Featuring the talents of Billy Strange and Bill Pitman on guitars, Leon Russell on piano, James Bond on Bass, and Earl Palmer on drums, Calvin Cool's lone album, The Surfer's Beat is a rare gem. Not only does it boast fantastic playing akin to the Avalanches' Ski Surfin'(many of the same players), but it also has some first-rate material thanks to Shorty Rogers' penmanship.

​

The album begins with an adequate cover of Jan & Dean's 'Surf City,' which rocks pretty hard. 'Hang Ten' features a Leon Russell-esque piano and is definitely a highlight. 'Surfin' U.S.A.' is handled quite well, and the heavy guitars really help to fill out the sound. "Fog Horn" is a humorous ditty with a 'fog horn' sound effect inserted between sax runs. 'Beach Bash' could've benefited from the absence of the annoying "tra-la-las" sung by an uncredited female group. 'Cannon Ball Wipe Out' is a strong track, while 'Surfer's Beat' boasts some great drumming. An added brass ensemble makes 'South Bay' stand out from other tracks. The best track on the album is probably the 'jazz meets rock' version of the Chantays' 'Pipeline,' which surpasses the original's energy. 'Surf Bunnies' has a tinge of 'Surfer's Stomp' in it, while 'El Tecolote' is an excellent Mexican-flavored number. The album's closer, 'Way To Do It,' features some excellent playing from the bass player and makes for a great closer to an equally fantastic album. 

​

Released on the small Charter Records label, The Surfer's Beat is, unfortunately, an obscurity among the more well-known instrumental surf albums. Despite its rarity, it still deserves a place on any 1960s music fan's shelf.