It shouldn’t come as any surprise. Anybody who’s ever had a brother, or sister, knows that family fights happen about as frequently as bowel movements, and rockers are certainly not immune.
From the brothers Davies, Ray and Dave, of the Kinks to the Black Crowes’ Rich and Chris Robinson to the fighting Gallaghers of Oasis, infamous stories of fisticuffs between brothers have become part of rock lore.
Toronto’s alt.-country cosmonauts The Sadies (photo at right by Beth Hamill) are the exception to that rule. So far, at least, Travis and Dallas Good — the offspring of a musician family — don’t have a documented case history of violence toward each other.
As far as anyone knows they get along fine. They even seem to be able to work together on lyrics without killing each other, a potential land mine if there ever was one.
“The spiritual stuff comes from my brother,” says Travis of the Sadies’ dualism of gritty, trailer-park realism and higher thematic pursuits. “I don’t know where the hell he’s coming from (laughs). He’s more of a lyricist. He quite often helps me lyrically. I’m more the middle ape man for that.”
Traditional in one sense, in that they mine veins of old-time country and bluegrass for a sound that stays true to their roots, the Sadies are just as comfortable pulling on a garage-rock leather jacket or tie-dye psychedelia as they are driving a horse-and-buggy aesthetic.
Their new album, New Sounds, has a beautiful haze about it, and the Sadies’ garage-rock sensibilities come to the fore on “The First Inquisition Part 4,” after a raucous, country-based instrumental titled “Introduction.” Think of New Sounds as Gram Parsons meets the Sonics in a haunted house in the Canadian countryside.
To learn more about the Sadies and their new album, stay tuned to Goldmine for more and visit www.yeproc.com.