Hi Tuck,
Tony was quite confident, upbeat and largely absent most of the time. Actually, the band was pretty much left to its own devices when it came to the songs chosen. Some were originated simply by experimenting as we rehearsed (which was often and constant). Others were a result of members suggesting a sound or a riff. In addition, during the recording sessions we tried new things as we went along. If a concept worked, we left it in. If not, we tried something new. This represented our first foray into professional recording and we gave it our all, even though the number of takes and time spent in the studio was limited. We were basically flying by the seat of our pants. Most of the time Tony and his business partner Bob Hafner weren't present and didn't get involved until the actual recording sessions. Even then as I recall they were more interested in moving things along rather than the actual production. I should point out that of all the band members, Michael was a classically trained pianist and Jimmy was the most inventive and outstanding young rock keyboard player I've ever seen then or now (check out his performances with Three Dog Night and you'll appreciate my comments regarding his ability). Thanks for your questions. My best, Art Guy

Art, thanks for stopping by SG101… An honor and a treat!! You have a cult of fans for your band here.

First, I’d like to enthusiastically say your band is one of my personal top favorites in this genre. The professionalism you guys played with being that all of you were under 16 is truly mind blowing. Youthful energy AND skill!

“Cat on a Hot Foam Board” has become a true classic covered by many “revival” surf bands. The energy of that recording comes through 50 years later with just as much intensity as the day it was recorded.

And the two live tracks from the Santa Monica Surf fair are also big faves. Your drumming on “Avalanche”… WOW! Love your Brian Wilson story about the show too.

I was wondering if any more live tracks exist or if you happen to have any footage of the band, shot with home movie cameras or otherwise. Any pics you mind sharing? Thanks in advance!

Norm

BOSS FINK "R.P.M." available now from DOUBLE CROWN RECORDS!
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www.doublecrownrecords.com

Hi Norm and Wes,
Thanks for your very kind comments. I must say, the members on this site seem to be some of the nicest people with the most positive outlook around. What a pleasure! Sorry to say I don't really have too many remaining photos of the band, however, I'll look further and if I come across any will post. Looking forward to revisiting SurfGuitar 101. My best to you all.
Art Guy

Hi Ed,
At the time, I was not paying much attention to drummers, other than Sandy Nelson ("Teen Beat" fame and one of the top studio drummers in L.A. and Preston Epps "Bongo Boogie" fame, possibly the best bongo player on the planet in the early 1960's). Both of these gentlemen mentored me, since my cousin produced and engineered their hits as well as played lead guitar on their recordings. I also took lessons and studied with professional drummers from about the time I was 10 years old. Although my early drumming left a lot to be desired, in later years my playing improved dramatically. The #1 drummer for me for all time, was none other than Hal Blaine who I later came to know and work with when I was under contract to producer Bones Howe. Hal is the most successful rock drummer of all time. As a founding member of the "Wrecking Crew," the list of hits he played on is simply mind blowing and there will never be another drummer that could equal his list of accomplishments. Hal was one of the best drummers I ever heard, saw or worked with. My best, Art Guy

Art ,thanks for the information,I'm sure many of us find this fascinating.I sure do...
so who is your cousin? I know that Barney Kessel played guitar with Preston Epps and Richie Podolor with Sandy Nelson ...these guys are legendary names to other guitar players.
Thanks
Andy

Hi Andy,
Richard Podolor "Ritchie" is my cousin. He too is one of the most successful engineers and producers from the 50's through the 90's. He produced among others Three Dog Night, Steppenwolf, Iron Butterfly and engineered countless hits in one of his three recording studios. He is also a classically trained guitarist, played on many recordings and had a number of his own records. Most don't know he was the mastermind engineer behind early songs such as Alley OOP, Battle of New Orleans and many, many others recorded at American Recording in Hollywood. Thanks for asking, Art Guy

Wow!! That's crazy.
Who'd a thunk it.

