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The Rip Chords were an early-1960s American vocal group, originally known as the Opposites, composed of Ernie Bringas and Phil Stewart.[1] The group eventually expanded into four primary voices, adding Columbia producer Terry Melcher and co-producer Bruce Johnston (best known as a member of the Beach Boys). This group came to be associated with the hot-rod and surf genres of that day, although their first single ("Here I Stand") did not reflect those styles. They recorded for Columbia Records in Hollywood from 1962 to 1965. The group placed five singles on the Billboard Hot 100. They are best known for their number-four single: "Hey Little Cobra".

Key Information

Group history

[edit]

Bringas and Stewart became acquainted during the mid-1950s as students at Inglewood High School (about ten miles south of Hollywood). They discovered some complementary musical talents and struck up a friendship. Encouraged by their singing compatibility, they were determined to secure a recording contract. They eventually came to the attention of Arwin Records/Daywin Music in 1962.[2]

Actress-singer Doris Day and her husband, film producer Marty Melcher, owned Arwin Records and Daywin Music. Their son, Terry Melcher, had just been hired by Columbia Records as an A&R (artist and repertoire) producer. Arwin Records vice-president Bob Crystal saw potential in Bringas and Stewart's voices, and quickly arranged for an audition at Columbia Records.[3]

Columbia Contract

[edit]

Following the audition, Terry Melcher signed Bringas and Stewart to a recording contract at Columbia. Their moniker, the Opposites, seemed apropos at the time because Bringas was studying for the ministry and Stewart was a private detective. But shortly before their first release, the name was changed to the Rip Chords.[4] The change was prompted by concerns that the Opposites could falsely imply a positive versus negative image of the two friends. According to Melcher, "Actually, I gave them the name and it was just a play on words. It had nothing to do with the TV show Ripcord (spelled without the h)."[4]

The Rip Chords were a vocal group. They were not a band (no musical instruments, although Stewart played limited guitar).[5] Accordingly, Bringas and Stewart needed to be backed instrumentally by studio musicians. These musicians, including guitarist Glen Campbell, drummer Hal Blaine, and bassist Ray Pohlman, and other prominent instrumentalists, were known as the Wrecking Crew.

Terry Melcher produced the Rip Chords' first release, "Here I Stand", a remake of the Wade Flemons version. Recorded on December 17, 1962,[6] it peaked at No. 51 on the Billboard Hot 100 in early 1963. Bringas and Stewart were the only singers on the first release. Bringas sang the lead, the falsetto, and also joined Stewart on the background vocals.[7] Bringas and Stewart agreed that "Glen Campbell...gave the song a great lift with his lead guitar. Recent remix attempts have watered down his contribution, but on the original release, the imprint of his lead guitar is indelible."[8]

The group's second single, again produced by Melcher, was "Gone", recorded April 26, 1963.[9] Bringas sang the lead and the falsetto, with Bringas and Stewart doing layered background vocals. Bruce Johnston (a friend of Melcher) added an interjecting falsetto, and Blossoms member Gracia Nitzche performed the spoken word intro.[10] Although the song penetrated the Billboard Hot 100, it did not fare as well as the previous hit, "Here I Stand",[11] but did well in certain markets such as San Antonio, Texas, where it climbed to number two on KTSA's top 55 survey.[12]

Following the release of "Gone", a problem arose for the Rip Chords. Bringas had just graduated from California State University at Long Beach and was planning to do graduate work at United Theological Seminary in Dayton, Ohio, where he eventually earned his Master of Divinity degree. His educational responsibilities would not allow time for the touring aspect of a recording group.[13]

Hey Little Cobra - Single

[edit]

Due to his ministerial studies, Bringas was unable to get back to Hollywood for the next recording session. This left Stewart momentarily without a singing partner. Melcher and co-producer Johnston stepped in vocally to fill the void created by Bringas' brief absence; Johnston had already sung with Bringas and Stewart on their second single "Gone". Melcher and Johnston would prove to be a significant addition as the Rip Chords prepared to record and release their third single.[14]

The Rip Chords' third single was the hit "Hey Little Cobra", vocally layered by Melcher and Johnston, recorded on October 15, 1963. Melcher sang the lead vocal. He and Johnston did the background vocals.[15][16] The song peaked at No. 4 on the Billboard Hot 100 in February 1964.[17]It reached #3 on the New Zealand lever hit parade charts[18]

Initially, when the "Cobra" single was released, Johnston and Melcher did not receive any credit for their vocal participation. However, Melcher did receive credit as the producer. Following the “Cobra” single and album, both Melcher and Johnston were credited as the two producers on all Rip Chords’ music thereafter, but their vocal contributions remained uncredited.[19]

