Sleazy Archives - the rockabilly chronicle

Slim Sandy and his Hillbilly Bopper

Published on 8 August 20239 August 2023

Reviews

Slim Sandy and the Hillbilly Boppers – Lazy Day

Self-released [2023]
Lazy Day – Teardrops From My Eyes – I Hear You Talkin’ – Jack’n’Jill Boogie – Havin’ A Party – Buster’s Dream – I Got A Feelin’ – Goin’ Back Home – Dreamin’ Of You – Meet Me By The Moonlight – I Heard The Bluebirds Sing – Foolin’ Round – Up Above My Head – Kiss The Baby Goodnight

There’s no greater pleasure than being surprised by a band or an artist you know or think you know well. I’ve been following the musical adventures of Peter Sandmark (Slim Sandy) since I bought my first Ray Condo record a long time ago. His musical journey then took me to discover the Crazy Rhythm Daddies and Slim Sandy as a one-man band, with a detour to the Howlin’ Hound Dogs, for whom he played drums.
In recent years, he has formed with Willa Mae, his partner, the excellent and prolific Slim Sandy and the Hillbilly Boppers. They released many albums, each better than the other. The group has developed a very personal style of rural bop based on hillbilly, pre-war blues and a whole host of different influences. After a while, I came to almost take the band for granted. To me, it went without saying, something like, “Ah yes, another Slim Sandy album, I bet it’s going to be good.” And it was.
And Lazy Day has arrived. Something was different. The first visual impression gave me a clue: the cover was painted by Trace Nelson (aka Willa Mae) and not designed by Slim Sandy.

Finally, I put the disc in the player and what a joy, my friends. Lazy Day is more than just another excellent Slim Sandy album. Of course, it contains all the elements mentioned above that make their records successful, but with subtle differences. The trio Slim Sandy, Willa Mae, and Soda Pop welcome back Tom Hammel, already present on the previous album, on steel guitar. The band has added the services of Doc Mancini on double bass, which gives a fuller sound to the Hillbilly Boppers, taking the band towards an earlier Western-swing style, as in this cover of Cindy Walker’s I Hear You Talking.
It also allows Willa Mae to fully concentrate on singing. This is one of the significant differences from previous recordings. Of the fourteen songs, Willa Mae takes the vocal lead on half and is present either singing harmonies or duets on the remaining seven. The current scene lacks too many good female singers not to rejoice at this news. I’ve said it before in my previous reviews of the band; I love Willa Mae’s vocals. She sings with a disconcerting simplicity and naturalness, contributing to the group’s closeness. There is no effect, no pose. But be careful; simplicity does not mean poverty; quite the contrary. This remark is also valid for the group. The instrumentation seems simple. But this is only an appearance. Soda Pop may only play with a snare drum, but he’s always perfect and the perfect illustration of “less is more”.
Similarly, Tom Hammel adopts a simple style, close to the early/proto-western swing combos. Here, no glitz or Speedy West accelerations that would be out of place, but a stripped-down style that serves the song. And behind all that, we hear Slim Sandy’s guitar swinging like there’s no tomorrow. Its discreet presence is the architecture that holds it all together. There may only be four musicians, but each occupies a well-defined space that gives the impression that there are many more.
The repertoire gives pride of place to Charlene Arthur with no less than three covers (I’m Having A Party All By Myself, Kiss The Baby Goodnight and Dreamin’ Of You), but there is also a bluegrass waltz (Meet Me By The Moonlight), a gospel (Up Above My Head), a fantastic cover of Big Maybelle’s I Got A Feeling, and of course lots of Hillbilly bop. But for me, the song that stands out is their cover of the Canadian hit I Heard the Bluebirds Sing by Hod Pharis and Anne Little, then covered by the Browns, Jim & Jesse, Marty Robbins… There is in their version a freshness, simplicity and obviousness that makes the listener find themselves pressing the “repeat” button repeatedly. This feeling of closeness with the music and the group is one of the great qualities of the Hillbilly Boppers.
I often end up adding something like “I highly recommend this disc” or “Don’t wait to get it” at the end, but if at this point in the review, you haven’t understood that this album is essential, so all I have to do is go to the far North and become a trapper.

It’s available on all digital platforms or go to https://slimsandy.wordpress.com/ to get a physical copy.
Fred “Virgil” Turgis

Slim Sandy and the Hillbilly Boppers – Rolling and Tumbling

Crow Matic Records CR-014 [2021]
It Ain’t Right – Ice Water – Jack’n’Jill Boogie – Whatcha gonna do When There Ain’t No Swing – Hit That Jive Jack – I Hear You Talkin’ – Meet Me At the Moonlight – Hillbilly Fever – Gettin’ that Lowdown Swing – Rompin’ and Stompin’ -Rolling and Tumbling

