Pure Diamond Gold
Only the choicest cuts of surf, bluegrass, spaghetti western spookiness, garage punk, country murder ballads, and gospel.
This disc was stitched together, for your pleasure, for your amazement, using only the choicest cuts of surf, bluegrass, spaghetti western spookiness, garage punk, country murder ballads, and gospel. It is an unwieldy beast; it stumbles, it rocks, it croons, it swoons, it smokes, it swings, it knocks over drinks, it pushes sniveling, timorous townspeople out of the way with a single swipe of its mighty hand. It’s a good thing to have on your side.
The Sadies' second album plays like a Canadian version of the Ramones' Rocket to Russia. 20 songs in 40 minutes. Razor sharp and dragstrip fast fuzzed out bluegrass ("16 Mile Creek") followed by reverb spy-story surf ("Rat Creek"), and then things REALLY get warmed up. It's heavy on the short and fabulous soundscape instrumentals, but you like that. Or you should.
There’s also some pretty amazing special appearances from the Good Brothers, Canada’s most famous bluegrass outfit, well-known on the European festival circuit, and the family of the two tallest Sadies, Travis and Dallas; their Mom and their dog even make cameos. Catherine Irwin of Freakwater stops by sing on "Eastwinds," and Kelly Hogan lends some swooping, Star Trek theme song type vocals as well (Hey Nerds, we're talkin' the ORIGINAL Trek...) on the hopped up space odyssey "Medicine Ball."
As with their first record, handling the engineering work was ubermensch Steve Albini.
It's Nothing to Me
Reward of Gold