Two smiling, middle-aged men with arms around each other
Ernie Bringas (left), co-founder of the Rip Chords, with Bruce Johnston after a July 7, 2012 Beach Boys 50th-anniversary concert in Phoenix, Arizona

Two Albums and a Touring Group

[edit]

Following the "Hey Little Cobra" single, Bringas, having missed the previous recording session, was able to rejoin the group. However, based on the success of the ″Cobra″ single, the original Rip Chords (Bringas and Stewart) would now expand into four primary voices, adding Melcher and Johnston.[20] [21]

Although Bringas was back in the studio to record, he remained unavailable for touring because of his educational commitment. Therefore, as a practicality, two young men (Rich Rotkin and Arnie Marcus) were brought on board to tour with Stewart as the Rip Chords until the group disbanded in 1965. Thus, Stewart, Rotkin, and Marcus became the official touring version of the Rip Chords. However, Rotkin and Marcus were never vocally involved in any Rip Chords' recordings.[22][23] Columbia Records never made a distinction between the recording Rip Chords and the touring Rip Chords. On the contrary, it was only the touring Rip Chords that were promoted in all of the publicity campaigns. Their names and pictures appeared in ads, interviews, photoshoots, magazines, album covers, and so forth.[24]

Additionally, the touring ensemble was invited to appear on Dick Clark's American Bandstand and toured on Clark's 1964 Caravan of Stars (which included the Supremes and other notables). They also performed in the 1965 Hollywood film, A Swingin' Summer, with Raquel Welch.Therefore, very few of the music industry and the public at large realized that the touring Rip Chords and the recording Rip Chords—with the exception of Stewart—were not the same people.[25]

The Rip Chords' first album (released in early 1964) was Hey Little Cobra and Other Hot Rod Hits, which peaked at No. 56 on the national charts. The album featured balanced contributions from Bringas, Stewart, Melcher, and Johnston.[26] Of the 11 vocals, Melcher sang lead on five, Bringas sang lead on five and Stewart sang lead on one. An instrumental by the Wrecking Crew filled out the album. Its cover listed Bringas and Stewart as vocalists, omitting Melcher and Johnston, and incorrectly including Rotkin and Marcus.[27][28]

The group's fourth single was "Three Window Coupe", released in April 1964 with Melcher singing lead, peaking at No. 28 on the national charts.[29] Although all four singers contributed to the recording, the Melcher-Johnston sound predominated. Johnston and Melcher's experience and vocals were a major factor in the California Sound of the Rip Chords' music.[30]

The Three Window Coupe album (CS 9016 or CL 2216), released three weeks after the "Three Window Coupe" single,[29] added another 11 vocals: Melcher sang lead on six of them, Bringas and Stewart sang lead on four, and Melcher and Bringas shared the lead on one song ("My Big Gun Board").[31] Like Hey Little Cobra and other Hot Rod Hits, its liner notes erroneously listed Rotkin and Marcus as vocalists and Melcher and Johnston's vocal involvement was not mentioned.[29] The 2006 Summer U.S.A.! The Best of the Rip Chords released by Sundazed Music clarified all musicians involved.[32] According to the re-released 2006 CD cover: "No group epitomized the sun-soaked California Sound better than the fabulous Rip Chords... Led by legendary producer Terry Melcher along with future Beach Boy Bruce Johnston and ace-vocalists Ernie Bringas and Phil Stewart, these long-board big-guns left an indelible mark on the surf'n strip sounds of the '60s..." There is a picture of that foursome — Terry Melcher, Bruce Johnston, Ernie Bringas, Phil Stewart — on the inside cover of the 2006 CD booklet, along with photos of the touring Rip Chords.[33]

The Rip Chords' last significant release was the single "One Piece Topless Bathing Suit" in June 1964, with Bringas and Melcher singing lead.[34] Although it reached the national charts, it failed to generate major activity. In February 1965 a final single, "Don't Be Scared", failed to chart nationally.[35]

Shortly after the release of "Don't Be Scared", the group disbanded after five singles on the Billboard Hot 100 and two albums reflecting the surf music of the day. Stephen J. McParland summarized, "But something as trendy and timely as the Rip Chords' sound and image also had a built-in clock, something like those little pop-up thermometers they used to implant in roasting chickens. When your time's up, you're done."[36] Melcher, Johnston, Bringas, and Stewart recorded no music as the Rip Chords after the breakup in 1965.

