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Sons and Daughters, "Love the Cup"
Ba Da Bing
Two former members of Arab Strap strike out on their own as Sons andDaughters, and if their debut is any indication they'll be just finefrom here on out. Adele Bethel and David Gow are not necessarilywell-known for their time touring with the Strap, but with theirfriends and bandmates they craft their own brand ofcountry/folk/blues/rock romp and stomp that's just quirky enough tokeep me coming back for more. With other singer and guitar player ScottPaterson, Bethel makes rather lovely harmonies over tunes that varyfrom all-out bombastic knee-slappers to tributes to Johnny Cash. It'stantamount to the best bar band I've heard in my life, where I'd be aregular singing along to all the songs, cursing the tourists who don'tknow what glory they're talking through. That's not to diminish theirskills any, as any bar would be lucky to have an ensemble like thisin-house. From the outset, I was ready to dance and shake with a beerin one hand and a girly in the other, as the steady rhythm of "Fight"has all the feel of a do-si-do gone wrong. "The lines are drawn, thisis getting worse" immediately precedes a call-out of "Uh huh uh huh,"and it's destined for call and response at any show. Bethel has a liltin her voice that just beckons, but there's always a hint of somethingmuch more that can be unleashed at any moment. Paterson, then, is theperfect foil, all accented awkward thuds but still perfectly suited tothe sounds beneath. It's the frenetic energy, that hesitation of what'snext, that brings about the real power in this band. The tempos of thesongs are very similar, but they take off in wildly differentdirections, so it's of no concern. Just like that, though, the recordis over: it's seven songs of easy aggression and power harmonies, andhooks in my head for days.
Two former members of Arab Strap strike out on their own as Sons andDaughters, and if their debut is any indication they'll be just finefrom here on out. Adele Bethel and David Gow are not necessarilywell-known for their time touring with the Strap, but with theirfriends and bandmates they craft their own brand ofcountry/folk/blues/rock romp and stomp that's just quirky enough tokeep me coming back for more. With other singer and guitar player ScottPaterson, Bethel makes rather lovely harmonies over tunes that varyfrom all-out bombastic knee-slappers to tributes to Johnny Cash. It'stantamount to the best bar band I've heard in my life, where I'd be aregular singing along to all the songs, cursing the tourists who don'tknow what glory they're talking through. That's not to diminish theirskills any, as any bar would be lucky to have an ensemble like thisin-house. From the outset, I was ready to dance and shake with a beerin one hand and a girly in the other, as the steady rhythm of "Fight"has all the feel of a do-si-do gone wrong. "The lines are drawn, thisis getting worse" immediately precedes a call-out of "Uh huh uh huh,"and it's destined for call and response at any show. Bethel has a liltin her voice that just beckons, but there's always a hint of somethingmuch more that can be unleashed at any moment. Paterson, then, is theperfect foil, all accented awkward thuds but still perfectly suited tothe sounds beneath. It's the frenetic energy, that hesitation of what'snext, that brings about the real power in this band. The tempos of thesongs are very similar, but they take off in wildly differentdirections, so it's of no concern. Just like that, though, the recordis over: it's seven songs of easy aggression and power harmonies, andhooks in my head for days.
