Chuck Berry heard this and recognised Sweet Little Sixteen with new words, and he ended up with the songwriting credit. Released in March 1963, Surfin' U.S.A. reached No. 3 in America and named the band's second album. Its guitar part is pure Berry, played by a teenage Carl Wilson. Billboard later named it the top song of 1963.
What makes the tone. Carl's Jazzmaster goes into a Fender Bandmaster, bright and clean but with a little natural break-up so the double-stops bite, and a touch of spring reverb links it to the surf scene. It is tidier than the reverb-drenched surf instrumentals of the day, though: a rock and roll rhythm part rather than a crashing wave.
The analogue recipe. Jazzmaster or any bright offset into a gentle compressor, then a Fender combo loud enough that the harder strokes start to crackle, and a spring reverb. A low-gain overdrive pedal can stand in for the amp grit at home volumes. Keep the spring subtle so the double-stops stay clear.
How to play it. The record is in E flat major; play C shapes with a capo at the third fret. It runs at 130 BPM and is rated beginner. Learn the Berry-style double-stop shuffle on the top strings, rocking a finger up a tone and back, because that rocking figure is the song.
On a Boss GT-1000 / GX-100 / GT-100. On the Boss, the Twin Combo preamp and a Jensen 2x12 stand in for the Bandmaster. Add a Natural OD booster for edge, a compressor in FX1, no modulation and a spring reverb last. Keep that booster subtle; you are after a slight hair on the notes, not crunch.
On a Kemper. A bright, clean Bandmaster profile is the base. Compressor in Stomp A, Soft Drive in B and spring reverb behind the amp; no morph is needed for this one. If the double-stops turn harsh, pick a little nearer the neck rather than cutting treble.
Skip the guesswork. Rather than tweak for an evening, open the Soulster Tonebook for fans of The Beach Boys →: “Surfin' U.S.A.” is in there, dialled in for Boss and Kemper.
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