New Rip Chords

[edit]

Using the Rip Chords name, Bruce Johnston and Terry Melcher contributed a single track, "Sealed With A Kiss," to an album by Mike Love and Dean Torrence called Rock'n'Roll Again produced for the Radio Shack US chain store in 1983.[37][38]

Rotkin and Marcus, who toured with Stewart,[21][39] revived the group during the mid-1990s with additional members. The new group tours and records as the Rip Chords. In 2010, the new group released a Spectra Records CD entitled The Best of the Rip Chords ... Today (not to be confused with the 2006 Summer U.S.A. The Best of the Rip Chords released by Sundazed Music). The Sundazed release features the 1960s original singing Rip Chords, the Spectra release does not.[40]

Unreleased material and background vocals

[edit]

In 2006 Sundazed Music[41] released Summer U.S.A.! The Best of the Rip Chords with four additional songs, three previously unreleased. The three unreleased songs were "Wiameah Bay", an instrumental by the Wrecking Crew, and two Rip Chords hot-rod songs ("Sting Ray" and "XKE") which had been in Columbia's vault since 1965. The fourth song was "Red Hot Roadster", originally scheduled for release as a single but instead appearing on the soundtrack of 1965's A Swingin' Summer.[42] Apart from the soundtrack and the 2006 CD, it was released in 1996 on the Sundazed Three Window Coupe CD. Bringas and Stewart sang background vocals on Surfin' USA by the Hot Doggers (Bruce & Terry). Also, the backing vocals on Pat Boone's version of “Beach Girl” are the vocals that are on the Rip Chords' version.[43][44]

Discography

[edit]

Singles

[edit]
  • 1962–63: "Here I Stand" (Bringas on lead vocal) backed with "Karen" (Bringas and Stewart on lead): Billboard #51.
  • 1963: "Gone" (Bringas on lead) b/w "She Thinks I Still Care" (Bringas on lead): Billboard #88.
  • 1963–64: "Hey Little Cobra" (Melcher on lead) b/w "The Queen" (Melcher on lead): Billboard #4; CHUM Chart #5.[45]
  • 1964: "Three Window Coupe" (Melcher on lead) b/w "Hot Rod U.S.A." (Melcher on lead): Billboard #28; CHUM Chart #34.[46]
  • 1964: "One Piece Topless Bathing Suit" (Melcher and Bringas on lead) b/w "Wah-Wahini" (Melcher on lead): Billboard #96.
  • 1965: "Don't Be Scared" (Melcher on lead) b/w "Bunny Hill" (instrumental by The Wrecking Crew)

Albums

[edit]

Hey Little Cobra and Other Hot Rod Hits: (Columbia, February 1964) #56. Billboard Album Chart.

  • "Hey Little Cobra" (Melcher on lead)
  • "Here I Stand" (Bringas on lead)
  • "The Queen" (Melcher on lead)
  • "409" (Bringas on lead)
  • "Trophy Machine" (Melcher on lead)
  • "Gone" (Bringas on lead)
  • "Little Deuce Coupe" (Melcher on lead)
  • "'40 Ford Time" (Instrumental by the Wrecking Crew)
  • "She Thinks I Still Care" (Bringas on lead)
  • "Shut Down" (Bringas on lead)
  • "Drag City" (Melcher on lead)
  • "Ding Dong" (Bringas on lead)

Three Window Coupe: (Columbia, September 1964)

  • "Three Window Coupe" (Melcher on lead)
  • "Bonneville Bonnie" (Stewart on lead)
  • "Gas Money" (Bringas on lead)
  • "This Little Woodie" (Melcher on lead)
  • "Hot Rod U.S.A." (Melcher on lead)
  • "Old Car Made In '52" (Stewart on lead)
  • "Surfin' Craze" (Bringas on lead)
  • "Beach Girl" (Melcher on lead)
  • "My Big Gun Board" (Melcher and Bringas on lead)
  • "Surf City" (Melcher on lead)
  • "Summer U.S.A." (Melcher on lead)
  • "Big Wednesday" (instrumental by the Wrecking Crew)

Summer U.S.A.! The Best of the Rip Chords: (Sundazed, 27 June 2006)

  • Hey Little Cobra
  • The Queen
  • Trophy Machine
  • Here I Stand
  • Karen
  • Gone
  • Three Window Coupe
  • This Little Woodie
  • Hot Rod U.S.A.
  • Surfin' Craze
  • Beach Girl
  • My Big Gun Board
  • Summer U.S.A.
  • One Piece Topless Bathing Suit
  • Wah-Wahini
  • Don't Be Scared
  • Red Hot Roadster
  • Wiameah Bay
  • Stingray
  • X.K.E

