Sandy Nelson (1938-2022) Drummer

I’ve been posting these drummer features to my vast audience of 60+. I usually (minimalize) post some Youtube videos with my favorite tunes.  

This post came a bit unexpected. I needed to write a little something about this guy, Sandy Nelson. 

When I was a teenager, before I even got my first drumset I was aware of Sandy Nelson from his top 40 record’s,) Let There Be Drums and Teen Beat. I only remember one local drummer playing those covers with his band in 1965-1966.

A few years ago, I started buying used LP Records from a great local record shop. They were usually in the $4 dollar 3 for $10 bin. I purchased several Sandy Nelson records. I began my real appreciation for him. 

Before his recent passing away, I watched a few casual videos of him in his apartment. They are viewable on Youtube. He also played an occasional gig as a featured storyteller, artist. It seemed like a bit of a novelty act for many. 

As I’m writing this, I’m listening to the collection of recordings on the Sandy Nelson – Topic / Youtube site.  There are 250+ with many tracks I was not familiar with.    

He really was a great drummer, producer and entrepreneur. 

His record “Teen Beat” sold over million copies and went to number 4 on the Billboard chart in 1959. He had 2 more hits with “Let There Be Drums” and “Drums Are My Beat” All of them were instrumentals. “Very rare’ 

In 1963 Sandy Nelson had a motorcycle accident on Mullholand Drive in LA. His injuries required the amputation of his right foot and part of that leg. That would be his bass drum pedal foot and leg. He continued to play and record. 

(Most) of his albums are covers of popular songs. 

I hope someone is writing a book about him or a film documentary. 

As a drummer he played on a few popular hit records before he started his solo independent recording career in 1959.

Listening to his tracks, I’ve come to the decision that he may be the best session player of that period. His sound and feel in many ways is better than the great session drummers I’ve featured. This includes Hal Blaine, Earl Palmer and a few others. 

Because he was the leader of the sessions, I think he had more control of the drum sound, being out front. Also, his tracks are instrumentals. He was a Ludwig player. Those late 50s and early 60s drums are the best. 

Watching videos of him before his death, it doesn’t appear that he died wealthy. It’s possible those early record royalties afforded him the finances to pursue his career as an independent musician/drummer producing instrumental records. 

In the 60s, there were a few Jazz drummers that made solo records as leaders. That list includes Art Blakey, Max Roach, Chico Hamilton, Roy Haynes, Elvin Jones, Cozy Cole, Gene Krupa, Buddy Rich and a few others. I can’t think of any Rock n Roll drummer with Sandy Nelson’s leader discography.    

He was an entrepreneur, completely unique musician/drummer like no other. 

Listening to this Youtube playlist, it shows and demonstrates what a great interpreter of music Sandy Nelson was. He plays grooves and beats I’ve never heard the great session drummers I’ve mentioned play. At least, not one single drummer playing as many styles that Sandy Nelson plays.     

The Wrecking Crew, Beach Boys hit records with Hal Blaine and Earl Palmer are great. But, the drum sound Sandy Nelson gets on his records is more up front, crisp and natural. On several of his records, his sound is very much 2023, similar to the hip-hop / rap drum samples producers imitate. There are many open tracks that “Beatmakers” could rip from. 

As a record producer, he was very much into an authentic sound. He also dubbed in canned audience crowds and other effects. His “Album” records had unique themes, titles and jacket photo. As a drummer, his solo playing was like a Rock n Roll / Gene Krupa, all of his tracks swing in that style. He first heard that style from a drummer playing for strippers.

Because he lost his original right foot, he played the bass drum with his left foot and didn’t use a high hat. On the early records before his accident you can hear the difference. It didn’t change his sound dramatically. 

There are many tracks that Sandy Nelson plays historical drum percussion as a tribute to tribal rhythm. He overdubs percussion and sound effects. 

Many of his album tracks contain drum solos. He was very (Avant-Garde) in a commercial way. I never heard any of those records after the early Teen Beat mid 60s popularity wore off. 

Though his solos seemed to resemble a Gene Krupa, Sing Sing Sing / Caravan theme, they are all unique and different. His concept to “cover” popular songs was amazing. His choice of rhythm sections was great. Horns were added to several projects. 

I know zero about Sandy Nelson’s life pertaining to his financial history. It took money to produce those records. Sandy Nelson’s imagination and creativity never seemed to decrease. His energy to produce that catalog of music is really genius. 

I truly believe that he is the number one drummer that most drummers have missed. I hope they will discover Sandy Nelson’s genius, as I have. 

I can’t say enough about my found discovery of his discography. I was aware of him, how he played, but hearing this playlist from Youtube is total reinforcement. Sandy Nelson was one of a kind.     

Listening to his tracks through my little Bose speakers, the production of those records vary. His drum sound is always up front and beautiful. The mixes and balance are very well done. 