The latest Slim Sandy and the Hillbilly Boppers is made of the same combination of hot rustic bop, hokum, jug band and hillbilly harmonies as the previous ones. However, there are some differences in the mix.
More than half of the tracks feature the great Tom Hammel on steel guitar. Hammel and his instrument really bring something unique to the band. Also, you’ll hear a double bass played by Clark Brendon on a couple of tracks. It’s not that I dislike Willa Mae’s washtub bass, far from that, but having a double bass deepens their sound and brings diversity to the set. One will hear an excellent bluesy rendition of I Hear You Talkin’ sung by Willae Mae among these tracks.
There’s also a great gospel with the Carter Family’s Meet Me At The Moonlight.
Gettin’ That Lowdown Swing and Rompin’ and Stompin’ were recorded with French musicians, namely Bombo Lolo Tongo on steel, Colada Jones on piano and Max Genouel on guitar. The band goes for an early Western Swing style that suits them perfectly on these tracks. I’d really be curious to hear them try stuff with a horn or a clarinet a la Arnett Nelson.
This is the great talent of Slim Sandy and his band. Despite a somewhat limited arsenal, they always proposed something new and exciting, whether by finding new ways to play old songs or adding guest musicians.
Fred “Virgil” Turgis

Slim Sandy & the Hillbilly Boppers – It Ain’t Right

Crow-Matic Records [2021]
Ice Water – Sweet Love On My Mind – It Ain’t Right – Sag Drag And Fall – Hillbilly Fever

Each new Slim Sandy and the Hillbilly Boppers is like reuniting with old friends. You’re always happy to meet them. Or it’s like turning the dial of your radio and hearing an old familiar voice, like the old-time radio shows.
Keeping the same approach with no concessions to trends or modernity, the trio, augmented here by the excellent Tom Hammel on steel guitar, rips through five hot numbers that are sure to give you the Hillbilly fever.
Glenn Barber’s Ice Cold Water seems tailored-made to received the Hillbilly Boppers’ treatment with Slim and Willa Mae singing harmonies like Jimmy and Johnny. Which led us to Sweet Love On My Mind. The Hillbilly Boppers’ version owes more to their version than Johnny Burnette.
Stuff Smith’s jazz/jive classic It Ain’t Right was already played by Slim with the Crazy Rhythm Daddies. I suspect their version to be also inspired by the Washboard Wonders, who recorded it on Bluebird in 1936. Anyway, Slim Sandy and the band turn it into a hillbilly/jug number, with perfect harmonies.
Their cover of Sid King’s Sag Drag and Fall proves how comfortable they are with bands having one foot in country music and the other in Rockabilly.
Hillbilly Fever (Little Jimmy Dickens) is another perfect vehicle for the band.
As for the previous release, this one is very joyful, exciting and as I said, they have something amicable in their music.
This one and the other albums can be found on Spotify, iTunes, Amazon and all musical platforms.
Also pay a visit to the band’s website at
https://slimsandy.wordpress.com/
Fred “Virgil” Turgis

Slim Sandy & the Hillbilly Boppers – Done Gone!

Crow-Matic Records 2018
Done Gone! – Chicken Shack Stomp – Romp and Stomp – I’ve Got the Boogie Blue

Though tempting, it’s not always evident, nor fair, to compare one band to another to describe its music. You can give a vague idea, but you can also fail to describe the band’s personality. And you can’t deny that Slim Sandy and the Hillbilly Boppers have tons of personality. Album after album they created their style and no contemporary band sounds like them.
If you ever asked yourself (be careful, it’s here that I slip the comparison) “What if the Delmore Brothers had recorded a session with the Cannon’s Jug Stompers?” I guess that the result would be quite close to Slim Sandy and the Hillbilly Boppers’ latest ep.
The title track is pure hillbilly yet rocking at the same time. Chicken Shack Stomp is in the same vein and features Mike Sadava on steel guitar. Both are sung by Slim Sandy.
The B-sides opens with Romp and Stomp. Willa Mae and Slim Sandy sing harmony vocals on that one. I wrote it in previous reviews but let me say it again: Willa Mae is a real plus to the band with her mastery of washtub bass and her contribution to the vocals. This is confirmed by Charlene Arthur’s I’ve Got the Boogie Blues on which she sings lead.
All in all, Done Gone is an excellent ep that encompasses the sound of the band perfectly. The vinyl adds to the beauty of the thing, especially with a cover drawn by Slim Sandy/Peter Sandmark.
Fred “Virgil” Turgis

Slim Sandy & the Hillbilly Boppers – Boogie Woogie Fever

Crow-Matic Records 2018
Done Gone – I’ve Got the Boogie Blue – Boogie Woogie Fever – Romp and Stomp – Chicken Shack Stomp – Buster’s Dream – Everybody Loves My Baby – It’s All Your Fault – Hillbilly Ball – Crazy Bout You – No Good Daddy – Saturday Night Fish Fry

I was still catchin’ my breath and restin’ my feet after listening repeatedly to “Getting That Low Down Swing” that “Boogie Woogie Fever” arrived in my letter box. Slim! Dont you have no pity? Anyway, my feet will rest later. This new album contains twelve songs including four by Peter Sandmark/Slim Sandy. They mix hillbilly, western swing (hence the return of Mike Sadava on steel for three tracks), hokum, jug bands music, country blues (with plenty of harmonica), skiffle, a dash of rockabilly and some rhythm’n’blues sparkled here and there.
This cocktail has proven to work very well for the trio (and their occasional guests) and “Boogie Woogie Fever” makes no exception. As they say “if it ain’t broken don’t fix it.”
We all know Peter since his Ray Condo days and the Crazy Rhythm Daddies so for a change I’d like to talk about the other two. Willa Mae is a real plus on vocals. Not only her voice blends very well with Peter’s when they sang together (take a listen to “No Good Daddy”), but she’s also top notch when she takes lead. I especially liked her rendition of “Everybody Loves My Baby.” And despite the apparent simplicity of her instrument (the washtub bass) she can get take the best out of it. The other key element is German Ebert sparse drumming. You won’t find drum rolls or crash cymbal here. He plays just what is needed, and it’s a quality. Talking about musicians, fans of Ray Condo will be happy to find Edgar Bridwell on violin on one track.
The cd comes with a 8-page mini comics drawn by Peter Sandmark but I’ve been told that it’s selling like hot cakes, so you’d better hurry if you want one (Slim Sandy’s website).
You can also find it (and the other albums) on Spotify, iTunes and Google Play.
Fred “Virgil” Turgis

