Danny Sanderson

Sanderson was born on November 30, 1950, in Kibbutz Kfar Blum, to American parents.[1][6] His family moved to Savyon when he was eight and subsequently to New York when he was ten.[6] He spent his teenage years in the United States before returning to Israel in 1968.[4][7] Exposure to pop, rock, and blues in New York during the 1960s became a formative part of his musical background.[1]

On returning to Israel, Sanderson joined the Nahal military entertainment troupe, auditioning as a guitarist.[4] The troupe’s leaders had been seeking a change in musical direction, and he brought an electric-guitar sound informed by the American rock he had heard while growing up.[4][5] Within the troupe, he quickly became a creative force alongside bassist Alon Olarchik and drummer Meir Fenigstein.[5] The three played together in their spare time, and singers Efraim Shamir and Gidi Gov later joined them.[5]

These relationships provided the core of the group that eventually became Kaveret.[4][5] Sanderson’s experience abroad was also part of a broader exchange of musical influences among its members: Shamir recalled that Sanderson and Olarchik, like himself, brought influences from outside the Israeli pop and folk traditions of the period.[7] Their shared military-troupe background thus brought together musicians whose experiences extended beyond the repertoire in which they were performing during their service.[4][7]

Sanderson’s early songwriting developed alongside comic radio material and ambitious stage projects rather than solely as a sequence of independent popular songs.[5][8] Members of the future Kaveret created comedy sketches for Army Radio around Poogy, a character whose name came from drummer Meir Fenigstein’s nickname.[8] Those sketches inspired Sanderson to write a rock opera about the character, and material from this project subsequently became part of Kaveret’s recorded repertoire.[8]

After Sanderson, Olarchik, Fenigstein, Shamir, and Gov completed their military service, they developed stage works from Sanderson’s material.[5] These included the rock opera “The Horrifying Story of the Boy from Brazil,” the biblical musical “King Mambo,” and the humorous “Puggy Opera.”[5] For the latter production, Sanderson brought guitarist Yitzhak Klepter and keyboardist Yoni Rechter into the group, completing the seven-member lineup associated with Kaveret.[5][8]

The transformation from stage opera to album followed contact with impresario Avraham Deshe, known as Pashanel.[5] After Gov and Shamir participated in the 1973 Hebrew Song and Chorus Festival, the group approached Deshe, who encouraged them to abandon the opera format and record its songs separately.[5] Many of those songs became the material for Kaveret’s debut album, “Puggy Stories,” also known as “Sippurei Pugi.”[5] Sanderson was the group’s principal songwriter and leader, although its working relationships were also described as democratic.[4]

Kaveret was founded in 1973 with Sanderson, Gidi Gov, Alon Olarchik, Efraim Shamir, Meir Fenigstein, Yitzhak Klepter, and Yoni Rechter.[8] Its debut album was recorded between March and September that year and released by Hed Artzi in November, with Deshe as producer and Sanderson credited as composer and lyricist.[5] The album appeared against the backdrop of the Yom Kippur War, and its humor and nonsense offered an escape for a society hurt by the conflict.[5]

“Puggy Stories” combined comic language and narrative with a new kind of rock sound in songs such as “Baruch’s Boots,” “Grocery Store Song,” “Here Lies the Dog,” “Aging Child,” and “Yo Ya.”[5] Other material associated with the comic opera included “Lo Yadanu Ma La’asot” and “Nechmad.”[4] The album made Kaveret Israel’s most popular band, and it was followed by two further albums that helped establish the group as one of the most beloved in Israeli music.[5]

Several songs had histories predating the band’s formal establishment.[9][10] “Baruch’s Boots” originated in Sanderson’s 1971 rock opera “The Boy from Brazil”; Menachem Zilberman and Alon Olarchik were its other credited writers.[9] Kaveret rerecorded it for the debut album, and it won the 1973 annual song-chart title “Song of the Year.”[9] The song therefore carried material from Sanderson’s earlier theatrical work into the group’s breakthrough recording.[5][9]

“Aging Child,” or “Yeled Mit’azken,” had a similarly extended development.[10] Sanderson recalled writing its original version in 1970, while serving in the Nahal troupe, for a radio comedy segment featuring Poogy.[10] Its first lyrics were deliberately silly; two years later, during Kaveret rehearsals, Olarchik suggested giving the melody more substantial words, and Sanderson agreed.[10] The resulting song joined a debut repertoire whose origins crossed radio comedy, theatrical experimentation, and collaborative rehearsal.[5][10]

Kaveret’s recognition extended beyond the success of individual recordings: it won “Band of the Year” four consecutive times and “Song of the Year” three consecutive times.[4] Sanderson wrote and composed most of its songs during the period of its breakthrough.[4] In English-speaking countries the band also became known as Poogie, carrying the name associated with its early comic character into its international identity.[11][8]

