Man, did Sandy Nelson record a lot of albums in the last half of the 1960s -- more than 15 between 1965 and 1969. This 24-track collection samples from most of them, the program dominated by instrumental covers of big '60s rock hits like "Good Lovin'," "Hey Joe," "Good Lovin'," "Wooly Bully," and "I Don't Need No Doctor." Thrown in are a few '60s oldies, some rocked-up non-rock tunes like "The Lion in Winter," and a few things that weren't hits for anyone. Nelson was inarguably overexposed during his time at Imperial ...
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Man, did Sandy Nelson record a lot of albums in the last half of the 1960s -- more than 15 between 1965 and 1969. This 24-track collection samples from most of them, the program dominated by instrumental covers of big '60s rock hits like "Good Lovin'," "Hey Joe," "Good Lovin'," "Wooly Bully," and "I Don't Need No Doctor." Thrown in are a few '60s oldies, some rocked-up non-rock tunes like "The Lion in Winter," and a few things that weren't hits for anyone. Nelson was inarguably overexposed during his time at Imperial Records, but this very selective pick of his 1965-1969 work is actually better than you'd expect, even if its appeal is primarily limited to hardcore instrumental rock fans. Nelson really does drive most of the tracks along with a supercharged snare-heavy beat, and it's not that much of a stretch to say that you can hear how he was probably an influence on Keith Moon, though Nelson didn't have anything like the context Moon did with the Who. He did, however, record with the cream of the Hollywood session players, including names like Barney Kessel, Carol Kaye, Larry Knechtel, Jim Gordon, Dr. John (then known as Mac Rebennack, who funnily enough plays on "I Don't Need No Doctor"), and Al Casey. It has a flashy mod rock production that makes some of these workouts -- like "Scratchy," "Whittier Boulevard," "Come on Let's Go," "I Don't Need No Doctor," "Good Lovin'" -- way-above-average incidental period go-go soundtrack music, though a few of the songs (particularly some of the late-'60s cuts) are routine drags. Note, too, that a young Jim Messina was the co-author of (and plays on) one of the filler instrumentals that was never a hit for anyone, "Boss Beat." ~ Richie Unterberger, Rovi
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