Slim Sandy & the Hillbilly Boppers – Getting that Low Down Swing

Crow-Matic Records 2017
Hug And Spank And Kiss – Hop Skip And Jump – Gettin’ That Lowdown Swing – Whoa Boy – No More Nothing – Be Bop A Lula – I Never See My Baby Alone – We’re Gonna Bop – Crawdad – Cadillac Model – Wow Wow Baby

This fine trio returns with another killer album. It kicks off with the Berry influenced “Hug, Spank and Kiss” written by Slim Sandy and featuring Eddy Cavalero (of the the Cavaleros, a band that also features German Ebert of the Hillblly Boppers on drums) on electric lead guitar. Back to a more acoustic sound with the Collins Kids’ “Hop Skip & Jump” with Willa Mae on lead vocals and harmonies by Slim. “Getting that Lowdown Swing” tales the listener back to the early western swing era (before the genre had a name). In the same vein you’ll find “Cadillac in Model A” and “No More Nothin'” both with Mike Sadava steel. He also plays on “I Never See My Baby Alone”. I always liked that one and the Hillbilly Boppers do great justice to that song.
There’s also a good dose of Hillbilly Bop with “Woah Boy” and “We’re Gonna Bop”.
Another good one is their cover of “Be-Bop-A-Lula.” It sounds like the Everly Brothers version but played by a skiffle band. More skiffle-billy follows with “Crawdad” that changes of pace in the middle and evolves into “Rollin’ My Sweet Baby’s Arms.”
Like the previous one it’s joyful and exuberant and it’s highly contagious.
Fred “Virgil” Turgis

Slim Sandy and the Hillbilly Boppers - Jump Back! — Slim Sandy and the Hillbilly Boppers – Jump Back!

Slim Sandy & the Hillbilly Boppers – Jump Back!

Crow-Matic Records 2014
Jump Back, Love Me, Darlin’ Cory, I’m A Hog For You Baby, Jump Rope Boogie, n The Road Again, Pistol Boogie, Can’t Find The Doorknob, Cow Cow Boogie, Rock ‘n’ Roll Ruby, Rollin And Tumblin

Slim Sandy (Peter Sandmark) is a well known figure on the rocking scene. He drummed for Ray Condo, sang and played guitar in the Crazy Rhythm Daddies and released several albums as a one-man band. He now has a new band, the Hillbilly Boppers, with Willa Mae on washtub bass and harmony vocal and German Ebert on drums, Slim Sandy taking the lead vocals and playing harmonica and swingin’ guitar.

If you want to have a slight idea of the joyful noise made by this hot and fine trio, imagine a mix between the Delmore brothers, Jimmy and Johnny (thanks to Mae’s perfect harmony vocals ) played by a jug band (think Gus Cannon/Noah Lewis) with a swingin’ and a rockin’ edge and some skiffle elements and the fervor of some bluegrass gospels thrown in for good measure. It features eleven tracks lifted from the catalogs of Ella Fitzgerrald, Sun records, Jimmie and Johnny, Muddy Waters and everything good in between Not only the music and the songs are solid but this record also has a communicative « joie de vivre » that is sure to make you move your feet. Strongly recommended.
Fred “Virgil” Turgis

Slim Sandy - rough and ready — Slim Sandy – rough and ready

Slim Sandy – Rough & Ready

Sleazy Records SRCD09
Bow Legged Daddio-Cats Was A Jumpin’-Couldn’t Sleep Last Night-Flathead Ford-Slow Down Baby-No Gasoline-Mr. Guitar-Gettin’ By Jus’ The Same -Three Alley Cats-Party In Room 109
Here is a new short ten tracks Cd from the one-man band Slim Sandy for the spanish Sleazy Records. Slim is part of a today one-man trend with people like Bloodshot Bill, Scott H. Biram, Sheriff Perkins, The Legendary Tiger Man, Mark Sultan, Muskrat, Mr. Bonz, Urban Junior, Reverend Beat Man, The Fabulous Go-Go Boy and Rizorkestra just to name a few of them. But most of these guys are on the trashy side and are influenced more by Hasil Adkins or the sixties garage sounds than Doctor Ross or Harmonica Franck.
Slim with his guitar, harmonica, and suitcase drum is on the rockabilly, blues and hillbilly side. This album “Rough & Ready” with his eight self-penned songs and two covers (John Worthan’s “Cats Was a Jumpin’” and Roy Hall’s “Three Alley Cats” even if his “Flathead Ford” is very similar to Papa Lightfoot’s “Mean Old Train”) will delight the raw and primitive sound lovers. The last track “Party in Room 109” is a song Slim wrote based on the events that happened in room 109 at the Red Hot and Blue Rockabilly Weekender 2006. Don’t have to tell you that there were a lotta booze, yellin’ and savage rock’n’roll involved.
David “Long Tall” Phisel

