This article was originally published on beingtheremag.com, an independent music and film magazine that ran from 2004 to 2007. It is presented here as part of the Being There Magazine archive.
By Adam Anklewicz | Being There Magazine, October 2004
Rating: ★★★½ (3.5/5)
Opening with “North Humberland West,” The Sadies’ latest album gets off on a kick. A tribute to the lesser-known Byrds instrumental “Nashville West,” the song hints at the direction of the album. Heavily influenced by the post-David Crosby Byrds, Toronto’s indie-darlings know how to create country-rock like the masters.
Comprised of brothers Dallas and Travis Good (guitars) along with Sean Dean (bass) and Mike Belitsky (drums), The Sadies frequently back up Neko Case. They have also just released an album with Rick White (Eric’s Trip & Elevator) and Greg Keelor (Blue Rodeo) as The Unintended.
“Only You And Your Eyes” is a surf song, but not Beach Boys surf. It is a more relaxed and mellow tune which perhaps makes it obvious that these Toronto boys are not surfers. Providing a good interlude near the end of the album before it gets ready to wrap up, “Only You And Your Eyes” helps the album flow as one.
Sounding almost as a hymn, “1000 Cities Falling (Part 1)” sends chills down your spine. It is also the highlight of the album and proof that The Sadies deserve more attention. The pedal steel and picked acoustic guitar are reminiscent of early Gordon Lightfoot, with vocals providing the same timbre of a Lightfoot without hope in his voice. A voice that catches the listener, singing lyrics such as, “On a dark and frozen land/Lie 1000 cities damned/That circle round and round the dying sun” only creates more intrigue.
Another highlight is “A Good Flying Day,” a track reminiscent of early Elevator, with a simple, soft beat and a happy spirit that a lot of today’s pop is lacking.
“Why Would Anybody Live Here?” has the same music as “Only You And Your Eyes.” The addition of the vocals and lyrics seem to take away from the song. Closing the album it effectively creates a sleepy feeling with the dragged-out vocals, not seeming to fit in with the album. It also features guest vocalist Robyn Hitchcock, who’s gravely voice does not fit in well with The Sadies.
Perhaps the biggest disappointment of the album is its short length (running just over half an hour). Its short length is further accelerated by the quick pace of the music. With only one track reaching three minutes, the album moves quickly and leaves you wanting more; Perhaps at least an enticement to buy more of their records.