60, and our friendship has spanned decades. He was one of the key individuals that I met while developing as a writer and my “MuzikMan” persona. I just needed to say that because he became a friend, and I was a regular contributor with my Pick of The Month to his fanzine The Lance Monthly.

As time passes, people move on and get involved in other projects, as we both did. One day, I got a box in the mail from Dick with his most recent literary excursion and the LP by the Knights titled I Don’t Need You. I hadn’t heard this music in years, so I gave it a spin. The familiar tunes brought back a flood of memories and reignited my original love for the genre. This is how I ended up meeting Dick and folks like Merrell Fankhauser and a host of other similar artists. Many fond memories came flooding back with this great music!

Side one kicks off with some beautifully perfected surf instrumentals like “Precision,” “Cut-Out,” and “Moonbeam.” I had forgotten how good this music was, and it reignited my original love for the genre. This is how I ended up meeting Dick and folks like Merrell Fankhauser and a host of other similar artists. Many fond memories came flooding back with this great music!

Side two offers up some garage and frat rock, a term used to describe the rock music popular in fraternity houses, as they called it back in the day. The vocal tunes are a step away from the surf instrumentals, but just as significant historically for their legacy, and quite enjoyable. It is everything a compilation should be as far as I am concerned.

I am deeply grateful for the relationships I have formed in the music industry, and Dick Stewart is one of the special people that I will never forget. His music will live on long after we are both gone from this planet. That is the beauty of music that made a difference and still does.

I Don’t Need You is a trip back in time when things were so much simpler with no internet, cell phones, social media, and everyone wasn’t worried about “offending” someone regardless of what they said. 

I sometimes wish I could go back to that time when I was a little boy, when all this music was so popular, but then again, I wouldn’t be who I am today, with an ear to the sounds of yesteryear and getting the word out to people who need to hear it!

Keith “MuzikMan” Hannaleck

February 16, 2020

Surf Rock Instrumental Review: The Fathoms-Hard To Fathom

Release Date:  August 8, 2025

Label: Musick Recordings

Website

After an astounding eighteen-year hiatus, the return of this Boston-based band, The Fathoms, with a new album, Hard To Fathom, is a special occasion for surf instrumental fans. The album features eight tremendous tracks that cover all the sub-genres that make surf instrumental so enjoyable to listen to, marking a significant return to the music scene. 

Featuring lead guitarist Frankie Blandino, Rob Amaral, Sax Gordon, and the return of the original Fathoms rhythm section of Johnny Sciascia on bass and Stan Kozlowski on drums, this reunion is a complete circle for the band. Their previous work has left a lasting impact on the surf instrumental genre, and their return is highly anticipated.

 

The time they spent apart had no impact on them, based on what I heard.

 

The title track “Hard To Fathom” begins with power and conviction, followed by some smooth as silk tremolo, then the saxophone announces its entrance, albeit softly, in the background in comparison to the primary instrument’s strengths; however, it would eventually rise in volume in the mix. They could not have announced their return with a better sound.

 

“The Right One” is a country-flavored number that is a big step away from the opener. However, you will find that each track is a separate entity as the band uses all of their experience to keep your interest right until the end. Eclecticism is the rule of the day. The sax returns once again, offering more of its distinctive sound, and there is some excellent picking going on continuously as the drums and bass hold down the foundation. These flavorful twists in sound reminded me of the late great Danny Gatton’s music.

 

“Funny Farm” features a drum intro as it transitions into a different playing style. It is that retro ’60s sound, complete with the recognizable organ, that instantly transports you back to a time when all the sitcoms were on TV. There is some good string bending going on here that gives it that offbeat sound.

 

“Giddy Up” returns to the surf instro straight away with some biting licks, rapid drum rolls, and twang to give it the western feel. They circle back and forth with pinpoint precision as the sax adds its sauce to the musical stew. This is another eclectic mixture with many transitions worthy of note.

 

“Sea of Glass” transports you to a deserted island in the sun, where the tempo evokes a sense of warmth and smooth waves of sound gently caress your consciousness. The music sweeps you away as it cleverly paints the necessary scenes in your mind. There is a nice blend of acoustic and electric guitar, and good layering of each instrument. This was one of my favorites for all-around musicianship.

 

“Escape From Wormtown” will bring Davie Allan to mind and The Ventures’ track “2000 Pound Bee” with that definitive fuzztone sound. There is an air of mystery created in this musical atmosphere, like a scene in a James Bond movie. The steady bottom end is their rock to count on as each instrument is added to the mix. A good rhythm guitar melds well to complete their sound, then towards the finish line, a shift in sound again and a fade out.