Slim Sandy – This is Slim Sandy

Crow-Matic Records
Don’t Need Nuthin’ – 7 Nights To Rock – Come Back Baby – Bicycle Boogie – You Can’t Fool Me – Cabin By The Creek – California Blues – Down In Kokomo – The Way You Dance – Rock It All Night
This cd offers 10 cuts (three covers and seven originals) recorded live by Slim Sandy, the one man hillbilly blues band. Harmonica, guitar, drums and vocals all played in the same time by the same man. Slim Sandy’s inspiration goes from blues (Doctor Ross’ Come Back Baby) to hillbilly (a great rendition of Jimmie Rodgers’ California Blues with yodel) with a lot of Hasil Adkins and Rock’n’roll in between. Sandy’s own are great too and well written. Sure the sound is raw, but you don’t expect a one man band sounding like a Phil Spector production, do you? Believe me, you can’t go wrong with this guy !
Fred “Virgil” Turgis

James Intveld

Published on 6 April 20236 April 2023

Reviews

James Intveld & The Honky Tonk Palomino’s – Never Gonna Let You Go

Sleazy Records – SR208 [2020]
Never Gonna Let You Go – To Be As One

James Intveld recorded this excellent single in Spain in 2020 with Evil Bob Gothar on guitar, Lorne Rall on double bass, and Kip Dabbs on drums. Both songs are from the pen of Intveld.
Never Let Me Go is a smooth Rockabilly along the lines of Ricky Nelson. The B-side, To Be As One, marks the return of a lost art: the ballad. And this song, a superb and tender piece of music, is among the very best. Intveld really can handle the vocal for such a thing, and the band is perfect.

James Intveld – s/t

Bear Family Records – BCD 15 900 AH [1995]
Perfect World – Blue Blue Day – Cryin’ Over You – I’m To Blame – Barely Hangin’ On -Samantha – Your Lovin’ – You Say Goodnight, I’ll Say Goodbye – Kermit Vale – Wild Places

James Intveld grew up in California and, from a very young age, developed an interest in Rock’n’Roll. He soon started to sing and play the guitar and enlisted his young brother Rick to play drums and Pat Woodward on upright bass to form the Rockin’ Shadows. They recorded one single with Steve Grindle (Ravenna and the Magnetics) on bass. But soon Pat then Rick left to join Rick Nelson and sadly perished in the plane crash that also killed Nelson.
After a break from music, Intveld eventually sent a demo of Cryin’ Over You to Rosie Flores, who recorded the song for her debut album. Then Intveld recorded the vocals for John Waters’ movie Cry Baby (in place of Johnny Depp) and played guitar with the Blasters between 1993 and 1995. That’s when Bear Family asked him to record one song for a compilation album. The song was so good that the label eventually asked him to record an entire album.

It is one of those rare records with no bad or even weak songs. Think about it and try to name just five; you’ll see it’s not that easy.

Perfect World lives up to its name. It’s the kind of tune that moves slowly but surely, almost inexorably, with a Presley-like drive and a solo reminiscent of Heartbreak Hotel.
Don Gibson’s Blue Blue Day suits him to a t and shows he can play steel guitar too. Cryin’ Over You sounds like an old classic. And it’s fine to hear Intveld’s version of his own song (not that Rosie Flores’s version was bad, far from that.) Mickey Gilley’s I’m To Blame is the second cover. While the original had a Jerry Lee Lewis/swamp pop flair, the Intveld version seems darker and more resigned.
Barely Hangin’ On is a superb country shuffle, whereas Samantha is more emphatic and closer to the great Roy Orbison. Your Lovin’ is a classic Country-rock tune with a slight 60’s feel. Next is You Say Goodnight, I’ll Say Goodbye. Listening to this song, I wondered why more artists weren’t singing such pretty and poignant ballads. And the answer struck me in all its obviousness: you must be a good singer. It doesn’t just mean singing in tune and having a good voice, but it includes the emotion, the dosage of effects and all those little things that make subtle differences. Almost anyone can make edgy Rockabilly songs, but a song like this is unforgiving and allows no mistakes.
Kermit Vales sounds a bit like Solitary Man, only darker. This stripped-down track, featuring just acoustic guitar, once again showcases Intveld’s vocals.There is a purity and an evidence in each of these ten songs, an intelligence in the simplicity of the lyrics, highlighted by the subtlety of the arrangements. All these qualities are confirmed by Wild Places, which closes the album in style.

James Intveld – Introducing

Bear Family Records – B10 10001 [1995]
Perfect World – Blue Blue Day – Cryin’ Over You – I’m To Blame – Barely Hangin’ On -Samantha / Standing In A Rock – My Heart Is Aching For You – Important Words – Your Lovin’ – I Love You – You Say Goodnight, I’ll Say Goodbye

This is the ten-inch vinyl version of the above CD with a slightly different tracklisting. Kermit Vales and Wild Places are not included, but instead you have four additional tracks. Standing On A Rock is a pure bouncy Rockabilly gem. I Love You is a Presleyan ballad whose recipe we thought had been lost. You will find two rereadings: a very fine one of Important Words and a new version of the muscled country shuffle My Heart Is Aching For You previously recorded with the Rockin’ Shadows.