References

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The Rip Chords

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from Grokipedia
The Rip Chords were an American vocal group active in the early , specializing in surf rock and music, formed as a duo by high school friends Ernie Bringas and Phil Stewart in 1957 under the name . In 1962, they signed with in Hollywood, , where producer and musician joined to expand the group's sound through techniques that simulated a larger ensemble. The band recorded from 1962 to 1965, releasing two albums and several singles, with their biggest success being the 1964 hit "," which peaked at number 4 on the and became a staple of the music . During their brief career, The Rip Chords produced 33 recordings, including five singles such as "Here I Stand" (peaking at number 51 in 1963) and "Three Window Coupe" (1964). Their debut album, Hey Little Cobra and Other Hot Rod Hits (1964), featured high-energy tracks celebrating car culture, while the follow-up Three Window Coupe (also 1964) continued in the same vein with contributions from core members Bringas, Stewart, Melcher, and Johnston. Despite their studio-focused approach and lack of extensive touring, the group's polished harmonies and thematic focus on and resonated with the craze popularized by acts like . The Rip Chords disbanded in 1965 after their contract ended, with Bringas later pursuing a career in ministry, Stewart passing away in 2013, Melcher becoming a prominent producer for artists like until his death in 2004, and Johnston joining as a longtime member. In the , a revived version of the group formed with new members including Arnie Marcus, Rich Rotkin, and others, performing nostalgic sets but without the original lineup's involvement. Their legacy endures through reissues and compilations that highlight their role in the surf and sound.

Formation and Early Years

Origins as a Duo

The Rip Chords originated as a vocal duo in 1957 when Phil Stewart and Ernie Bringas, recent graduates of Inglewood High School in , began singing together. Initially calling themselves , the pair bonded over their shared interest in the era's rock and music, honing tight vocal harmonies that defined their early sound. Their formation occurred amid the vibrant music scene, in close proximity to Hawthorne, the hometown of . In their initial years, Stewart and Bringas focused on local performances at high school dances, community events, and regional TV shows in the area, building an audience through amateur gigs that showcased their doo-wop-inspired harmonies. They also recorded an unreleased demo tape in 1957 with assistance from Ray Pohlman of the Wrecking Crew, submitting it to various record labels in hopes of breaking into the industry. These efforts marked their amateur beginnings, with no formal releases until 1962, as they balanced performances with initial songwriting experiments drawing from the growing around them. As the duo transitioned toward professional aspirations, their local activities laid the groundwork for future opportunities, emphasizing original compositions and vocal interplay amid the evolving youth music landscape. This period solidified their partnership and amateur roots before expanding beyond regional stages.

Initial Lineup and Recordings

In 1962, the duo of Ernie Bringas and Phil Stewart, who had been performing together since 1957 under the name with influences, expanded their sound by collaborating with producer and vocalist to create a quartet-like vocal through overdubs and session contributions. This partnership aimed to achieve a fuller, more polished typical of emerging surf-era groups, with Melcher handling production and both he and Johnston providing uncredited lead and vocals on early tracks. The group's first professional recordings took place that December at Columbia Records in Hollywood, resulting in their debut single "Here I Stand" b/w "Karen," released in March 1963 and peaking at number 51 on the Billboard Hot 100. A follow-up single, "Gone" b/w "She Wants To," followed later in 1963, showcasing Melcher's production input and the group's evolving vocal blend. These initial sessions marked the Rip Chords' transition from amateur performances to structured studio work, though lineup stability proved challenging as Bringas temporarily stepped away for religious studies in late 1963. To address performing needs amid these changes and maintain a live quartet presence, Stewart recruited Rich Rotkin and Arnie Marcus in 1964, forming a touring version of the group while the core recording lineup remained centered on the duo augmented by Melcher and Johnston. During this period, the Rip Chords began shifting their song selection toward surf and themes, aligning with the burgeoning music scene and setting the stage for their later hits.

Breakthrough and Columbia Era

Signing with Columbia Records

In late 1962, vocal duo Ernie Bringas and Phil Stewart, initially performing as , auditioned for and secured a under the guidance of producer , marking their entry into major-label production. Melcher, leveraging his familial ties to Columbia through his mother Doris Day's longstanding association with the label, positioned the duo—soon rebranded as the Rip Chords—as a key project in his early producing career. This signing facilitated a polished, studio-centric approach, shifting away from live band dynamics to emphasize multi-tracked vocals by Bringas and Stewart, augmented by Melcher and affiliate on select tracks. The contract enabled the Rip Chords to collaborate with elite session musicians from the Wrecking Crew, including drummer , whose precise rhythms contributed to the group's signature surf sound characterized by driving beats and layered harmonies. Columbia's promotional efforts focused on targeted radio airplay in key markets, capitalizing on the burgeoning craze to build regional buzz. These strategies included securing television appearances and supporting tours, though live performances often featured stand-in musicians due to the group's studio emphasis. Post-signing, the Rip Chords released their debut single "Here I Stand" in March 1963, a remake that peaked at No. 51 on the , demonstrating modest national traction. Follow-up "Gone," issued later that year, achieved limited chart success but helped solidify their hot rod-themed identity. By mid-1964, "Three Window Coupe" emerged as another initial effort under the deal, reaching No. 28 and underscoring the label's investment in their evolving catalog. This period laid the groundwork for broader commercial viability through enhanced production quality and strategic exposure.