In 1972, while playing with his band the Schnitzels, Sanderson developed an Arabic-style instrumental that became “The Lazy Octopus.”[3] His interest in Arabic music led to a recording with the Israel Broadcasting Authority’s Arabic Orchestra under conductor Zuzu Musa.[3] The piece later appeared on Kaveret’s 1974 album “Puggy in a Pita.”[3] When the group had been considering names, Sanderson had proposed both “The Lazy Octopus” and “Kaveret.”[3]

Sanderson recalled that the collaboration began when he heard Arabic music coming from a radio-station hut, knocked on the door, and found twenty musicians led by Musa.[3] He explained that he had written a piece influenced by Arabic music, and Musa answered, “Bring a sketch.”[3] Remembering the welcome, Sanderson remarked, “They didn’t know me then. He could have thrown me out.”[3] He connected the music to his other interests by explaining that, to his ears, it resembled rock and roll and especially blues.[3]

Kaveret represented Israel at the 1974 Eurovision Song Contest with “Natati La Chayai,” translated as “I Gave Her My Life,” and finished seventh.[8] The contest allowed only six performers onstage, creating a practical difficulty for a seven-member band; Rechter therefore conducted the orchestra instead of appearing with the other six members.[8] The song was written in the aftermath of the Yom Kippur War and included a lyric about there being enough air for “one or two countries.”[12] Eurovision participation gave the group a further platform during a decade of growing visibility for Israeli popular music.[13]

Kaveret remained active until 1976 and released three albums.[4][8] As other members sought more opportunities to compose, Sanderson’s early predominance in songwriting became a source of tensions and hurt feelings within the group.[8] An unsuccessful effort to enter the United States market and professional disagreements preceded its breakup.[4] Its members continued writing songs afterward, and Sanderson subsequently developed new bands rather than immediately limiting his work to solo performance.[4][14]

After Kaveret, Sanderson formed Gazoz with Deshe in collaboration with a soft-drink company whose name the band adopted.[15] He sought a sound distinct from Kaveret’s, emphasizing pop, brass, and jazz inflections.[4] The lineup included Gidi Gov, Mazi Cohen, Motti Dichner, Danny Peer, Meir Shpitzer, Ziv Ben, Gary Reznik, and Shlomo Hamami.[15] Its unusually large complement of musicians contributed to a rich ensemble sound, but also became one of the factors in its eventual breakup.[15]

Gazoz’s self-titled debut album appeared in 1979, approximately a year into the band’s activity.[15] It contained eleven songs, with Sanderson responsible for writing, composition, and arrangement.[15] The music drew on gentle rock and the American rock-and-roll style prevalent during the 1970s, while retaining humor, wordplay, and comic interludes in the group’s stage presentation.[15] Several songs had already appeared in early Israeli color television broadcasts.[15]

Many tracks became hits, including “Nine at the Square,” “She Won’t Know,” “Mom and Danny,” and “Collect Call.”[15] Other songs associated with Gazoz included “LeKvod HaKayitz,” “Tzipi Primo,” and “Tea Oseh S’choreret.”[4] Despite the recognition of its songs, Gazoz struggled with poor concert attendance and financial losses and broke up in 1979.[4] Its short life was followed by another collaboration between Sanderson and Gov, this time in a smaller, harder-sounding rock band.[4]

Sanderson formed Duda in 1980 with Gov, guitarist Yehuda Eder, bassist Alon Nadel, and drummer Dobi Kizelstein.[4] Its self-titled album, released that year, credited Sanderson with the words and music.[16] The band pursued a harder sound than either Kaveret or Gazoz, with songs including “Erev Avud,” “Sheket Sheket,” “Lidya HaLohehet,” and “Elef Kaba’im.”[4] Duda struggled commercially and broke up in 1981 after making this single album.[4]

“Elef Kaba’im” arose from a specific performance problem.[10] At a rehearsal concert before an audience, Duda reached the end of its set without an encore and had to repeat its opening number.[10] Wanting an energetic finale, Sanderson went home and wrote most of the song’s verses.[10] Gov improvised another verse that Sanderson liked, and Sanderson credited him as a co-writer.[10] The episode connected one of the band’s songs directly to the practical demands of its live repertoire.[10]

Sanderson’s first solo album, “Godel Tiv’i,” was released in April 1982 and included “Pikshashti,” “Siba Lich’yot,” and “Glashan.”[4] To write its songs, he rented a room for a month at the Sharon Hotel in Herzliya.[10] Watching surfers from the room inspired “Glashan,” which he conceived as a surf-song-style anthem drawing on the Beach Boys and other surf music of the 1960s.[10] He contrasted that ambition with his own largely observational relationship to sport, recalling that he was watching the activity from the hotel rather than participating in it.[10]

His second solo album, “Innocent,” or “Haf MiPesha,” followed in September 1984.[17] Sanderson wrote and composed all the songs, but emphasized the contribution of collaborators Dobi Kizelstein, Moshe Levi, Erez Netz, and Ilan Vail.[17] He described the record as a band album, explaining that its character came from weeks of rehearsals in which the musicians sat opposite one another and exchanged ideas.[17] In his account, the collaborative rehearsal room was “the glue” holding the recording together.[17]