Fred “Virgil” Turgis

Pike Cavalero

Published on 30 December 202125 December 2021

Reviews

Pike Cavalero – Love Missile F1-11

Sleazy Records SR226 [2021]
Love Missile F1-11 / Little Lonely Summer Girl

Pike Cavalero’s latest single features a cover of Love Missile F1-11, initially done by Sigue Sigue Sputnik back in 1986. I’m always reserved with this kind of cover. After all, there are plenty of good songs to cover, so why choose this one? I mean, Sputnik’s Love Missile F1-11 was not a good song. What made it enjoyable was actually that Sigue Sigue Sputnik played it. It sure was cheezy, but it was fun, especially when you were 13 at the time. Cavalero is not an alchemist and can’t turn led into gold, and in the end, you have an average tune with a powerful double bass, a good guitar. Still, it lacks the originality of Sputnik’s version.
Another cover is on the B-side, but with David Box’s Little Lonely Summer Girl, we stay more in the tradition. It’s no surprise to find echoes of Buddy Holly and Bobby Fuller on this one, with drum rolls and strings.

Fred “Virgil” Turgis

Boz Boorer

Published on 30 May 202130 May 2021

Reviews

Boz Boorer All-Stars – Shine At Sun

Sleazy Records – SR156 [2020]
One More Drink – Wild Side Of Life – Lookin’ For My Baby – Come On

In May 2018, Boz Boorer (Polecats) and his wife Lynn (Shillelagh Sisters) went to Sun Studios in Memphis. There, they recorded a couple of tracks with a bunch of friends. The Boz Boorer All-Stars consist of Pat Panioty (Deltas) on acoustic guitar, Jimmy Van Eaton (original Sun drummer who played with Warren Smith, Roy Orbison, Billy Lee Riley, Jerry Lee Lewis, and many more), Eddie Angel (Planet Rockers, Los Straitjackets) on guitar, Alberto Telo (Shaun Young, Colton Turner) on percussions and Lloyd Tripp and Sonny George (Planet Rockers) on vocals.
Lloyd Tripp takes the lead vocals on Lookin’ For My Baby that he also penned. The song is a tremendous hiccupy Rockabilly, sounding like a mix between Castin’ My Spell and Baby Let’s Play House. Boz Boorer sings on a rocking version of Hank Thompson’s Wild Side of Life. Both are great, but Sonny George steals the show with his deep and commanding voice. He delivers two amazing country-rock songs (Hershell Butt’s One More Drink and Wynn Stewart Come On), ideally backed by the band who plays with palpable pleasure.

Fred “Virgil” Turgis

Big Sandy and his Fly-Rite Boys

Published on 11 September 202013 September 2020

Reviews

Big Sandy & his Fly-Rite Boys – Sing and Play the Songs of Freddy Fender

Baldemar Records BR-201 & BR-202 [2020]
Before the Next Teardrop Falls – I Can’t Remember When I Didn’t Love You
Wasted Days and Wasted Nights – Holy One

Freddy Fender, born Baldemar Huerta hence the name of the label, was a versatile singer and songwriter. It’s no surprise to find Big Sandy and his Fly-Rite Boys paying tribute to the man on this superb double 45 set. Like him, the band played Rock’n’roll, Rockabilly, Doo-Wop, and so on, and Fender’s influence can clearly be heard in some of Big Sandy’s intonations.
Each disc contains a hit and a lesser-known gem from the Fender’s early days.
Side A of disc one is Before the Next Teardrop Falls, Fender’s best-known song. It’s a tough job to sing it after Fender, not only because he sings it perfectly (an understatement if there is one) but also because this song is so much associated with him. Despite all that, the result is one of Big Sandy’s best vocal performance, perfectly supported by Ashley Kingman on Spanish guitar.
On side B, I Can’t Remember When I Didn’t Love You sees the band returning to its Rockabilly roots. It’s also the perfect vehicle to hear the skills of Kevin Stewart on bass and Kip Dabbs on drums.
The second 45 features the swamp pop Wasted Days and Wasted Nights. If the vocal is flawless, this is Kingman who steals the show on this one with a fantastic scorching guitar solo.
On the flip, the Doo-Wop Holy One, featuring Uncle Ernie Vargas, Alex Vargas, and Lil’ Ernie Vargas on backing vocals, evokes the best moments of Dedicated to You.
It’s a limited edition of 1000 copies, but it also exists on CD, and Sleazy records licensed it with a different cover.
Whatever the format, grab a copy here!

Big Sandy vs. Deke Dickerson – Jesus & Gravy

Sleazy Records SR142 [2018]
Make A Little Time For Jesus / Get The Gravy Hot

This release is a split single between Big Sandy (side A) and Deke Dickerson (side B).
Fellow Fly Right Boys Ashley Kingman and Kevin Stewart back Big Sandy, helped by Chris Sprague on drums and Ernie Vargas on tambourine. Make A Little Time For Jesus finds him, with no surprise, in full-gospel mode. The man who penned songs like Between Darkness and Dawn, Thru Dreamin’, and many others, has been more inspired in the past.
You’ll find the same musicians backing Deke Dickerson, but Kingman switched to 6-string bass, and Stewart plays electric-bass. The song, a cover of Shotgun Red, is an excellent country rocker that suits Deke’s voice and style to a T.