Hey Little Cobra Hit

"Hey Little Cobra" was written by Carol Connors and Marshall H. Connors, capturing the excitement of hot rod racing through lyrics that depict a Shelby Cobra sports car being hitched to a Cadillac and taken to a drag strip to outpace a Corvette Sting Ray. The track was recorded in late 1963 at Columbia Records' studios in Hollywood, with production handled by Terry Melcher and Bruce Johnston, who also provided all the lead and background vocals due to budget limitations that prevented the original Rip Chords duo from participating; the session was completed under a tight deadline, finishing by midnight to meet label demands. Released as a single in October 1963 on (catalog 4-42969), "Hey Little Cobra" quickly climbed the charts, entering the on December 22, 1963, and peaking at number 4 for two weeks while spending 14 weeks on the chart overall; it also reached #3 on the Cash Box Top 100. The song's success, certified gold with over one million copies sold, provided an immediate surge in visibility for the Rip Chords, aligning perfectly with the burgeoning car culture that romanticized high-speed and performance vehicles. Thematically rooted in the , the upbeat surf-rock track with its harmonious vocals and driving rhythm evoked the thrill of automotive competition, resonating with America's fascination with speed and custom cars. Promotional tie-ins amplified its impact, generating significant publicity for —estimated by executive to be worth a million dollars in free advertising—as the song spotlighted the Shelby ; songwriter Carol Connors was gifted a by Ford and secured a special deal for a Cobra replica from himself. This exposure helped cement "Hey Little Cobra" as the band's signature hit, boosting their profile in the surf and hot rod music scene.

Albums and Touring Developments

Release of Key Albums

The Rip Chords' debut full-length album, Hey Little Cobra and Other Hot Rod Hits, released in February 1964 by , consisted of 12 tracks centered on car-themed narratives that evoked the high-energy world of culture and surf lifestyle. Produced by at Columbia's Hollywood studios, the record featured layered vocal harmonies prominently crafted by Melcher and , with additional contributions from core vocalists Ernie Bringas and Phil Stewart. Instrumentation was handled by the renowned Wrecking Crew session musicians, including drummer and bassist Ray Pohlman, providing the polished, driving sound that defined the group's output. The follow-up album, Three Window Coupe, arrived later in 1964 and maintained the surf and aesthetic of its predecessor, incorporating re-recordings of earlier singles alongside new material to capitalize on the group's established style. Again produced by Melcher, it emphasized vocal interplay led by Johnston's and Melcher's leads, backed by the Wrecking Crew's expert arrangements that blended upbeat rhythms with thematic about American automotive enthusiasm. The album's structure highlighted the studio craftsmanship, with 12 tracks distributed among the four primary singers. Critically, both albums were regarded as solid examples of the vocal surf genre but often critiqued for their heavy reliance on ' harmonic and production template, a style Melcher and Johnston intentionally emulated given their close ties to the scene. Sales for Hey Little Cobra and Other Hot Rod Hits were modest, peaking at #56 on the , largely buoyed by the popularity of the hit single "," which influenced promotional efforts for the full releases. Three Window similarly benefited from this momentum but failed to replicate the commercial breakthrough, reflecting the genre's fleeting peak amid shifting musical trends.

Touring Group Formation

In 1964, as The Rip Chords gained popularity following the success of "," a dedicated touring lineup was assembled to handle live performances, distinct from the core studio group of Bringas and Phil Stewart. With Bringas pursuing studies and stepping away from the road, Stewart recruited Rich Rotkin and Arnie Marcus to join him as the primary touring members, forming a trio that delivered surf and hot rod-themed sets across the U.S. This road band expanded for larger shows, incorporating additional musicians such as bassists to support the energetic live renditions of tracks from albums like and Other Hot Rod Hits and Three Window Coupe. The group embarked on extensive tours throughout 1964 and into 1965, prominently featuring on Dick Clark's Caravan of Stars, a multi-act package show that crisscrossed the country with acts including and , performing in venues from amphitheaters to ballrooms. Live shows presented challenges in replicating the polished, multi-layered vocals of the studio recordings, which heavily featured contributions from producers and ; the touring trio often struggled with harmonies and lead matching, occasionally relying on guest appearances by Melcher or Johnston for key dates to maintain authenticity. The peak touring period concluded by mid-1965 amid growing lineup fatigue from the grueling schedule and the waning popularity of the trend, leading to a temporary disbandment as members pursued other opportunities.