Now Tuck is gonna start a thread about
What guys in surf bands were related
To guys In other surf bands.
But maybe not know it because of different
Last names, or stage name I.e. Richie Allen.

Jeff(bigtikidude)

Last edited: Jan 31, 2014 15:35:27

Wow...I bet you learned a lot from your tutors and cousin,pretty lofty company..as you see we hold those guys in great respect as players and top caliber professionals...
thanks for the reply Art and welcome to the forum
ArtGuy wrote:

Hi Andy,
Richard Podolor "Ritchie" is my cousin. He too is one of the most successful engineers and producers from the 50's through the 90's. He produced among others Three Dog Night, Steppenwolf, Iron Butterfly and engineered countless hits in one of his three recording studios. He is also a classically trained guitarist, played on many recordings and had a number of his own records. Most don't know he was the mastermind engineer behind early songs such as Alley OOP, Battle of New Orleans and many, many others recorded at American Recording in Hollywood. Thanks for asking, Art Guy

I do tend to obsess about strange things, Jeff, and I've noticed everyone in the New Dimensions seems to have had some kind of family connections with music or show business, but I think it was where they were from and there's nothing much to say about it.

What interests me more, folks, is things like this. I really like the New Dimensions take on Intoxica. I wish it was in the compilation. I've only found it around as an online bootleg copy of Surf'n Bongos, where it seems to be marred by a slight dubbing glitch in the bootleg without in anyway detracting from its beauty. It strikes me as being in the vein of Bob Vaught & the Renegaids "Intoxica (Soul)" or the Original Surfaris versions, two similar versions that are rather different from the other versions you hear. The New Dimensions version is reminiscent of these but quite distinct in its own way. All three are rather unlike the Revels original and the similar cover by the Rhythm Kings, or the Surftones/Centurians variant, or the Deltas variant. The latter two are the ones you usually hear today. Really, everybody now does the Centurians one except the Raybeats who did the Deltas one.

Art, if it were fair to ask questions like this after fifty years, I'd ask how that particular arrangement of Intoxica came to be. What was the model, if there was one? Was it a recording session artifact, or was it used regularly live?

Unfortunately I can't point to easily accessible copies of most of these versions online. I have them assembled, but except for that bootleg (which is hard to get at) from CDs and LPs.

I'm also curious about other Revels covers like Church Key and Vesuvius, though there the New Dimensions arrangements are less individual. Were these regular parts of the New Dimensions set list?

Chicky Run is, I think, credited to Bob Hafner. Art, do you remember anything about this piece?

Taming of the Tube is kind of an oddball number. I'm interested in that and how that fitted into the band's repertoire.

Two of the standout New Dimensions numbers are Failsafe and Psyche Out, which were both covered by the Original Surfaris. I understand from the liner notes to The Best of the New Dimensions that at least Psyche Out came out without the New Dimensions being aware this was going to happen until they heard it being played somewhere. I assume it was the same with Failsafe which only appeared fairly recently. It would be interesting to hear anything about this. It appears to be something of a characteristic episode with Tony Hilder! I suppose it might be the reverse of the process by which so many Revels pieces were in the New Dimensions repertoire, but maybe not. Maybe those were just things people heard and played at the time. Obviously the New Dimensions originals would have been harder to acquire that way!

Last edited: Feb 03, 2014 17:33:10

Tuck wrote:

I guess the obvious non-musical question about the New Dimensions is how did all those pictures of Michael and Jimmy in Honolulu come to be on the covers of New Dimensions and Sentinals records? Are they family vacation pictures? Who are the three women?

I was curious about that also, LOL The physical CD got here and that's what greets you on the cover.
With different threads around, I put up my quick $.02 worth on the CD here

Holy cow is that thing good.

Wes
SoCal ex-pat with a snow shovel

DISCLAIMER: The above is opinion/suggestion only & should not be used for mission planning/navigation, tweaking of instruments, beverage selection, or wardrobe choices.