May 24, 2016 | doors at 7:00pm
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The Bowery presents:
The Pinx
  • $30
  • $30
Guitar Legend Dick Dale
The Dick Dale Phenomenon. His style is something different and unique. Since his first appearances Balboa, Ca. at the famed Rendezvous Ballroom, he has set and broken attendance records everywhere he's performed. His appearances at the Rendezvous Ballroom broke every existing record for the Ballroom by drawing capacity crowds of over four thousand screaming dancing fans every weekend each night down on the Balboa peninsula.

Dick Dale invented surf music in the 1950's. Not the '60's as is commonly believed. He was given the title "King of the Surf Guitar" by his fellow surfers with whom he surfed with from sun-up to sun-down. He met Leo Fender the guitar and amplifier Guru and Leo asked Dale to play his newly creation, the Fender Stratocaster Electric Guitar. The minute Dale picked up the guitar, Leo Fender broke into uncontrolled laughter and disbelief, he was watching Dale play a right handed guitar upside down and backwards, Dale was playing a right handed guitar left handed and changing the chords in his head then transposing the chords to his hands to create a sound never heard before.

Leo Fender gave the Fender Stratocaster along with a Fender Amp to Dale and told him to beat it to death and tell him what he thought of it. Dale took the guitar and started to beat it to death, and he blew up Leo Fender's amp and blew out the speaker. Dale proceeded to blow up forty nine amps and speakers; they would actually catch on fire. Leo would say, 'Dick, why do you have to play so loud?' Dale would explain that he wanted to create the sound of Gene Krupa the famous jazz drummer that created the sounds of the native dancers in the jungles along with the roar of mother nature's creature's and the roar of the ocean.

Leo Fender kept giving Dale amps and Dale kept blowing them up! Till one night Leo and his right hand man Freddy T. went down to the Rendezvous Ballroom on the Balboa Peninsula in Balboa, California and stood in the middle of Four Thousand screaming dancing Dick Dale fans and said to Freddy, I now know what Dick Dale is trying to tell me. Back to the drawing board. A special 85 watt output transformer was made that peaked 100 watts when dale would pump up the volume of his amp, this transformer would create the sounds along with Dale's style of playing, the kind of sounds that Dale dreamed of. BUT! they now needed a speaker that would handle the power and not burn up from the volume that would come from Dale's guitar.

Leo, Freddy and Dale went to the James B. Lansing speaker company, and they explained that they wanted a fifteen inch speaker built to their specifications. That speaker would soon be known as the 15'' JBL -D130 speaker. It made the complete package for Dale to play through and was named the Single Showman Amp. When Dale plugged his Fender Stratocaster guitar into the new Showman Amp and speaker cabinet, Dale became the first creature on earth to jump from the volume scale of a modest quiet guitar player on a scale of 4 to blasting up through the volume scale to TEN! That is when Dale became the "Father of Heavy Metal" as quoted from Guitar Player Magazine. Dale broke through the electronic barrier limitations of that era!

Dale still wanted to go further, and as the crowds increased, Dale's volume increased, but he still wanted a bigger punch with thickness in the sound so that it would pulsate into the audience and leave them breathless. The JBL-D130 was doing its job until Dale froze it in the frame that held the speaker, the speaker cone would twist from the heavy playing from Dale and it would soon twist and stop to fluctuate back n forth.

Leo, Freddy and Dale went back to the JBL speaker company and told them to rubberize the front ridge of the speaker allowing it to push forward and backward from the signal of Dale's guitar without cocking and twisting. The new updated version was called the JBL D-130F; the F stood for Fender.

Leo, Freddy and Dale designed a speaker cabinet and in which they installed 2 -15''-JBL-D130F's. This caused Leo Fender to have to create a new and more powerful output transformer, they would call it the Dick Dale Transformer and it was made by the Triad Company.

This became the 100 watt output transformer that would actually peak 180 watts. Nothing like this had ever been done before in the world of guitars and amplifiers. This became known as the Dual-Showman Piggy Back Amp. This is why Dick Dale is called the Father of all the power Players in the world!

It is a Phenomena, that Dale is still playing with not only the same vengeance as he did in the 50's, but his playing is unleashed and shredding into the 90's with a focus and power as if from mother nature. He shares the stage with fellow players of all generations up into the alternative's of the 90's. Being completely self taught, Dick Dale plays left handed upside down which was a result of holding the guitar left-handed. The strings became upside-down, chords are designed for right handed players making it very difficult for a left handed player unless he were to change the strings for a left handed guitar, something that Dale never did.