Big Sandy and his Fly-Rite Boys – Fine, Fine, Superfine / Everytime

Ruby records {2016}
It’s the first release of a brand new label, Ruby records, launched by Ruby Ann and Tom Ingram and it comes in a beautifully designed sleeve. And what a better choice to lauch a label than Big Sandy? Even though it’s only a single and we desperately need a brand new album, it’s always good to have a new release by today’s finest purveyor of Rock’n’roll, the man with the velvet voice himself, Mister Big Sandy. Not to forget the Fly-Rite Boys who are Ashley Kingman on guitar (23 years or so of service), Kevin Stewart and newcomer Ricky McCann on drums.
It was a very good surprise to see that Big Sandy and the Fly-Rite Boys had recorded this two sides at Wallyphonic studios with Wally Hersom at the console, like they did for their debut album.
The A side is “Fine, Fine, Superfine” a good rocking’ song with a solid beat. This is not Robert Williams’ most original song but it completely fulfills its goal: make you dance, shake your head and tape your feet. The flip is far more original and is pure Big Sandy. It’s got the same highly melodic hook than song like “How did you love someone like me”, it’s smooth but rocking in the same time. This is a kind of tune that shows why Robert Williams has no equivalent in term of songwriting today. And with a first rate band like the Fly-Rite Boys, it’s a killer.

Big Sandy and his Fly-Rite Boys – What A Dream it’s Been

big-sandy-what-a-dream-its-been — Big Sandy and his Fly-Rite Boys -What A Dream It’s Been

Cow Island CIM022 [2013]
Baby Baby Me – This Ain’t a Good Time – Missouri Gal – Don’t Desert Me – Nothing To Lose – Glad When I’m Gone – Parts Unknown – You Mean Too Much To Me – I Know I’ve Loved You Before – Three Years Blind – If I Knew Now What I Knew Then – What a Dream It’s Been.

When an artist and a fine songwriter like Big Sandy breaks a silence of nearly seven years to release an album of “acoustic and newly arranged versions of old songs” one can reasonably have some fears. But fear not my friends; although it borrows a song from each of his records, -with the exception of the Jake’s Barbershop ep- “What a Dream It’s Been” is not just a quick re-recording of old favourites like it’s too often the case with that kind of project. The reason lies, in part, in the choice of the songs. Big Sandy has dug deep in his discography to select lesser known songs than the one available on the two best-of released by Hightone and Rockbeat for example. And musically it’s an adventurous thing which is more a prolongation of the recent albums than the summary of a career. Thus it sees the band expanding the range of its styles to bring early ska and rocksteady (Baby Baby Me, I know I loved you Before) to the mix as well as bluegrass (This Ain’t A Good Time, Will You Be Glad) with Ashley playing mandolin and Jeff West providing harmonies, Country Soul (Parts Unknown), Mexican tinged stuff ala Marty Robbins (Nothing To Loose) and a jazz duet with guest vocalist Grey Delisle (What A Dream It’s Been). Big Sandy’s voice has never sounded so good and deep, particularly when he’s only backed by a double bass (“Don’t Desert Me”) or a guitar (You Mean Too Much to Me) and the acoustic format reveals the beauty of his song writing. It also puts a new light on Kingman’s skills. His talent shines throughout the album and is in large part responsible of the success of that record.
In the end, what was supposed to be just a celebration of a 25 year career turns out to be a pivotal album in the band history as were “Jumpin’ from 6 to 6” in 1994 or “Night Tide” in 2000.

Big Sandy and his Fly-Rite Boys – Turntable Matinee

Yep Roc – Yep 2121 [2006]
Power Of The 45 – Love That Man – The Great State Of Misery – Haunted Heels – Ruby Jane – Spanish Dagger – Mad – The Ones You Say You Love – You Don’t Know Me At All – Yes (I Feel Sorry For You) – Lonesome Dollar – Slippin’ Away – I Know I’ve Loved You Before – Power Of The 45 Pt. 2.

I became a Big Sandy fan from the moment the needle of my platter played Hot Water the opening song of Fly Rite With, their first album back in 1990.
In 2000, the dark mood of Nightide marked a turning point in Big Sandy’s recording journey and his songwriting. Having used the rockabilly and the western swing terminology and grammar for years, he freed his writing and went to a new level with no restrictions, creating more than re-creating.
After It’s Time in 2002, Turntable Matinee is a deeper step in that direction. Still built around western swing type of songs like Yes (I Feel Sorry For You) with Lee Jeffriess back behind the double neck steel guitar, it takes that genre further and brings on some of these songs a late 60’s feel (The Great State Of Misery). Straight rockin’ songs make a welcome return in Big Sandy’s set with Ruby Jane and the two parts of Power Of The 45 at the beginning and the end of the record, an ode to the band’s influences (Glen Glenn, Link Wray, Chuck Berry, Janis Martin, Etta James…). Between those two solid anchors you’ll find some latin / bossa nova (Spanish Dagger), a bluegrass inspired tune (Lonesome Dollar) and probably the biggest surprise: a Stax / Memphis soul masterpiece called Slippin’ Away with Cad Kadison on sax. And just when I was thinking Hey this is the first Fly-Rite Boys’ album without an instrumental tune came the hidden track, an instro version of Spanish Dagger. Finally it’s more than logical that after being produced by Dave Alvin for their first two albums as Fly-Rite Boys they now fit perfectly with the Blasters’ definition of American Music.
Since the Fly-Rite Trio days the line-up has seen some changed but that didn’t weaken the band and brought new blood and forced it to be more creative every time. The best example is bassist Jeff West who is now a key member of the band : he wrote three songs (and one of the most beautiful song ever sung by Big Sandy You Don’t Know Me At All) and sings two. The musicianship is, as usual, faultless from Ashley Kingman’s inventive guitar licks and his questions/answers with Lee Jeffriess (especially on Yes(I Feel Sorry For You) to Bobby Trimble subtle drumming (listen to I Know I’ve Loved You Before and pay attention to his brushwork). This album is going to be hard to top but I’ve already said that about It’s Time so I don’t worry that much.