Later Career and Changes

New Rip Chords Lineup

Following the departure of founding member Bringas in mid-1963 to pursue , Phil Stewart restructured the group to support live performances, recruiting vocalists Rich Rotkin and Arnie Marcus to form a new touring lineup alongside himself. This configuration, distinct from the studio recordings primarily handled by Stewart, Bringas, , and , enabled the Rip Chords to fulfill concert demands during their commercial peak. The trio of Stewart, Rotkin, and Marcus performed surf and hot rod-themed sets across the , capitalizing on hits like "" to engage audiences at regional venues and events. As the gained momentum starting in 1964, with British acts like dominating airwaves and charts, the genre experienced a sharp decline in popularity, overshadowing American groups like the Rip Chords. The touring lineup shifted focus to sporadic regional gigs in and surrounding areas, but national momentum waned, with no new studio recordings after their final Columbia single "" in 1965. By 1966, the group had effectively dissolved amid the changing musical landscape, marking the end of their active period. Following the disbandment, members transitioned to individual pursuits, including session work in the music scene for Stewart, while Rotkin and Marcus explored other performance opportunities.

Post-1965 Activities

Following the decline of the surf music genre in the mid-1960s, the original Rip Chords ended their recording and primary touring activities by 1965, with no full band performances occurring after 1965. Bruce Johnston, who had contributed background vocals to the group's studio recordings, transitioned to a permanent role with starting in April 1965, replacing on live tours while also participating in studio work for albums like . Terry Melcher, the Rip Chords' key producer and lead vocalist on hits like "Hey Little Cobra," built a prominent career in music production post-1965, overseeing the Byrds' debut albums Mr. Tambourine Man and Turn! Turn! Turn! in 1965 and later co-writing and producing the Beach Boys' 1988 chart-topping single "Kokomo." He died in 2004. Ernie Bringas, one of the founding vocalists, left the music industry after 1965 to pursue graduate studies in theology, becoming an ordained United Methodist minister in California for nearly 20 years and subsequently teaching religious studies at Glendale Community College in Arizona for 21 years until his retirement around 2020. Phil Stewart, the other co-founder and vocalist, directed his musical pursuits toward country and western genres following the group's dissolution in 1965. He died in 2013. While the original lineup never reunited for live shows, the Rip Chords' legacy endured through archival reissues, including the 2006 Sundazed Records compilation Summer U.S.A.! The Best of the Rip Chords, which featured remastered tracks and historical . Additionally, former touring members Richie Rotkin and Arnie Marcus revived a version of the band in the mid-1990s with new personnel, leading to performances through 2020, such as a 2006 appearance at the Cannery Casino in ; Rotkin died in 2023.

Musical Style and Contributions

Surf and Hot Rod Themes

The Rip Chords' music exemplified the vocal surf rock genre blended with lyrics, characterized by emulative harmonies reminiscent of and upbeat, driving tempos that captured the energy of 1960s Southern youth culture. Their sound featured rich, multi-layered vocal arrangements achieved through techniques, creating an illusion of a larger group while emphasizing tight, harmonious interplay. This style drew directly from the "," incorporating reverb-heavy guitars for a shimmering, oceanic texture and chord progressions that added a nostalgic, rhythmic backbone to their tracks. Key influences included Jan & Dean's pioneering surf-pop harmonies and the early Beach Boys albums, such as Surfin' Safari (1962), which shaped the Rip Chords' focus on youthful exuberance and vehicular escapism. Their lyrics centered on themes of drag racing thrills, custom cars like the Shelby Cobra and Ford Coupe, and the liberating spirit of teenage freedom, evoking the romance of speed and open roads as metaphors for adolescent adventure. Exemplified in songs like "Hey Little Cobra," these narratives portrayed high-stakes races and triumphant drives, resonating with the era's car enthusiast subculture. By 1965, the band's sound evolved toward a more rock-infused orientation while remaining firmly harmony-driven, incorporating broader beach motifs alongside their core motifs in later releases. This maturation reflected the shifting tides of , blending persistent vocal sophistication with edgier instrumental elements, though the group disbanded that year amid changing musical landscapes.

Background Vocals Work

The Rip Chords, primarily through the vocal talents of core members and , delivered uncredited background vocals for key recordings by major acts in the 1960s scene, capitalizing on their expertise in crafting intricate harmonies. Johnston contributed the distinctive high background vocals to the ' "" in 1965, marking his initial collaboration with the group ahead of his full-time membership. Melcher, who frequently produced sessions for the and Jan & Dean, often joined these recordings alongside Johnston, reinforcing the tight, layered harmonies that defined the era's sound. These contributions extended to additional artists within the surf and milieu. The group produced 33 recordings at from 1962 to 1965, many produced by Melcher, which solidified their standing as dependable studio vocalists even as their own releases saw diminishing commercial success after 1965. Shared personnel between these backup efforts and the band's original tracks, such as elements echoing across projects, underscored their versatile role in the scene.

