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viewing 1 To 25 of 38 items
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2LP
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DC 674LP
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2024 repress. "With Best Troubador, Bonnie 'Prince' Billy pays homage to a long-time and forever hero, the late Merle Haggard. A singer who, some 25 years previously, first performed in public by playing a Merle Haggard song, Bonny has often cited Merle's work in performance, on records and in conversation with anyone who was around, even talking to Merle himself for Filter magazine in 2009. Merle's body of work was considered by Bonny for a record such as this for some time, but his passing in April of 2016 almost put a stop to it. The goal was to participate in the handing forward of the songs of a living legend, as Merle had done so many times in his own career. Writing for Juan and Only in 2012, Bonnie put it this way: 'Merle Haggard is a channeler who has paid ample tribute to those that came before him. He has demonstrated explicitly and implicitly his standing on the shoulders of Tommy Duncan/Bob Wills, Jimmie Rodgers, Floyd Tillman, Lefty Frizzell and many others." With Merle gone, some of the impetus of the project was in peril. A plan to make the album in Nashville studios was abandoned. The songs still called to be played again, however -- and so sessions were endeavored at home, capturing feeling, memory and new expression in familiar confines with the full-hearted playing and singing of the Bonafide United Musicians: Van Campbell, Nuala Kennedy, Danny Kiley, Drew Miller, Cheyenne Mize, and Chris Rodahoffer, with special guests Mary Feiock, Emmett Kelly, A.J. Roach and Matt Sweeney. The songs sung on Best Troubador are pulled from all over -- from Haggard's third album in 1967 through to his 47th in 2011 -- but this is no simple hits compilation. Seven of the sixteen songs are from his later period, after his long run at the top of the country charts had ended, but before encroaching mortality could finally cease the singular and indefatigable creativity of Merle Haggard. Best Troubador flips through his song book, landing on pages unmoored from their time and located anew. Moving from 1978 to 1969 to 2003 to 1981 allows the album to circle Haggard's music in a simulation of thought and memory, slipping around from spot to spot as if they were discrete impressions, unknown but knowable yet."
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Cassette
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DC 890CS
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Cassette version. "Bonnie Prince Billy has made a number of them, and heard a bunch more in his time of knowing. He's found them hewn from moments, admired them as small and accountable -- the communication of music in emotion, release and catharsis; to edify, to entertain, in two sides and less than an hour. There's room for albums in everyone's home, and there's a place for everyone to listen -- or space for just one person at a time, when privacy is needed. Keeping Secrets Will Destroy You presents simply -- an album made as it was meant to be heard, in a room. The sound of people together -- a sound we'd so recently feared that we'd lost -- playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms -- and rewrap, for regifting. For giving to everyone. Keeping Secrets Will Destroy You presents simply, and is sung along easily and happily with in time BUT -- Is it family portrait or fairy tale? How does it think the world was made, and will end? . . . This record, you might could call it a bastard child of Master and Everyone and The Letting Go. You might say lots of things. But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together . . .Keeping Secrets Will Destroy You was recorded in Louisville by Nick Roeder, featuring Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on mandolin, Drew Miller on saxophone and Dane Waters' voice. The presence of so many local educators in the band (Sara Louise runs the Louisville Academy of Music, Kendall is the director of music at his Louisville church, Dave runs the Louisville Folk School and Dane is a music educator as well) lends not only to a flow of moments so fluidly encompassing a wide range of musics from classical to traditional Hawaiian and elsewhere, but perhaps even more importantly, to the sense of community, heredity and the triumph of inheritance that is the marrow and life blood of this music..."
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CD
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DC 890CD
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"Bonnie Prince Billy has made a number of them, and heard a bunch more in his time of knowing. He's found them hewn from moments, admired them as small and accountable -- the communication of music in emotion, release and catharsis; to edify, to entertain, in two sides and less than an hour. There's room for albums in everyone's home, and there's a place for everyone to listen -- or space for just one person at a time, when privacy is needed. Keeping Secrets Will Destroy You presents simply -- an album made as it was meant to be heard, in a room. The sound of people together -- a sound we'd so recently feared that we'd lost -- playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms -- and rewrap, for regifting. For giving to everyone. Keeping Secrets Will Destroy You presents simply, and is sung along easily and happily with in time BUT -- Is it family portrait or fairy tale? How does it think the world was made, and will end? . . . This record, you might could call it a bastard child of Master and Everyone and The Letting Go. You might say lots of things. But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together . . .Keeping Secrets Will Destroy You was recorded in Louisville by Nick Roeder, featuring Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on mandolin, Drew Miller on saxophone and Dane Waters' voice. The presence of so many local educators in the band (Sara Louise runs the Louisville Academy of Music, Kendall is the director of music at his Louisville church, Dave runs the Louisville Folk School and Dane is a music educator as well) lends not only to a flow of moments so fluidly encompassing a wide range of musics from classical to traditional Hawaiian and elsewhere, but perhaps even more importantly, to the sense of community, heredity and the triumph of inheritance that is the marrow and life blood of this music..."
