The Lively Ones' final release, released in the late months of 1964, is interesting for a couple of reasons. First, given the onslaught of Beatles music and the changing American musical landscape, Del-Fi chose to go a slightly different direction with the band's final release, taking the group "south of the border" and adding extra percussion and brass. Secondly, due to some internal struggles between the group and record owner Bob Keane, the band quit suddenly, leaving the company with an insufficient number of tracks to complete a full album. Thus, the remaining six tracks are credited to the "Surf Mariachis." What is probably most remarkable, though, is how well the album is pulled off.

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Some simple cymbal touches open up the album's first track 'Torquay, before launching into a percussion-infused rendition of the Fireball's minor hit. Henry Mancini's 'Baja' gets a Latin make-over credited to the Surf Mariachis, followed by the excellent 'Mexico.' Chubby Checker's 'Limbo Rock' also gets a much-needed transformation, while Kai Winding's 'More' is handled as more of a ballad than the original eliminating the iconic snare drum rolls altogether. The Lively One's finally return on the Oscar-winning movie theme, 'Exodus,' which actually turns out to be the perfect surf composition. A spoken Beach Boys' Live-styled introduction opens up 'Tequila' as each member joins in with his respective instrument before catapulting into the familiar tune. The jazz standard 'Watermelon Man' also gets a surfy makeover with the help of the additional brass and auxiliary percussion. The original 'Undertow' is one of the best moments on the album, while the calm 'Surfing Memories' brings the Lively Ones back for the home stretch. A cover of the Sentinals' complicated 'Latin'ia' actually improves on the original testifying once again to the musicianship of the band. The album's final track, 'Surf Fiesta,' is a great little number led by a melancholy piano featuring some creative starts and stops.

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Released amid a slew of legal and musical tensions, Surfin' South of the Border could've easily been a cheap cash-in job, relying solely on the band's solid reputation to carry it. Surprisingly, Border prevails and somehow even manages to come out on top. Not only is the material top-notch, but the playing and overall execution of the project leave nothing to be desired; even the faceless Surf Marachis numbers are handled masterfully (Hal Blaine, are you in here?) One of the final surf releases, the Lively One's Latin-flavored trip is the perfect get-away - especially for those who are looking for something just a little bit different.....