Discography and Unreleased Material

Singles Releases

The Rip Chords released six singles on between 1963 and 1965, primarily featuring and surf-themed tracks produced by and , with layered vocals creating a fuller group sound. These releases marked the band's commercial peak during the craze, with five charting on the , though several demonstrated stronger regional performance in markets like and . The singles often paired A-sides focused on automotive imagery with B-sides exploring similar beach or vehicle motifs, contributing to their appeal in the subgenre.
Release YearA-Side / B-SideLabel / CatalogBillboard Hot 100 Peak
1963Here I Stand / KarenColumbia 4-42687#51
1963Gone / Columbia 4-42812#88
1963 / The QueenColumbia 4-42921#4
1964Three Window Coupe / Hot Rod U.S.A.Columbia 4-43035#28
1964One Piece Topless Bathing Suit / Wah-WahiniColumbia 4-43093#96
1965 / Bunny HillColumbia 4-43221Did not chart
The debut single "Here I Stand," recorded in December 1962 and released in March 1963, introduced the duo's harmony style but achieved modest national success, peaking at #51 while reaching the top 20 in select regional markets. Follow-up "Gone" fared slightly better nationally at #88 but topped charts locally in areas like , highlighting the band's early reliance on West Coast promotion. Their breakthrough came with "," a high-energy anthem that soared to #4 nationally in early 1964, driven by its infectious hooks and timely alignment with car culture trends; the B-side "The Queen" complemented it with a surf vibe but saw less . The subsequent "Three Window Coupe" maintained momentum at #28, with its B-side "Hot Rod U.S.A."—featuring vivid depictions of American trips—gaining popularity through radio play and later compilations, often outshining the A-side in fan recollections. Later releases like "One Piece Topless Bathing Suit," a playful nod to beach fashion, bubbled under at #96, while the 1965 single "" failed to chart amid shifting musical tastes toward folk-rock, signaling the end of their Columbia output. Overall, the singles underscored the band's niche in surf-adjacent pop, with B-sides frequently emphasizing thematic continuity in automotive and coastal , though national hits were outnumbered by regional breakthroughs.

Albums and Compilations

The Rip Chords released two studio albums during their original tenure with , both capturing the high-energy surf and themes central to their sound. Their debut, Hey Little Cobra and Other Hot Rod Hits, came out in early 1964 and featured 12 tracks, including the title hit "" along with covers like "409" and originals such as "Here I Stand" and "The Queen," produced by and emphasizing multi-layered vocals and upbeat instrumentation. The album peaked at No. 56 on the , showcasing the band's ability to blend with car-themed narratives. The follow-up, Three Window Coupe, also released in 1964 on Columbia, contained 12 tracks focused on automotive motifs, with standout cuts like the title song "Three Window Coupe," " U.S.A.," and "This Little Woodie," again under Melcher's production and featuring contributions from on arrangements. This LP incorporated several singles from the band's catalog, such as "Three Window Coupe," which reached No. 28 on the , and highlighted their polished studio approach without live recordings. Neither album included live material, as the group's output remained studio-centric during this period. In the decades following, compilations and reissues brought renewed attention to the Rip Chords' work, often expanding on original track selections with bonus material. The 2006 Sundazed Music release Summer U.S.A.! The Best of the Rip Chords compiled 20 tracks, including hits like "," "Three Window Coupe," and "," plus rarities and previously unissued cuts that underscored the band's influence on the . by surf music historian Stephen McParland provided context on the group's recording history and collaborations. Reissues in the and , primarily by Sundazed, preserved the originals on CD and vinyl, with expanded editions of Hey Little Cobra and Other Hot Rod Hits (1996) and Three Window Coupe (1996) adding mono/stereo mixes and historical essays by McParland to highlight production details and cultural impact. These efforts focused on rarities within official releases, such as alternate takes, without venturing into unreleased territory, and helped introduce the albums to new audiences while maintaining fidelity to the sessions. In 2021, the revived version of the group released Still Rippin'!, featuring re-recordings of seven classic tracks including "" and "Gone."
Album TitleRelease YearLabelFormatTracksKey Notes
Hey Little Cobra and Other Hot Rod Hits1964ColumbiaLP12Debut studio album; includes hit single ""
Three Window Coupe1964ColumbiaLP12Second studio album; features "Hot Rod U.S.A." and automotive themes
Summer U.S.A.! The Best of the Rip Chords2006Sundazed MusicCD20Compilation with bonuses and rarities; liner notes by Stephen McParland
Still Rippin'!2021Kinclong RecordingsDigital7Re-recordings by revived lineup; includes classics like ""

