Just released yesterday, "Funtown Comedown" is a bluegrass look at the grand catalogue of Will Oldham with 2 covers thrown in to boot. He totally pulls this off and the whole thing is a blast to listen to. Today's mp3 gives you a double shot peek of what you're in for as it starts as a song from "Lie Down In the Light" and segways into a song from my #1 album of the decade "Master and Everyone".
We love Will Oldham and his Bonnie 'Prince' Billy records, so much so that I bought his newest record "Beware" on all 3 formats. Jeeeeez. Completely worth it though, and what an album it is. It certainly is his most accessible which would explain the massive press push Drag City is doing behind it, but accessible doesn't mean terrible. It's interesting to hear Oldham's definition of pop music and he shines all throughout "Beware", with his passion on it almost as strong as all of the pedal steel playing.
Who would've thought the new Bonnie 'Prince' Billy record ("Lie Down in the Light") would be so darned upbeat?
Well, I suppose there was a hint: last year's "Ask Forgiveness"covers opus was very sunny, and the one Oldham original was quite bouncy, so the signs were indeed there. Still, when hearing LDITL was recorded at the same place as fan-favourite "Master and Everyone", I very much expected a similiar tone; not so much. Drag City quietly released a demo to tease in "So Everyone", which possibly suggests a different direction, but in the end we are given a gift: a true summer record from Will Oldham. "Lie Down In the Light" is the perfect soundtrack for afternoon drives to the lake with baby in the passenger seat, hand in hand.
Now let's hope that sometime soon we can get a demos album, similiar to "Wai Notes", the demos from "The Letting Go". What do you say, Drag City?
I am not happy to admit that I slacked on "April" on it's (you guessed it) April release date, but a couple of weeks back I got myself caught up and into the new album from Sun Kil Moon. Now that I am finally here, what do I think? Well, I love it. It is an absolutely precious piece of audible art that should be spread, cherished and listened to repeatedly: a pattern I think we've all come to get used to when it comes to Mark Kozelek, easily one of the greatest songwriters of this or any time.
Right from the start, it kicks off big and epic with "Lost Verses" and it doesn't let up. In fact, after the first 2 songs alone you're at nearly twenty minutes listening time. Highlights include "Moorestown" and "Tonight the Sky", but I'm kidding myself in pretending that they're not each as incredible as the one before it.
And over the weekend, I was lucky enough to give it a good travel listen, which in my opinion is the best way to take in these albums. It did indeed hold up, and is a worthy companion on your cd shelf next to "Ghosts of the Great Highway". Also, look out for appearances from your fun favourites Will Oldham and Ben Gibbard.
"Goin' to Acapulco" is a song I never paid attention to that much. Sure, "The Basement Tapes" from Bob Dylan and the Band is an enjoyable affair, but it's not exactly a stand out track by any means.
So why have Will Oldham and Jim James, some of my favourite songwriters and two of the greatest living American artists currently recording and performing, covered this song? Perhaps it is the general challenge behind it: it is not short and the instrumentation chosen to illustrate it are only semi-conventional. It must be the lyrics. After all, who cannot relate to wanting to escape somewhere far to a sweet woman's home, who puts it to you "as plain as day" and gives it to you "for a song"?
Taking a song away from it's lp is and making it create a completely different mini concept is hard, and backing that song's single with 2 songs you didn't write is damn near impossible. Bonnie 'Prince' Billy did just that when he released his single for "Lay and Love" earlier this year, adding 2 Bob Dylan covers to follow the title track, and (along with the artwork) created a 3 track ep of love. I believe Will Oldham covered "Goin' to Acapulco" because of the song's character "Rose Marie", keeping the song sparse other than a commanding trumpet and a rhythm section, slowing down to make sure all the feelings and emotions conveyed have their time to be taken in fully.
Jim James' contribution to the soundtrack of the upcoming "I'm Not There" Dylan biopic finds himself being backed by the mighty Calexico (who does multiple duties all over the album), almost leading the song with strong horns and wonderful drums but as we all know, it's impossible to trump the stellar vocals of James. The wonderful thing about these mp3s are that they're all led by unique and fantastic vocalists, and if anything what makes this special is completely all Jim James. As a whole it works, but without him, it is just any other cover, destined to get lost in the shuffle of obscure Dylan covers.
So while I passed over "Goin' to Acapulco" initially, hearing these 2 great interpretations from the people I trust made me want to go back and take the song in fully. I don't know if I understand it any better, but the covers help make the song a lot more fulfilling.
"Kiss" hit the blogs hard. You might be over it, but I certainly am not. It is a track good enough to tease you and get you beyond amped for the upcoming "This Fool Can Die Now" from Scout Niblett. How do you start the hype? A duet with Will Oldham of course, a man who 87% never does wrong. Niblett provides audible glue, sticking with you and sprinkling glee all over your heart.
"This Fool Can Die Now" is released in the cd/lp formats October 15th from Too Pure.
