Boom Pam first came together in 2003, as a trio, with Uzi Feinerman and Uri Kinrot on fuzzed-out electric guitars and Yuval “Tuby” Zolotov providing an unusual bottom end—on the tuba. The three met as teenagers, attending the same performing arts high school outside of Tel Aviv. By the time they were in their early 20s, Uri and Uzi were sharing an apartment in the city. The two were bored with the blues, rock and rockabilly they’d been playing to that point and began to experiment with “Oriental” and Mizrahi sounds on their guitars.
When Uri and Uzi wanted to add some bass to their trebly guitar sound, they simply called their old friend. “We needed a bass instrument, so we called Tuby,” explains Uri. “It’s as simple as that!” Not long after, the trio became a quartet with the addition of Dudu Kochav on trap drums (who relieved Tuby from doing double duty), and a band was born.
But the group’s name didn’t stick until the foursome teamed up with Israeli rock star Berry Sakharof for a cover of singer Aris San’s 1969 hit “Boom Pam.” Boom Pam & Sakharof’s wild interpretation of San’s hit–all fuzzed-out, Surfaris-style guitars, whomping tuba and rockabilly snare-drum rattle–struck a chord with Israeli audiences and stormed up the national charts in 2004. But it was the group’s raucous live shows in bars, clubs, concert halls, festivals, the Philharmonic Hall in Tel-Aviv and yes, weddings that cemented their reputation as one of Israel’s most unique party bands.
Boom Pam
When Uri and Uzi wanted to add some bass to their trebly guitar sound, they simply called their old friend. “We needed a bass instrument, so we called Tuby,” explains Uri. “It’s as simple as that!” Not long after, the trio became a quartet with the addition of Dudu Kochav on trap drums (who relieved Tuby from doing double duty), and a band was born.
But the group’s name didn’t stick until the foursome teamed up with Israeli rock star Berry Sakharof for a cover of singer Aris San’s 1969 hit “Boom Pam.” Boom Pam & Sakharof’s wild interpretation of San’s hit–all fuzzed-out, Surfaris-style guitars, whomping tuba and rockabilly snare-drum rattle–struck a chord with Israeli audiences and stormed up the national charts in 2004. But it was the group’s raucous live shows in bars, clubs, concert halls, festivals, the Philharmonic Hall in Tel-Aviv and yes, weddings that cemented their reputation as one of Israel’s most unique party bands.