Dale is also a master at the Acoustic, Electronic, Bass and Spanish Guitars'. As well as the Ukulele, Banjo, Drums, Piano, Organ, Electronic Keyboard, Harpsichord, Trumpet, Trombone, Saxophone, Harmonica, Xylophone and, believe it or not... the Accordion!

Dale was also responsible for another creation to the world of guitar players, "The Fender Tank Reverb". As Dale sang in his shows, he found that he did not have a vibrato in his voice, and he did not like the straight flat dry sound. to sustain his vocal notes, he turned to an old Hammond organ and found a reverb unit and showed it to Leo Fender and together they came up with the "Fender Tank Reverb". Dale then plugged a Shure Dynamic Bird cage Microphone into it and as Dale sang, his voice took on a very rich, sexy and full sound. Later, Dale then plugged his Fender Stratocaster guitar into the Reverb Tank to sustain his guitar notes which became Dale's trademark sound.) (NOTE) Dale had already been titled "King of the Surf Guitar" by his surfer friends before his creation of the Fender Reverb, Dale's first album called "Surfer's Choice" was the first Surfing album to be commercially sold with a picture of Dale surfing by the pier in San Clemente, Ca. with a surfing title on it. This album alone sold over eighty-eight thousand albums in the late 50's and today in the 90's it would be like 4 million. There was not one song on that album that had a Reverb for effects, everything was played with nothing but Dale's sheer force and power. A bit of trivia, Dale's recording of "Miserlou" became the title song for Quentin Tarantino's Blockbuster movie "Pulp Fiction".

Dick Dale has been called one of the hardest working men in show business. In the past five years he has maintained a heavy concert tour and public appearance schedule throughout the world. Focusing in Europe, Australia, Japan, Canada, South America and the U.S.

He makes time to endorse some of his favorite products, including Dean Markley strings, Dale's string sizes are 16p, 18p, 20p. 38w, 48w, 58w...they use to be 39w, 49w, 60w.....he says he's getting lazy now. Pearl Drums, Zildjian Cymbals, Graphtech String Saddles, Billabong clothing and Australia's Ugg Boot Company. Perhaps his most prominent endorsement would have to be for Fender Musical Instruments. Because of the popularity of Dale's signature playing, Fender added to their inventory of guitars, the making of the Dick Dale Signature Stratocaster which seems to be a favorite amongst the Dick Dale guitar players. John English, Fender's custom guitar maker set out to the task of building Dale's Signature Stratocaster guitar with Dale being the overseer. To be included with his favorites was the honor distinction to be the first musician ever to be endorsed by Telex Corp. Using the Telex FMR450 Digital Wireless which has made it possible for Dale to play his guitar walking into the audience.

Along with his Dual Showman Fender Amps, Dale is particular in what tubes that he uses to help create his sound, he has chosen Ruby Tubes from a company called Magic Parts located in Point Reyes Station, California (800) 451-1992

Dale has also recorded original material for Disneyland's Space Mountain roller coaster ride, and the soundtrack for the History of NASA video shown in Space Mountain. Dale's music is being used in all the Disneyland's throughout the world along with being featured in a Disneyland Music album which is being sold by Disneyland. May 21, 1998 a historical day for Disneyland, Dick Dale was chosen to be the person to highlight the grand opening of Tomorrowland by standing on top of Space Mountain (without the use of a safety harness) with his Gold Fender Stratocaster guitar (the beast) and play for all to hear throughout Disneyland "Ghost Riders"& "Miserlou" - Dale's music has gone down in the annals of Disneyland history.

Being a unique and versatile artist, Dick Dale is not limited to his musical skills. He has proved to be a respected Home designer and builder, personally designing and hand drawing the elevations and building his parents 7,000 square foot single story dream home in the California high desert so that he can be within easy reach to them. As of January 24, Dale's parent's celebrated their 62nd wedding anniversary, his dad is 86 and his mother is 81 years young. Dale is an accomplished Horseman, Exotic Animal Trainer, Surfer, Martial Arts Expert, Archer, and Pilot. His favorite plane is a Cessna 337B Super Skymaster, a twin tailed, front and rear engine aircraft which was also flown in the military and also sold to the general aviation pilots. Dale has a twin engine pilot rating.