“Innocent” was warmly received and included “Thinking of You,” “Shepherd’s Song,” and “Ruthile.”[17] Several months after its release, Sanderson issued the successful single “What’s Your Deal?,” which was subsequently added to later editions of the album.[17] Across his solo career, songs associated with him included “Ma HaDawvin Shelcha?,” “Shir Ro’im,” “Choshev Alecha,” “HaLo Noda,” and “Ze HaKol Bishvilech,” the last recorded with Mazi Cohen.[4] By a 2020 retrospective, his solo discography was described as comprising ten albums.[4]

Songwriting for other performers formed another substantial part of his work.[4] His first hit written for another act was “Zot SheMe’al LeKol HaMitzpeh,” which he wrote, composed, and arranged for HaGashash HaHiver in 1974; it reached number one on the pop charts.[4] He also wrote for Ariel Zilber, Yehudit Ravitz, Shalom Hanoch, Shlomo Artzi, and Berry Sakharof.[4] Some of this material was collected on the 2001 album “Toldot HaMayim – Shirim LaAcherim.”[4]

The comic imagery associated with Sanderson’s music also entered an anecdote about his private life.[6] He recalled that he and his late wife Naomi were about to buy a house in Nof Yam when its owner recognized him from the television clip for “Etzel HaDoda VeHaDod,” in which a house is destroyed.[6] In his telling, the owner tore up the contract and the purchase fell through.[6] The story became part of his recollections of the unexpected consequences of his songs’ public familiarity.[6]

In 1995–1996, Sanderson hosted a personal television talk show on Israel’s Channel One; a Gazoz reunion was among its highlights.[4] Beginning in 1998, he also co-hosted the Galatz radio program “Tziporay Layla Nish’avot LeToch Man’o’a Shel Matos Jumbo” with Avi Ettinger for two years.[4] These broadcasting activities accompanied a career that continued to include his own recordings, songwriting for other performers, and appearances with former bandmates.[4]

Kaveret reunited on several occasions after its original breakup, including a major series of performances in 2013.[8] That summer’s five reunion concerts all sold out within hours and drew a combined audience of 120,000.[18] The final concert, held at Tel Aviv’s Hayarkon Park, attracted 50,000 people.[18] Afterward, Sanderson said the group found it flattering that something they had invented had come to be regarded as “so Israeli.”[18] Songs from Kaveret also continued to feature in his solo performances.[8]

At a 2024 concert with the Jerusalem Orchestra East West, Sanderson selected songs influenced by Eastern musical styles.[19] These included an octopus instrumental identified in that account as “Hatamun Ha’iter,” translated as “The Left-Handed Octopus,” and the solo song “Ma Hadawin Shelach?,” rendered as “What’s This Snobbish Behavior of Yours?”[19] Audience members joined in during the performance.[19] He was also reported to be credited on more than 300 songs.[6]

“Puggy Stories” occupies a prominent place in the history of Israeli rock: many Israeli music researchers regard it as the genre’s most important album and credit it with reshaping Israeli rock’s form.[5] Sanderson’s central contribution lay in composing and writing much of the repertoire through which Kaveret established that position.[4][5] The band’s combination of a new rock sound with comic material helped make songs developed from theatrical projects and radio sketches into enduring popular recordings.[5][8]

Kaveret’s wider historical significance also rests on its arrival during changes in the Israeli musical scene in the early 1970s.[14] Although short-lived in its original form, it brought a new sound to Israeli song, while its participants continued creating music after the breakup.[14] Its Eurovision appearance was part of the wider visibility of Israeli popular music during the decade, and its later reunion audiences demonstrated the continuing appeal of the repertoire.[13][18] The 2013 concerts, in particular, brought together an audience far larger than a single nostalgic club performance, with 120,000 attendances across five events.[18]

Sanderson’s music also reached American Jewish educational settings.[20] During efforts in the 1980s to introduce accessible Israeli songs to American Jewish teenagers, Steve Drapkin brought a surfing song attributed to Sanderson to the attention of NFTY.[20] The song was transcribed as “HaGalslian” in an academic account of music in Reform youth.[20] This use placed part of his popular repertoire within an effort to connect young American Jews with contemporary Israeli music.[20]

Recognition of his broader contribution included the ACUM lifetime achievement award, announced in December 2005 with a 30,000-shekel prize.[21] The award judges characterized him as one of Hebrew song’s most original creators.[21] In 2021, following a career of more than fifty years, he was honored with the B’nai B’rith World Center’s special citation for Fostering Israel-Diaspora Relations through the Arts.[2] Together with his extensive songwriting catalog and the continued performance of his band repertoire, these honors reflect a career extending across several generations of Israeli popular music.[2][6]