At this point in time, Hal Blaine had played the drums on at least three US #1 hits: “Johnny Angel” by Shelley Fabares (April 7, 1962), “He’s A Rebel” by The Crystals (November 3, 1962) and “Surf City” by Jan & Dean (July 20, 1963). There would be many more in the years to come. One track that fell away into undeserved obscurity was a post-surf instrumental buried on Hal Blaine’s first solo album, DEUCES, T’S, ROADSTERS AND DRUMS. Entitled “Challenger II,” it’s the high spot of the album and one that pointed directly to the future and post-surf because the reverb on the guitar is forsaken for fuzztone. The liner notes are nearly prescient when they state that the track “…signals the start of the wildest hot-rod bash in recorded history.” Well, perhaps not ‘hot rod’ but certainly that other favoured transportation device of California: the motorcycle. For on “Challenger II,” where non-diegetic sound-as-diegetic sound via sound effects of engines revving up upon a clatterfest of drums drums drums (and vibes) overlaid with rhythm fuzztone guitar, it sounds for all the world an eerily accurate Davie Allan & The Arrows sonic prototype. With their milestone ’66 biker epic “Blues Theme” still three long years in the future, it’s a revelation to hear all the elements together in one place (albeit in archaic form) before masterfully fused together by Allan. Meanwhile, vibraphones are struck, stuck way up in the mix to compete with the drums and slashing fuzztone chords.

It’s puzzling to consider how the stately “Challenger II” lost out the A‑side to a twangy, fuzzed-out instrumental version of a striptease theme. Not only bumpin’ and grindin’ complete with lurid saxophone blasts and cat calls galore, but a couple of hot rod engine revving FX insertions, to boot. Then again, it WAS released in 1963AD, sex sells, and assuming it was marketed to the hot rod set of Southern California, it was probably the shrewdest placement on the 45rpm.

Meanwhile, liner notes from the back sleeve of the long player are direct from Mr. Gasser hisself (OK, RCA staff writer Hal Levy): “Lined up behind him [Hal Blaine] are the Young Cougars: three guitars, piano, Fender bass, bass fiddle, three bass trombones, baritone and tenor sax, and percussion. Any questions?”

Yeah, who was on the Fender bass here — Carol Kaye or Joe Osborn? (Askin’ for a friend! Wearing a Palookaville cap!)

Levy continues:
“This is one hot-rod hymn, direct from the boss album of the day which was a Dynagroove recording mastered on RCA Magnetic Tape. Inner-groove distortion virtually eliminated, [via] highly ingenious computers — “electronic brains” … These remarkable new electronic devices and processes grew out of an intense research program which produced notable advances in virtually every step of the recording science.”

Then denotes the compositional talents behind the scenes:
“All of the material is new, some of it written by Lee Hazlewood, who was responsible for Duane Eddy’s Rebel Rouser and the Astronauts’ Baja; the driving arrangements are the work of Dave Gates. Together they are a couple of the hottest pencil handlers in the business.”

However, the origin of the killer, fuzzed-out guitar line is a mystery. Was it plucked out by Billy Strange? Glen Campbell?! Tommy Tedesco?!! Whoever was responsible, brother: they created one massive kick, an obvious candidate for ones’ C‑90 surf mix, and a sight to behold! (Er, make that sound to be-hear.)

Portions of this record have been pre-recorded. (VO: ‘This is Bill Bellamy, recording.’)