Featured in various articles including the Los Angeles Times Calendar Section, Guitar World Magazine, Guitar and Guitar Player Mag and just recently the back cover of Fender Frontline Magazine with his 5 year old son Jimmy Stix holding their Fender Strats. And in 1981, Dick Dale was awarded Guitarist of the Year by Guitar Player Magazine.
The Pinx
"The Pinx are the whiskey-soaked classic American rockers you've been waiting for." - CraveOnline

“Zeppelin-esque, bluesy, classic rock'n'roll that idolizes trance-inducing electric riffs, bottom-heavy bass and drums that pop like water over a hot pan.” - Performer

It’s November and Adam McIntyre, the frontman and producer of The Pinx has hit a wall in his studio, Killybegs Sound Recording. A new Pinx record has been “in the works” all year and has hit an electrical snag—a problem that an electrician named Matt has come to solve. After the repairs are finished and the studio has access to “cleaner” electricity, Matt asks to hear what has been recorded in the studio. “Here’s what I’ve been working on.” He pulls up “Southern Gentleman” off of the upcoming Pinx record, Freedom. Three and a half minutes of actual rock and roll blister the studio monitors, leaving the electrician with a huge smile on his face. “I didn’t know music like that was still being made. That made my day.” It had hints of The Pinx’s previous and well-established influences Led Zeppelin and The Who in it, but the Pinx engine has been supercharged by the likes of The MC5 and Motorhead. “Yeah, I actually yell ‘Give all your money to The MC5’ on this record,” McIntyre says after the mood shifts back to work. “I finally figured out what this band is—it’s my happy place. I’ve done a lot of work to make sure that’s exactly what this album is.”

More rock and roll tunes come spilling out of the studio monitors, eight of the ten being uptempo and crackling with smoldering volcanic energy. Two of them, southern psychedelia oozing with swampy soul. Most of them sound more like potential singles than anything from previous albums. “These songs are all true stories,” says McIntyre, “I tried to write concise, simple little rock and roll songs. This is the set I want to play live.” The album, Freedom, is aptly named—each song centers around the idea of trying to find freedom while simultaneously delivering three and a half minutes of it.

From 2007 til 2012, The Pinx toured the Southeastern U.S. incessantly, from Virginia to New Orleans, their shows spilling into the streets where they often set off fireworks for fans, sometimes between songs. They braved crowds of drunk zombies in Savannah, broke up a street fight in New Orleans, and cheered on a couple having sex during their set in Tuscaloosa. They brought their rowdy bar mentality to larger stages like the Cox Capitol Theater in Macon and Atlanta’s Variety Playhouse. They opened for Ben Harper and Relentless7 at the request of Ben himself. You may have even heard The Pinx during ESPN and Fox Sports highlights. The band surged forward, getting bigger offers.

Then it stopped for a while. “Jim [O’Kane, drums] needed a break and Joe [Giddings, bass and vocals] moved to California,” says McIntyre, “but I never stopped writing songs and thinking about my next move.” After producing several records for artists around the Southeast, Adam joined up with likeminded Atlanta rockers StoneRider. “A few days after I joined, a series of events happened and suddenly I was getting ready for a big tour of Europe… opening for Europe, the band, in front of 2,000 people a night!” They shared stages with Blackberry Smoke (McIntyre joined them on lead guitar for a rousing version of The Rolling Stones’ “Can’t You Hear Me Knocking”), Living Colour, Graveyard, Warren Haynes, and a slew of others. “It was an amazing, invigorating vacation from The Pinx with some of the best humans in the world, and then it was time to come back home.”

McIntyre came back home to The Pinx with a massive collection of four-track demos, riffs, and lyric ideas written on the road and several new influences to add to the Pinx mix. “It’s not entirely an ode to guitar riffs” says McIntyre, “a lot of the stuff I learned about songwriting during my decade in Nashville came back. Not the formulaic bro-country aspect, but folks like Todd Snider and Dan Baird. Smart, funny guys who write songs that reflect themselves well. I wanted some of that to come through. It all has to mix with the Rock and Roll and the blues and soul and everything, and I put together a band tailor-made to do just that.”

Longtime fans will blink their eyes in disbelief to see a second guitarist on stage in The Pinx—Chance McColl (a Southern Gentleman if there ever was one) shifts effortlessly between Jimmy Page licks and Danny Gatton’s virtuosic country stylings. Bassist Jon Lee hails from Tennessee but has been thriving in some of what McIntyre calls “the best bands in Atlanta” for years. Drummer Dwayne Jones (Thee Crucials & Order of the Owl) should take much credit for the return of The Pinx, as he offered his services “aggressively” and plays on most of the new album. The new lineup allows McIntyre to become more of a singer live than the original power trio format had, and lends itself to some fun Thin Lizzy-styled guitar harmonies.

When asked about the band’s goals, McIntyre replies, “It’s time to get back out there and play some goddamned Rock and Roll.”