Big Sandy and his Fly Rite Boys – It’s Time

Yep Roc, [2003]

”It’s time” follows the beautiful but dark and sad “NighTide”. The line remains unchanged except for Jimmie Roy (Ray Condo’s Ricochets) who replaces Lee Jeffriess on steel.
Entirely recorded live in the studio to capture the freshness of their first recordings, it’s also a much more varied album. You can find classic Rock’n’roll ala Elvis (Chalk It up To the Blues), followed by the Cajun inspired “Bayou Blue” with Chris Gaffney on accordion and there’s even a surfin’ instrumental written by Ashley Kingman (Strollin’ With Mary-Jane). Of course their usual brand of hillbilly bop/rockabilly is still present with songs like I Hate Loving You on which Jeff West voice blends perfectly with Big Sandy’s. He also takes lead on the jazzy Money Tree which makes you regret he doesn’t sing more. But Big Sandy remains the “real” singer of the band and the excellent “Night Is For the Dreamers” with its doo-wop atmosphere concludes the album in beauty.

Big Sandy and his Fly-Rite Boys – Night Tide

Hightone Records HCD 8123 [2000]
Night Tide – Between Darkness And Dawn – Tequila Calling – When Sleep Won’t Come (Blues For Spade) – If You Only Knew – Give Your Loving To Me – In The Steel Of The Night – A Man Like Me – Hey Lowdown! – My Time Will Come Someday – I Think Of You – Nothing To Lose – South Bay Stomp – Let Her Know

Released in 2000, Night Tide marked a turn in Big Sandy’s musical evolution.
Wally Hersom, former bass player of the band and the last remaining member of the Fly-Rite trio days, had left the group to be replaced by Jeff West (the Sun Demons.) West not only brought his bass, but he also came with his singing abilities, giving Big Sandy a second voice to play with, like a new instrument, hence the presence of harmony vocals on many of the songs.
It was also a change of mood. While previous albums featured dancing tunes and lighthearted lyrics (My Sinful days are over, The Loser’s Blues), Night Tide featured Robert Williams’ more introspective and dark songs. Songs like “When Sleep Won’t Come” written from the pint of view of Spade Cooley in jail, or “Nothing to Lose,” one of Williams’ saddest tune, are perfect examples of that direction. With these songs and others like the title track and Between Darkness And Dawn, Williams seems to throw off the limits of roots music and write songs without restraining himself.
And behind the Latin beat of” Tequila Calling,” one can hear the story of a man fighting with his demons. Even Lee Jeffriess, instrumental, which is usually danceable, is a slow and reflective number.
By comparison, ditties like “I Think of You” or “Give Your Loving” (penned by West) seem out of place and almost break the charm.
But the Fly-Rite Boys also stay true to their roots with rockin’ numbers like their cover of Cliff Bruner’s My Time Will Come Someday featuring Ashley Kingman in full Grady Martin mode as well as Hey Lowdown ( a stage favorite) and Let Her Know.

Big Sandy and his Fly-Rite Boys – Down at Jake’s Barbershop

No-Hit records ‎– EP5
Down at Jake’s Barbershop – You’re No Fun – Fallin’ for You – Snake Dance Boogie

In 1992, steel player Lee Jeffriess joined Big Sandy and the Fly Rite Trio (Big Sandy, TK Smith, Wally Hersom and Bobby Trimble) that became Big Sandy and his Fly-Rite Boys. Shortly after that, Smith left the band. The toured Europe with Malcolm Chapman (Carlos and the Bandidos) on guitar before Ashley Kingman (Red Hot’n’Blue) officially joined the band in early 1993.
In July of that year the new line-up recorded these four tracks at Wally’s studio for No-Hit Records.
These four songs are the missing link between the “On the Go” and “Jumpin’ From 6 to 6“. They show the transformation of a tight rockabilly combo into a western swing machine that will culminate with “Swingin’ West” and “Feelin’ Kinda Lucky.” Here the mood of the day is more hillbilly bop with two originals on side A and two covers, Link Davis’ Fallin for You that features Carl Sonny Leyland on piano and Roy Hogsed’s Snake Dance Boogie.

