Phil Dirt - Reverb Central - PO Box 1609, Felton, CA 95018-1609 USA
Collection: 100% Tarantino Hits Vol. 1dotdotdot
artworkLots if nice instros lifted from Tarantino films. Nothing on this (Russian) bootleg is obscure or essential in this form.
Picks: The Centurions - Bullwinkle Part II, Dick Dale and his Del-tones - Miserlou, The Hollywood Persuaders - Drums A Go-Go, The Leftovers - Torquay, The Lively Ones - Surf Rider, The Revels - Comanche, The Tornadoes - Bustin' Surfboards, Link Wray and his Raymen - Jack The Ripper

Track by Track Review


The Centurions - Bullwinkle Part II dotdotdotdot
Surf (Instrumental)

This unusual track was featured prominently in the cult film Pulp Fiction, which thrust this otherwise little known band into the frontal lobes of the American conscience. The track is oddly structured, and very cool. I like the rawness of the original better, but the sense of ensemble here leaves this to be the over all fave.

The band is listed as The Centurians.

Dick Dale and his Del-tones - Miserlou dotdotdotdotdot
Surf (Instrumental)

The introductory note of Miserlou is somehow bigger than life. Dick's machine gun staccato is perfect. This is Dick Dale's biggest Del-tone singles, the incredibly archetypal "Miserlou" featured so prominently in Pulp Fiction. No comprehensive Surf collection should even be conceived without this song. This IS the sound of primal surf, the source of the idea of really LOUD guitar leads. It's reported that the arrangement was developed after Dick saw Johnny Barakat do it this way.

Duane Eddy - Trembler dotdotdot
Surf (Instrumental)

This is a mid tempo schmoozer with a slow groovin' riff and signature twang. Moody and pretty, but nothing special.

The Hollywood Persuaders - Drums A Go-Go dotdotdot
Go-Go (Instrumental)

This is one of the best examples of sixties go-go instros, and it clearly illustrates the roots of disco. All you need to do is add a black singer and your there. This is hypnotically rhythmic melody free, and targeted squarely at the dancer. This is a cool track, both historically and rhythmically. Exceptional drums, big organ, and real hypno-thud.

The Leftovers - Torquay dotdotdotdot
Horror Surf (Instrumental)

A little like a Mark Brodie song, "Monsterbation" sports an interesting melody structure and similar restrained optimism. Tribal, a little dangerous, and rhythmic. Rhythmic and optimistic, delicate and 'verby. Tribal drums and long shallow whammy chords in the break.

The Lively Ones - Surf Rider dotdotdotdotdot
Surf (Instrumental)

This is what happens when a real surfband covers a Nokie Edwards (Ventures) tune that had no relation to surf as written. In fact, it started life as a Potato concept song called "Spudnik." This is the grand and beautiful song that runs under the ending credits of Pulp Fiction. This is the full length version, not the single edit.

The Revels - Comanche dotdotdotdot
Surf (Instrumental)

This is the tune that wailed in Pulp Fiction. Howling honking sax Indian flavored "Navaho Trail" kinda tune with major edge. San Luis Obispo's Revels cut "Comanche" with more guts and danger than just about anything else in their repertoire.

The Tornadoes - Bustin' Surfboards dotdotdotdot
Surf (Instrumental)

"Bustin' Surfboards" is one of the most recognizable of the tribal surf instros from the sixties. It's drum dominated raw sound was nothing short of magical when I first heard it on KRLA. This is one of the essential surf instros, a desert island must-have.

Link Wray and his Raymen - Jack The Ripper dotdotdotdotdot
Rock (Instrumental)

Is there another instro up to the power or importance of "Jack The Ripper?" I don't think so. I still vividly remember the chill I felt (there it is again) the first time I heard this record. Even on cruddy little table radio, this stood the hairs on the back of my neck on end. This is a powerful and ominous recording, with its rolling rhythm and tom tom cadence, and intense guitar tone. It dominates you as you listen. It is as essential as it gets. Issued in 1961, it has inspired and been covered by countless guitarists. It is dark, brooding, mysterious, and the vibrato is superb. This timeless melody personifies the ability of voiceless rock to convey an image, even more than "Rumble" does. It is simply superb.