As I’ve mentioned, his records had a theme. His early 60s were targeted towards teenagers, school kids, Dance Parties. His mid 60s records covered current top 40 songs, Louie Louie, Hang On Sloopy etc. 

Sandy Nelson’s ability to play shuffles, blues, 4/4 backbeat , Latin, train beats, polka style, hand jive/Bo Diddley beats, jazz and swing took creative study and talent. 

His productive period was mostly in Los Angeles from 1959 through 1966. His early teenage years as a drummer, he collaborated with Jan and Dean and future Beach Boys musicians. 

Sandy Nelson certainly could have been a number one call session drummer in the Wrecking Crew tradition.     

In my opinion, Sandy Nelson’s complete discography has been under the radar by the global drummer community. I’ve never seen his name dropped in rock star interviews. A few are aware of Hal Blaine, Gary Chester, Panama Francis and Earl Palmer. Sandy Nelson’s name as an influence is missing. 

Because Sandy Nelson didn’t play a high hat, his sound doesn’t have the traditional cymbal wash in his recordings. I don’t know if he used a closed high hat with cymbals or not. You don’t hear much cymbal playing or crash effects. On some tracks, it sounds like he plays those backbeats with 2 hands on the snare drum in the tradition of early jazz drummers Baby Dodd’s, Gene Krupa and Big Sid Catlett. 

Sandy Nelson’ interpretation of the eight note is very unique. In the timeline of rock n roll, many drummers were still playing a feel that was coming from the dotted jazz triplet eight note. Sandy Nelson’s eighth notes in rock and shuffles are tight. 

There are several pre accident -1963 records you can hear Sandy playing with 2 feet, utilizing a high hat. (listen with headphones)

I understand the difficulty of his concept to be commercial as an instrumentalist in the 60s. My recall of 60s instrumentals includes Green Onions, The In Crowd, Grazing In The Grass, Wipe Out, Pipeline, Walk Don’t Run, Soulful Strut, The Horse, Classical Gas and a few TV Show tunes. There were others. 

Many of Sandy Nelson’s instrumentals feature acoustic bass, Chicken-Pickin (Duane Eddy) style guitar and Jump / honky-tonk saxophone. A few of his later 60s records started including Farfisa type organ, electric bass, horn arrangements and more reverb on the mixes. Sandy Nelson’s snare drum backbeat is always tight and crisp. 

(His later 60s recording lose some of his original identity. I may prefer the earlier less produced, natural sound and style. Recording technology can drastically change a player’s true sound. More tape machine tracks gave engineers ability to utilize more microphones, which changed that 50s and early 60s open room sound. (overdubbed and more tracks)

There are a few video interview / performance videos of Sandy on Youtube. He’s old – like me. He seems to be happy with his life and enjoys telling his stories. He was there in the early days of California / LA music. (Before the British Invasion) Sandy tells a few stories that name drop Jan & Dean, The Chipmunks and very popular late 50s musicians and singers. 

Looking at his discography, many of his records were on the Liberty Record Label. His 1,000,000 selling Gold Record –Teen Beat” possibly earned him a decent royalty check. 

Artist from that period were not always paid what they earned. Sandy doesn’t talk about having a “day gig” at any time. It’s written that he disappeared from the music business in the late 60s and 70s due to his falling off the charts. There seems to be many pieces of his life missing after the late 60s. 

His independent production of himself as a drummer, entrepreneur is very impressive to me. I’ve been doing that myself since my first record in 1983. 

If Sandy Nelson had the advantage of 2023 social media, streaming, Youtube, Spotify etc. there’s no telling what he could have accomplished in the global network. 

His hit records, Teen Beat and Let There Be Drums were distributed outside the US in 1959 and the early 60s. 

He doesn’t talk about any mental anguish his accident had on him, losing a foot and part of his leg. That doesn’t work well for drummers. He remotely speaks about a possible drinking problem after his accident. 

Music critics and listeners have a cliché they drop about musicians, bands and artist, “underrated” – they were / are underrated. I’ve heard that said about many drummers. 

In Sandy Nelson’s case, it’s something different. I’m including myself in the group. We didn’t really know the depth of Sandy Nelson’s catalog, what he contributed to music and the instrument, the drumset. He was a student of the instrument. 

There are 3 institutions that have completely overlooked Sandy Nelson. Modern Drummer, Percussive Arts Society and The Rock n Roll Hall of Fame. I understand the RnRHOF not knowing about him. (That institution is not what it was when it was created, it’s a joke) (IMO)

Maybe they’ll discover and realize the effort and contribution Sandy Nelson had for music and the drumset. 

In Closing: This feature post came without planning. Finishing it on Sunday night, I’m still enjoying the 200+ recordings on the Sandy Nelson – Youtube site. 

MW – Notes from an “old” drummer (10/2023)   

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