Unreleased Tracks

The Rip Chords recorded several demos and instrumentals during their formative years in 1962 and 1963, prior to their breakthrough hit "." These early sessions, conducted under the production of at , included alternate vocal arrangements and surf-themed instrumentals that captured the group's initial raw energy and harmony style, though most remained unissued at the time. Following the commercial peak of their 1964-1965 releases, additional outtakes emerged from sessions associated with their later hot rod-themed work. These post-1965 recordings, produced during attempts to sustain the group's momentum, reflect evolving production techniques but saw limited circulation until archival interest revived them decades later. A notable portion of unreleased material first surfaced on the 2006 Sundazed Music compilation Summer U.S.A.! The Best of the Rip Chords, which included previously unissued cuts drawn from Melcher's original tapes, highlight the group's signature surf and sound with contributions from vocalists Ernie Bringas, Phil Stewart, , and Melcher himself. Much of the remaining archival material, including additional demos and session outtakes, is held by the estate of producer , who passed away in 2004; however, no complete unreleased album has been compiled or issued to date, leaving fans reliant on partial releases and compilations for access.

References

  1. https://ripchords.info/
  2. https://www.discogs.com/artist/311798-The-Rip-Chords
  3. https://www.allmusic.com/artist/the-rip-chords-mn0000898512
  4. https://nostalgiacentral.com/music/artists-l-to-z/artists-r/rip-chords/
  5. https://www.waybackattack.com/ripchords.html
  6. https://500songs.com/podcast/pledge-week-hey-little-cobra-by-the-rip-chords/
  7. https://www.last.fm/music/The%2BRip%2BChords/%2Bwiki
  8. https://www.history-of-rock.com/rip_chords.htm
  9. https://www.songfacts.com/facts/the-rip-chords/hey-little-cobra
  10. https://www.hotrod.com/features/hey-little-cobra-september-1992-982-1579-68-1
  11. https://rateyourmusic.com/artist/the-rip-chords
  12. https://www.newspapers.com/article/the-tennessean-dick-clark-caravan-of-sta/6031884/
  13. https://crazyonclassicrock.com/2017/04/03/the-multicultural-roots-of-surf-rock/
  14. https://www.udiscovermusic.com/stories/exclusive-bruce-johnston-on-the-making-of-pet-sounds/
  15. https://www.latimes.com/archives/la-xpm-2004-nov-21-me-melcher21-story.html
  16. https://ripchords.info/about
  17. https://sundazed.com/the-rip-chords-summer-usa-best-of-the-rip-chords-cd.aspx
  18. https://krforadio.com/one-hit-wonder-the-rip-chords/
  19. https://www.youtube.com/watch?v=3hs8In4Lqu8
  20. https://esquarterly.com/2023/07/27/in-memoriam-the-richie-rotkin-and-arnie-marcus-interviews/
  21. https://www.facebook.com/richiesripchords/posts/3231255870249747/
  22. https://www.songfacts.com/facts/the-beach-boys/california-girls
  23. https://www.allmusic.com/artist/bruce-terry-mn0000627408
  24. https://www.musicvf.com/song.php?title=Here+I+Stand+by+The+Rip+Chords&id=35139
  25. https://www.musicvf.com/song.php?title=Gone+by+The+Rip+Chords&id=35140
  26. https://www.musicvf.com/song.php?title=Hey+Little+Cobra+by+The+Rip+Chords&id=35141
  27. https://www.musicvf.com/song.php?title=Three+Window+Coupe+by+The+Rip+Chords&id=35142
  28. https://www.musicvf.com/song.php?title=One+Piece+Topless+Bathing+Suit+by+The+Rip+Chords&id=35143
  29. https://www.discogs.com/master/272678-The-Rip-Chords-Hey-Little-Cobra-And-Other-Hot-Rod-Hits
  30. https://www.allmusic.com/album/hey-little-cobra-and-other-hot-rod-hits-mw0000195451
  31. https://www.discogs.com/master/391508-The-Rip-Chords-Three-Window-Coupe
  32. https://www.allmusic.com/album/three-window-coupe-mw0000945970
  33. https://www.discogs.com/release/4175622-The-Rip-Chords-Summer-USA-The-Best-Of-The-Rip-Chords
  34. https://www.discogs.com/release/9737826-The-Rip-Chords-Hey-Little-Cobra-Three-Window-Coupe
  35. https://www.discogs.com/master/395993-The-Rip-Chords-Three-Window-Coupe
  36. https://open.spotify.com/album/4ClYtst5tKKzP77U4Wf2jU
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