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LP
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DC 890LP
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LP version. "Bonnie Prince Billy has made a number of them, and heard a bunch more in his time of knowing. He's found them hewn from moments, admired them as small and accountable -- the communication of music in emotion, release and catharsis; to edify, to entertain, in two sides and less than an hour. There's room for albums in everyone's home, and there's a place for everyone to listen -- or space for just one person at a time, when privacy is needed. Keeping Secrets Will Destroy You presents simply -- an album made as it was meant to be heard, in a room. The sound of people together -- a sound we'd so recently feared that we'd lost -- playing, communing, strings and wood and keys and voices singing. In the starkness of space, the complexities of life and time are unfurled, then refurled again. As strings ebb and flow with voices and their words, careful hands unwrap the gift of paradox in its many forms -- and rewrap, for regifting. For giving to everyone. Keeping Secrets Will Destroy You presents simply, and is sung along easily and happily with in time BUT -- Is it family portrait or fairy tale? How does it think the world was made, and will end? . . . This record, you might could call it a bastard child of Master and Everyone and The Letting Go. You might say lots of things. But you can't say this ain't a record that sings and dances, repeatedly, through moments of joy and terror and together . . .Keeping Secrets Will Destroy You was recorded in Louisville by Nick Roeder, featuring Sara Louise Callaway on violin, Kendall Carter on keys, Elisabeth Fuchsia on viola and violin, Dave Howard on mandolin, Drew Miller on saxophone and Dane Waters' voice. The presence of so many local educators in the band (Sara Louise runs the Louisville Academy of Music, Kendall is the director of music at his Louisville church, Dave runs the Louisville Folk School and Dane is a music educator as well) lends not only to a flow of moments so fluidly encompassing a wide range of musics from classical to traditional Hawaiian and elsewhere, but perhaps even more importantly, to the sense of community, heredity and the triumph of inheritance that is the marrow and life blood of this music..."
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Cassette
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DC 367CS
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"Just in time..." [not really] "...for gift-giving season 2013. Lie Down in the Light on cassette tape. Rewind and weep."
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12"
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DC 525EP
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Vinyl EP version. The backcover picture of BPB lying on a shag rug with his cat is that much bigger. "On Now Here's My Plan, Bonny circles back to six of his tunes, plucked from such notable years as 2009, 2005, 1996, 2001, 2003 and 1998. These new takes were played with Ben Boye, Van Campbell, Emmett Kelly, Danny Kiely, and Angel Olson, all of whom are Wolfroy Goes to Town players and veterans of Bonnie 'Prince' tours of recent vintage. What's more, this EP was recorded by Steve Albini, the engineer of record on the very first Bonnie 'Prince' Billy album back in 1996!"
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CD
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DC 525CD
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"On Now Here's My Plan, Bonny circles back to six of his tunes, plucked from such notable years as 2009, 2005, 1996, 2001, 2003 and 1998. These new takes were played with Ben Boye, Van Campbell, Emmett Kelly, Danny Kiely, and Angel Olson, all of whom are Wolfroy Goes to Town players and veterans of Bonnie 'Prince' tours of recent vintage. What's more, this EP was recorded by Steve Albini, the engineer of record on the very first Bonnie 'Prince' Billy album back in 1996!"
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7"
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DC 515EP
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"Ever the trailblazer, Bonny hops into something funny here: a three-song 7" single with its head chopped off! Rather than try something silly like put the songs on a larger format (because who in their right mind would...um, that is--), the b-sides are accorded the space they need to rock and groove while the A-side exists in our head (but also online, where space and sound ain't an option, is they? hur!), an echo of the epic, endless album that was (and still is, kids!) Wolfroy Goes to Town. Starting with a familiar weary tone and limping gait-lessness, 'Whipped,' quickly ascends to heights of emoting vocals not encountered throughout the entire album that preceded it. The comfy bob-and-strut of 21st century honky-tonk gives 'Out of Mind' a sweet jukebox feeling, again creating a safe place for naked expression to occur in short order. Yes, the pleasures are fairly immense here, in the way that only two songs can provide."
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CD
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DC 502CD
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"Wolfroy Goes To Town was recorded in Kentucky and mixed by Shahzad Ismaily, Emmett Kelly and Will Oldham. In addition to Bonnie Prince Billy, the players on this record are: Ben Boye (keyboards and extra singing), Van Campbell (drums and percussion), Shahzad Ismaily (percussion, guitar, extra singing), Emmett Kelly (guitars, mandolin, harmony singing), Danny Kiely (basses) and Angel Olson (singing). Prior to the recording, the ten songs on Wolfroy Goes To Town were played by the whole band in performance at Chicago's Millennium Park in May of 2011. Some of the songs were played and sung by Bonny, Emmett Kelly and Angel Olson on the Free Florida tour that immediately followed. This is the first time any Bonny album has been previewed in public before it was made in the studio!"
