Showing posts with label The Sadies. Show all posts
Showing posts with label The Sadies. Show all posts

Saturday, January 28, 2017

FROZEN: A Burning Snowman/The Sadies

The Sadies. Some will have heard the name, fewer, possibly, the band. SMM have but one mention for them that I can find, so time to redress the balance.


I was originally going to use another song, 'The Iceberg', as seeming more authentically 'frozen' a song than the presumable lukewarm melt that would result in this choice, but the increasingly common unsmiley face of not available in your territory cropped up. And because the band are so damn prolific, I knew they would have written a slew of songs about the cold. They are from Toronto.

Built around the brothers Dallas and Travis Good, the front line on all things stringed, guitars, fiddles, steel, along with Sean Dean on bass and Mike Belitsky on drums. The line-up has been constant since their 1994 formation, their style with little overt change from a template of surf instrumental, country weepies and electric bluegrass twang. But there is always something a little extra and unexpected in the mix, setting them way above some retrograde revamp of the Byrds meet the Surfaris, though that would not be a bad label to start an acquaintance. I don't quite know how or why, but it seems to me that canadians can do better country than their southern cousins, and the Sadies have me musing likewise on their aplomb with a surfdude vibe. Maybe there are more waves to catch in Saskatchewan than we knew. Their discography alternates between band albums and another tranche of titles where they play backing band, to such diverse artists as R'n'B sleaze man, Andre Williams, to country chanteuse with edge, Neko Case, ex-X man, John Doe, to the british country-punk roots rocker, Jon Langford. (Indeed, the band consider themselves honorary members of Langford's ever evolving Mekons collective.)

I have only crossed the wild atlantic on a handful of occasions, trying always to catch a show or two when I do, surveying the listings ahead of any such trip, scanning the pot-luck of availability. In, I guess, about 2004 or 5, I had a 5 day jaunt to New York and combined 2 bucket list entries, maybe 3, in the one go. Neko Case and the Sadies were playing the Bowery Ballroom! Braving the problem that the cabdriver couldn't find it, we wandered around the somewhat barren locale, in driving rain, I recall, eventually finding a somewhat rundown looking building. Inside a grim concreted bar. I thought this maybe the room they were playing and made light of it to my then wife, who was clearly terrified. After a nervous drink, there was suddenly the opening of big doors, leading up into a fabulously kitsch old style dance hall, with an upstairs verandah spread around the 3 non stage walls. A lacklustre opening band, surely not the Sadies, I prayed, plugged in. O dear, but not for long, as after maybe 20 minutes they let the stage, and the 4 oldstyle wild western characters, much as envisaged in the album sleeve above, trooped on, Travis looking every bit Wyatt Earp's younger and even more tubercular brother. (See if you can guess which one he is!) Yee-bloody-haw, it was terrific! I was hooked as one song banged out after another, harmony vocals wailing into their beer on one song, riptide  bendy baritone  notes on the following instrumental. 40 minutes and then we got Neko. Consummate. I may have neglected my wife so struck was I by this show. I remember well the row in the taxicab back to our hotel.


Since then I have stayed more loyal to the band than to Neko, hoovering up their catalogue and keeping out an eye for other appearances. One such example is Garth Hudson's exemplary custodianship of his old band, the Band, with his 2010 release, Garth Hudson presents: A Canadian celebration of the Band. Of course, these Canucks like to stick together, so possibly no surprise that this, amongst other tracks, should have them performing not just with Garth, but with Neil Young. That wheel was indubitably on fire. (Sorry, another unsmiley from youtube for me.......)

Their last record was some few years ago and I was worried the trail had gone cold. Maybe the surf had frozen, so it was with some relief I heard this trailer for a forthcoming release, later in the year. A band album, rather than backing band album, but this song features Kurt Vile, who fits their vibe with a natural finesse:


Get some stuff.

