DISClosure: The Sadies • Sally Timms

DISClosure
CD Reviews Of A National Scale

The Sadies
Pure Diamond Gold

by Ed Yashinsky

Like a howling northern wind in February, Toronto, Canada’s The Sadies strike with a ferocity that is not soon forgotten. Led by brothers Dallas and Travis Good, The Sadies’ 1998 debut release, Precious Moments, was a tour de force of rockabilly, surf music, and kick ass country that featured screaming instrumentals and interpretations of country standards that remain as memorable as anything released that year. The Sadies’ follow-up, Pure Diamond Gold (actually two separate releases — 7 O’clock Chicken and Pure Diamond Gold — for the price of one) takes off where Precious Moments left off and once again delivers The Sadies’ patented sound in spades. Instrumentals like “16 Mile Creek” and “Medicine Ball” feature the Good Brothers’ rapid-fire guitar licks that would make Dick Dale proud, while other instrumentals recall the classic riffs of the late great Meat Puppets. On the vocal front, the Good Brothers throw in a few original songs this time out, but country standards like “It’s Nothing to Me,” “Higher Power” and “Walking Boss” really stand out on Pure Diamond Gold. Also, be sure to listen for Kelly Hogan’s haunting howls that breathe life into several instrumentals and a great guest vocal appearance by Freakwater’s Catherine Irwin. In a world where melting musical styles together has become commonplace, The Sadies’ original blend of country, surf and rock on Pure Diamond Gold is one of the most refreshing sounds coming into the U.S. from Canada today. (Bloodshot Records, 3039 W. Irving Park Road, Chicago, IL 60618, bloodshotrecords.com )

Sally Timms
Cowboy Sally’s Twilight Laments...for Lost Buckaroos

by Annette Spahr

Recording history has had its share of odd combinations of artists and musical choices — think Richard Harris “singing” MacArthur Park. But sometimes these shockers work out. Such is the case with UK-based Sally Timms, known for her associations with Gang of Four, the Mekons, and other Leeds art punk bands. A solo album? Perhaps something along the lines of an Annie Lenox “Diva” feel, but country? Yes, country. Good, down home, old fashioned country. We’re not talking Shania Twain country, this is the Carter Family, Emmylou Harris, and, at Timms’ best, shades of Patsy Cline. We have banjos, mandolins, steel guitars, even sleigh bells — but none of the accompaniment overshadows Timms’ solid, yet sing-you-to-sleep, voice.

The mood is immediately set with the sounds of a scratchy, static-filled distant radio. Someone is desperately searching the dial for sounds to fill a lonely night, and we hear: “Howdy folks, gather ’round, cause we have a mighty fine treat for you right now. Here’s Cowboy Sally and her twilight laments for lost buckaroos” Timms’ voice fills the air — it’s a strong, yet lovely voice, the type that can carry the oddly mysterious lyrics of “Dark Sun,“ (“Goodbye, Dr. Strangelove, I knew he had to go, ’cause every pinch and kick just dragged me down”) or the enjoyable Para Mi Padre — described by Bloodshot Records as a Spanish Cancione that would make you cry in your cerveza (think Linda Ronstandt during her Spanish-phase, only better).

A few songs are true Tennessee Waltz style; you’ll have to resist the urge to find a partner and take a spin around the room. Others, like any country and western song worth its salt, simply tell a story. Don’t waste your time trying to hear shades of Sally’s UK accent, she’s done an amazing job of hiding it — just sit back and enjoy. (Bloodshot Records, 3039 W. Irving Park Road, Chicago, IL 60618, bloodshotrecords.com )