Recorded at the Deauville Club in Santa Monica between March 22 and 23, 1963, Winners of the 18 Band Surf Battle boasts one of the most authentic concert recordings of the period. The winners, The Rhythm Kings, were all non-surfers of Mexican and Philipino heritage who managed to ink out the competition of the likes of the Sentinals, the Rhythm Rockers, and the Original Surfaris (all of whom would go on to create their own albums). Runner-ups, Dave Myer's and the Surftones were featured on the final three tracks. The album lists four - though 'Church Key,' while listed on the back cover, does not actually appear on the album.

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It's easy to see (er...hear) why the Rhythm Kings were the victors across the two nights. Compared to most other home-grown surf bands of the era, the Kings have a unique sound. If this record is any testament, not was their musicianship extraordinary, but so was their musical selection. Their setlist pulled from a wide-ranging array of musical genres such as soul, jazz, bebop, rock, and Latin folk music. Rock covers such as 'Last Night' and 'Hard Times' are exciting horn-laden rompers. 'Pachuko Soul' is Perhaps most noteworthy is how the Rhythm Kings employ two jazz standards in the setlist. The 1939 Duke Ellington staple 'Harlem Nocturne' gets a splashy surf makeover while Herbie Hancock's 1962 bebop hit 'Watermelon Man' follows suit. A dynamic live version of 'Swingin' Piper Soul' closes out side 1. The Rhythm Kings had enough good songs to run over into the second side of the Lp, with Dave Myers and the Surftones taking over for the final four songs. 'Twist and Shout' ends the Kings reign but not before the band is reintroduced and thanked by the MC. Hot off a stint at the Rendezvous Ballroom, Dave Myers then spend an inordinate amount of time getting the crowd's attention and preparing them for their set. While the Rhythm Kings hardly said a word between numbers, Myers seems set on filling every moment with his presence. 'New Orleans' is not the best moment on the album, and the transition into 'Pipeline' is a jumbled mess. I believe it's Chet Atkin's 'Wildwood Flower' and it's pretty excruciating to listen to. 'Pipeline' is a very smart cover, though the vocal interjections from the Surftones' leader detract from the experience.