 

“End of the Trail” is their ode to the Spaghetti Westerns. I envisioned a scene from The Good, The Bad, and the Ugly in my mind’s eye with this picturesque auditory experience. The guitar is the narrator here, and it sings the song so well. There is a surprising transition to the fuzztone, and then the drums sound like a call to arms to march into battle as the sun sets on the final scene.

 

“Planet of Rain” is the curtain closer on this cinematic journey of sound. And it’s off with a bang, just the way it all started with some rapid playing from all positions. The retro Shadows sound permeates your surroundings. If Hank Marvin were listening, he would be smiling. Cymbals play an essential role in different segments, once again proving how important the drums are in every song. They are the engine that drives this locomotive down the tracks.

 

Hard To Fathom is a superb recording and a fantastic return to form after a protracted absence. Let’s hope this is the beginning of another chapter in the history of one of the greatest surf instro bands of all time.

 

Besides a download and CD, it is available in excellent “Jazz master” colors splatter vinyl LP as well. I have the vinyl on the way!

 

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

August 11, 2025

Tracks:

1. HARD TO FATHOM 03:32

2. THE RIGHT ONE 02:49

3. FUNNY FARM 02:20

4. GIDDY-UP 03:03

5. SEA OF GLASS 03:44

6. ESCAPE FROM WORMTOWN 03:06

7. END OF THE TRAIL 05:24

8. PLANET OF RAIN 03:11

Surf-Rock-Garage Review: The Boss Martians - Move

www.bossmartians.com

“The Boss Martians” are boss; there is no doubt about it. This group has mastered the art of playing sixties rock-pop and surf-instrumental on Move. It’s unusual to find a group that does both, and very well. Well, let me rephrase that…they have it down better than some of the originators of the genres.

Move features the pumped-up leader Evan Foster (vocals, guitar), who has a good set of pipes on him, and he plays the guitar like he had one in his hand at birth. He must be reincarnated from the sixties; that’s the only logical explanation. The rest of the group is equal to the task. Nick Contento (organ, piano), Jason Reavis (drums), and Steve Esquerita Davis (bass) stay right with Foster and inspire him to rock that much harder.

Although Foster is unquestionably the leader, the group’s sound quality would be significantly compromised without the support of each member. There must be magic and cooperation on all levels of the creative process for an album to sound this good. Move is a great rock and roll album.

This CD goes from first to fifth gear in a heartbeat with the rockin’ “She’s In, You’re Gone.” It’s the classic AM single format, clocking in just over two minutes in length. Actually, except for two tracks, every song’s runtime is radio-ready, keeping the standard two-minute timeframe in mind. This music is all about cars and chicks…check out “Introducing-The 1971 Dodge Charger Super Bee.”  All the dudes get a warning with “Never Trust a Chick (In a 3 Window Coupe)”, and then there is plenty of fun in the sun with the instrumentals tucked in between all the vocal tracks.

Hey, if this stuff doesn’t get your ass off the couch and shakin’ that booty, I suggest you check in with your local undertaker. If you desire a break from all the vocal activity, then there are some fine instrumental numbers to satisfy that urge.

“The Last Ride” is an energized traditional surf-instro tune, and “Trouble On Two Wheels” is the most interesting track on the entire album. It starts with a country flavored guitar run ala The Hellecasters and then quickly switches over to a quick foreign (maybe Lebanese?) dance-like tempo and then back again, all in the space of three and a half minutes. It’s an awe-inspiring display of virtuosity. You must listen to it a few times to catch everything that they are doing.

I love this group; they have got it covered for the sixties as far as I am concerned. It’s refreshing to hear simple, no-frills rock and roll that creates a clear picture of a time gone by. This kind of music never gets stale or boring. So, what are you waiting for? Get off that couch and get a copy of this now! 

You can find one here if you are interested in Discogs, which is priced reasonably.

Keith "MuzikMan" Hannaleck

February 12, 2002

Tracks:

01. She's in, You're Gone (Foster) - 2:14

02. I Want More (Foster) - 2:47

03. The Last Ride (Foster) - 2:29

04. Introducing-The 1971 Dodge Charger Super Bee(Foster) - 0:18

05. Bad Ass '71 Dodge Super Bee (Foster/Trueblood) - 2:05

06. Trouble on 2 Wheels (Foster) - 3:29

07. This Time Around (Foster) - 2:37

08. Intermission (Foster) - 2:05

09. Move! (Foster) - 2:25

10. Never Trust a Chick (In a 3 Window Coupe) (Foster) - 2:20

11. Chihuahua del Diablo (Foster) - 2:26

12. Mugs O' Plenty (Foster) - 2:10

13. Little Sally Tease (Valley) - 2:45

14. Pandilla en Motocicleta (Foster) - 4:28