‘Radio’ Tunes in a Good Time
Orange County’s most buoyant roots-music band has released its eighth record in 10 years, and it’s the strongest argument yet that Big Sandy and his Fly-Rite Boys belong in the pantheon of distinctive, tradition-steeped American music institutions. Outstanding musicianship and verve for keeping old styles vital rank Big Sandy with such enduring acts as Asleep at the Wheel, Roomful of Blues, the Blasters, the Fabulous Thunderbirds and NRBQ.
This six-song EP, following last year’s engaging CDs by the Fly-Rite Boys without Big Sandy, and by Big Sandy singing doo-wop without the Fly-Rite Boys, is a glorious recording reunion. (As a live attraction, the ensemble never paused, maintaining the exhaustive touring schedule that’s essential to securing and maintaining a following on the roots-music circuit).
Western swing and rockabilly are the foundations of the Big Sandy sound, but the Anaheim band, led by singer-songwriter Robert “Big Sandy” Williams, keeps adding accents from the past to keep things fresh.
“It’s a Mystery To Me,” about a guy who is astounded and more than a little insecure at having successfully wooed the woman of his dreams, plays up the vertigo of love at first blush. It plays with the notion of love’s mysteriousness by taking western swing to the South Pacific, complete with some deliciously florid “Bali Hai” exoticism by pianist Carl “Sonny” Leyland.
Leyland, the newest Fly-Rite Boy (Williams and bassist Wally Hersom are the remaining co-founders from the original 1988 lineup), emerges as first among equals of the band’s three soloists-- and that’s saying something.
Like guitarist Ashley Kingman and pedal-steel player Lee Jeffriess, Leyland is a transplanted Englishman who has mastered American music styles. Jeffriess again contributes his own brand of playful twists and bends and hops; Kingman is less an original stylist than his peers, but everything he plays is impressive nonetheless--particularly his synthesis of Scotty Moore solo licks and Chuck Berry rhythmic crank on “I Can’t Believe I’m Saying This to You,” a kinetic rockabilly workout.
While other youthful swing bands strain to make the music jump, the Fly-Rite Boys do it with classic effortlessness--witness the light, walking-on-clouds swinging strut that carries “What a Dream It’s Been.”
Whether cranking out a rocker, ambling easily or providing some Louis Jordan-like wry bounce on “Buddy, I Ain’t Buyin’,” Hersom and drummer Bobby Trimble provide reliable rhythmic lift and unforced explosiveness.
Oh, yeah, there’s also that Williams fellow to reckon with. Big Sandy has a voice as smooth and pleasurable as half-melted ice cream; his new wrinkle here is a winking croon that calls to mind Bing Crosby and some vaudeville-era singers--influences who predate even Bob Wills.
And Williams’ songwriting continues to be a small miracle. The roots genre easily can lapse into cliche, superficiality and routine, but every song here upholds the Big Sandy standard of providing a smiling and knowing glimpse of the human comedy.
There’s a current of anxiety underlying the delight of Big Sandy’s eager lovers, and there’s wry humor and playfulness underlying the self-loathing of the fellow in “Buddy, I Ain’t Buyin’.”
Someday you are gonna be
Sad to look in the mirror and see
That pride is just a memory.
Buddy, I ain’t buyin’.’
I’m ashamed to even call you me,
Buddy, oh buddy, I ain’t buyin’.’
In addition to their other virtues, all the tunes on “Radio Favorites” are immediately catchy; they really could be radio favorites in a less regimented and benighted time for the airwaves. Big Sandy set out a decade ago to honor classic sources, and his band has become a classic in its own right.
* Big Sandy and His Fly-Rite Boys and the Smith Ranch Boys play Saturday at the Foothill Club, 1922 Cherry Ave., Signal Hill. 9 p.m. $10. (562) 494-5196 (club) or (562) 984-8349 (taped information).
Ratings range from one star (poor) to four stars (excellent).