Saturday, May 12, 2012

Eateries and Watering Holes: The Horseshoe


The Sadies: The Horseshoe

[purchase]

In 2006 Canadian filmmaker Ron Mann asked The Sadies to score his latest documentary about Ed "Big Daddy" Roth, a custom car builder and leader of the hot rod movement of the late 1950's/early 1960s. Tales of the Rat Fink was described by many critics as Mann's masterpiece. The film uses non-traditional documentary techniques such as animation and first person narration (Roth was voiced by John Goodman) to tell the story of Roth's car creations and hot rod life in Southern California. The Sadies scored the movie by bridging animation and photo segments with stylized surf-rock; Dick Dale is alive and well in this film.

All of the songs in this film score are intentionally short, as per the fast pace of the film. Many people/fans were disappointed that the songs on this album were not like full-length songs on The Sadies previous studio albums. But with 26 different surf-rock tunes in the context of a film score, I don't think that one can complain.

The Sadies weren't sure what to name the songs in the score, so they decided to name them after their favorite bars and music venues throughout North America. Track 9 "The Crocodile" is the name of a music venue in Seattle. Track 15 is "The Mohawk" in Austin, Texas. Track 23 "The 400" is in Minneapolis, etc.

The second track on the album is named for The Horseshoe Tavern, in The Sadies hometown of Toronto. The Sadies can almost be described as the "house band" for the Horseshoe as they play there several times a year, sometimes as the backing band for legendary performers, and have served as the New Years entertainment for the last 11 or 12 years. The Horseshoe itself has quite a legendary history, which you can read about on their website. Mostly importantly though, I spent many, many, many nights at the Horseshoe where I not only saw The Sadies live six or seven times (easily securing themselves as my favorite Canadian live band), but dozens of other killer local and nationally touring bands and artists. Not to mention drinking more than my share of Keith's. I miss that place.

I moved from Toronto to Boston in 2010. I notice that the Tales of the Rat Fink soundtrack has no songs named after a Boston venue. Feel bad for me.

Thursday, July 10, 2008

Hell Week: Lucifer Sam



Sadies: Lucifer Sam [purchase]

I love this picture of The Sadies because it looks like they're playing Hell's waiting room. Then again, who knows with these guys. They play 200 dates a year. I can totally see them scheduling a gig in Satan's foyer, in between dates at The Knitting Factory and Maxwell's Hoboken.

As everyone and their lysergically-inclined brother knows, "Lucifer Sam" is an old Pink Floyd number, done when Syd Barrett was running the show. But hey, why run interference for the Floyd when you can talk about the hardest working, ass-kickingest roots-rock band in the bidness. Other bands may give you pomp, circumstance, and shameless spectacle, but The Sadies bring encyclopedic versatility and old-school showmanship to the stage. Their sets credibly and seamlessly switchback through Byrds-inflected country-rock, surf instrumentals, rockabilly, gospel, old-school country, and spaghetti western. If that's not enough, guitarist and vocalist, Dallas Good, once played an entire show headless. Let's see your favorite band do that.

In 2006, The Sadies released not only the best record of the year, but one of the defining records of this decade ... In Concert Volume 1 ... from which "Lucifer" is drawn. Culled from a pair of shows at Lee's Palace in their hometown of Toronto, I do not lie to you, my brothers and sisters, when I say that it's this generation's Last Waltz.

I'll let that lofty statement settle in.

OK, I make this mildly hyperbolic claim for three reasons: 1) Like The Last Waltz, In Concert Volume 1 features a rotating cast of special guests, including Neko Case, Jon Langford, Kelly Hogan, Jon Spencer, Gary Louris, the Blue Rodeo guys, and in a roots d'etat, actual Last Waltzer and fellow Canuck, Garth Hudson. 2) Like The Band, The Sadies are perfectly comfortable serving as a backing band or taking the lead on their own songs. And 3) Like TLW, In Concert is a brilliant survey of the host band's career that also serves to highlight their immense musical vocabulary. And hey, if nothing else, there's no Neil Diamond. Advantage Sadies.

Here's a short video Bloodshot Records produced for their song, "Flash," which has kind of a "Tombstone Blues" feel to it.

The Sadies - Flash

Here's a cool clip featuring animated Sadies and a tune from their soundtrack to the Ed "Big Daddy" Roth documentary, Tales Of The Rat Fink.

The Sadies - The Horseshoe