Fred “Virgil” Turgis

https://www.bigsandy.net/

Kabooms (the)

Published on 25 April 20191 August 2022

Articles & Interviews

An interview with the Kabooms

by Olivier Mey

The best promotion and advertising that any band can have is the exposure given by their live shows. For this reason, there are some bands that even having barely released just an album, it may look like they have been touring for years on festivals. The Kabooms (Matt Olivera – voice and rhythm guitar, El Lega – lead guitar, Xavi Ruiz – upright bass and Berto Martínez – drums) is a band that could fit in this category.

Today we speak to Matt Olivera (singer, rhythm guitar) about the release of his second album “Right Track, wrong way”.

Like any second record, it is the first one in a band’s career to cause some expectations. Are these being fulfilled so far?

Matt Olivera / the Kabooms – This second album is a change in our sound as a band which I think is what we needed. I am convinced that this new work will please both the audience that is already following us and also anyone who didn’t know the band yet.

It’s been four years since the release of your first LP (Beginn ‘on My Knees RBR5807). Did you miss recording new songs?

Matt Olivera / the Kabooms – During all this time we have been working hard in the Kathrina Records studio to release new material with other bands of which we take part of, such as “Matt and the Peabody ducks”, “Legacaster”, etc … so we’ve never stopped working.

Continuing with the first LP, all of the 14 songs were own compositions. Will there be any cover in your second album?

Matt Olivera / the Kabooms – Yes, this time we ventured into some versions that we have already been playing in our live shows and they work very well amongst our public.

The Kabooms - Right Track Wrong Way — The Kabooms – Right Track Wrong Way

You have changed label for the recording of “Right Track, Wrong way” (produced by Kathrina records). Is it for artistic reasons (members of the Kabooms have other projects in this label) or geographical reasons (both, the group and the label, are from Barcelona)?

Matt Olivera / the Kabooms – Yes, exactly. We were very happy with our previous label, but the work we’ve done in Kathrina is a team collaboration, very close geographically and personally. It made sense to put together all the projects in one place. Besides, Kathrina works now in partnership with Sleazy Records on the edition and the distribution, meaning that the potential of both of them together adds so much value that we had no doubt of being in better hands than theirs.

Since its conception, the Kabooms has been a quartet, although with changes of musicians. Should we expect some collaborations in this new work or is the base going to remain the same?

Matt Olivera / the Kabooms – The base is the same and hopefully the current formation is the final, and this is a personal wish because I am very happy with my current bandmates. I think they are the perfect team to form the band. For some live shows we have added a saxophone to some already known songs and versions. The musician is Spencer Evoy (MFC Chicken and the Torontos) which gives extra quality to the show and in the future we have some studio surprises, but I don’t want to spoil any event. Everything will come at the right time.

One of your great qualities and best asset is your live performance, amongst other things; your energy and your complicity with Lega (lead guitar). Does the fact of sharing several projects in common help on this?

Matt Olivera / the Kabooms – Lega and I are almost Siamese. Sometimes we joke (we always joke with everything in fact) that we see each other more than our own families. During a trip to the USA we ended up lifting weights together in the patio of our host, who had a makeshift gym and we said that it was what we needed to be cellmates. I think that the fact that we know each other so much and we have this friendly relationship, marks a pleasant working environment. We have a great time playing, traveling and composing together and I think these things are transferred to our shows and to the public as well.

Regarding the projects with Lega, we find “Walk the Line (Johnny Cash tribute)”. Is Johnny Cash a reference for you?

Matt Olivera / the Kabooms – Yes, I think that as a composer and lyricist, Johnny Cash is one of the most important figures in the 20th century. One of the factors that we took into account when we formed the Cash tribute band was to do it with the utmost respect and solemnity possible, because we are all admirers of the his music and legacy.

You’ve played in many concerts and festivals since the formation of The Kabooms. Have you noticed an evolution of the scene or the public over the years?

Matt Olivera / the Kabooms – Well, we are obviously not getting any younger. At a worldwide level, I have seen young people approaching the 50’s scene and feel wrapped and comfortable in it, listening to the music they like, knowing and participating in the scene until becoming a vital part of it. That’s great. But in Spain, this is not happening. There doesn’t seem to be a generational relay and although we have a large scene, there are no new people that can maintain it in the future. This worries me because I believe that this music and this lifestyle has a lot to offer and I am sure that many people who don’t know this exists, would enjoy our bands and festivals a lot, but if feels like young people don’t want to leave the flock.

A special concert?

Matt Olivera / the Kabooms – Several actually. During the last Rockin Race Jamboree (2019) for example, we played some songs from the new album with two electric guitars (it had been years since the last time I played an electric in a concert) and saxophone. We saw that the new sound worked very well within the public and it was amazing! One concert which I keep special memories of it is from a festival in Calafell called Riverside car show. It was in 2015 and that same week I had lost a very close loved one and had one of the worst weeks in my life… Before playing that weekend I took a deep breath and said to myself “this is going for you”. We performed a great concert (at least for me) and it became a liberating experience. Sometimes you notice an energy that flows between the band and the audience. It doesn’t always happen, but when it does, it’s an incomparable feeling.

One last Word?

Matt Olivera / the Kabooms – Just one?
I hope that people like our new album “Right track, Wrong way” as much as we enjoyed recording it and that they don’t miss our live shows. I can guarantee that we always put 100% in each of them, they will have a good time, and they’ll be able to get a copy of our last record home!

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