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LP
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DC 502LP
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10"
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DC 483EP
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"Summertime is single-time in America. Adult and child alike are searching for a song to define their struggle and their delight. Bonnie 'Prince' Billy has one or two suggestions for your ear. Try 'There Is No God' on for size, and then see if 'God Is Love' fits you more neat-like. Summoning up two sides of the argument (to which there are more sides and more arguments too) in a neat flip of the platter, Bonnie 'Prince' Billy is back on the 10" parade route."
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LP
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PAL 022LP
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2023 repress, 1999 release. Will Oldham's first release as Bonnie 'Prince' Billy. "Like Oldham's best work, I See A Darkness is alternately baffling and revelatory, revealing more with each successive listen. Terrific." -- The Onion A.V. Club
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CD
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DC 666CD
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"Breaking through the dirt and shooting upward into our atmosphere is a new variety of exotic Bonnie 'Prince' Billy plant. Stronger. Stinkier. It blooms in low light and cold but thrives in the sun as well, showing enticing spots and eating small creatures as they wander into its jaws. They had it coming, they were weak.... and you're next! Beware. Though Beware shares spit with its immediate predecessor, Lie Down In The Light, its reach is longer, its arches more grandiose. Where fiddle and steel contribute their rustic timbre alongside guitars and voices, a thickening thud of low tone rolls beneath, giving the record a bottom that's fun to watch bounce in new clothes. This intensifies the air and heralds Beware as Bonnie's most ambidextrous record to date -- even more so than The Letting Go! A listen or two through and you too may conclude that this could also be the great Bonnie 'Prince' Billy contempo-country record -- though, as always, the 'Prince' goes his own special way, even when climbing the charts with brawny arms and classic titles like 'I Don't Belong To Anyone,' 'You Can't Hurt Me Now,' and 'I Am Goodbye.' Though the title -- and catalog number! -- portends horror, Beware is a much more measured exploration of the soul's frailty and the sorry state of human relationships than your typical, everyday, bleaked-out, all-and-nothing roots rock platter. Song titles suggest half of a heated dialogue, perhaps just one side of a super-apocalypto phone call. Yet, there's humor here as well, some of it too cute to call black. Lyrically, domestic ripostes are mixed with I-thou asides, statements of lusty selfhood and subtlety in between the lines, examining culpability and the need for release and rebellion, if you must know. Basically, if you haven't learned already, love goes down mazy, anfractuous paths, on some days giving rise to irritations -- both spiritual and physical -- and the difficult consideration of an alternative fate. Sometimes all you want to do is fuck. Then there are the times of fun, laughter and learning, and the sudden appreciation of your partner, your only friend. And with all these things in hand, Bonnie 'Prince' Billy says Beware."
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LP
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DC 666LP
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2024 repress, LP version. "Where fiddle and steel contribute their rustic timbre alongside guitars and voices, a thickening thud of low tone rolls beneath, giving the record a bottom that's fun to watch bounce in new clothes. This intensifies the air and heralds Beware as Bonnie's most ambidextrous record to date -- even more so than The Letting Go! A listen or two through and you too may conclude that this could also be the great Bonnie 'Prince' Billy contempo-country record -- though, as always, the 'Prince' goes his own special way, even when climbing the charts with brawny arms and classic titles like 'I Don't Belong To Anyone,' 'You Can't Hurt Me Now,' and 'I Am Goodbye.' Though the title -- and catalog number! -- portends horror, Beware is a much more measured exploration of the soul's frailty and the sorry state of human relationships than your typical, everyday, bleaked-out, all-and-nothing roots rock platter."
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CD
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DC 367CD
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"Bonnie 'Prince' Billy is letting the sun shine in so you can Lie Down In The Light. Before you get undressed, we're talking about a brand-new 12 song album of excellent new songs and sounds, okay? Get that thong back up your crack and listen! Bristling with guitar strings and laced with harmonies, Lie Down In The Light is the brightest album to date from the Bonnie 'Prince.' Brisk tempos skip among his signature slower numbers and ballads. Bonnie's vocals are among his most expressive: carefully nuanced, singing all up and down his range, showing him at a judiciously dynamic and tuneful apex. Coloring the sound, is a subtle backdrop of percussive slaps and shakes (but nary a drumkit), touches of keys and steel, delicate harmony-vocal arrangements and other sweet surprises that might send some sad-sack fans back to their auto-erotic dungeons, fresh toys in hand. Lie Down In The Light features Bonnie repeat players Paul Oldham and Emmett Kelly and also benefits from the multi-instrumental presence of Shahzad Izmaily, who works percussion, piano, guitar, banjo and the mysterious, sensual 'row of wenches' -- I mean, mysterious, sensual 'row of wrenches.' New (duet) partner Ashley Webber forges her own presence next to Bonnie in a pair of fantastic turns. Additionally, some of Nashville's finest appear in between the band's strings and harrows, adding light (and yeah, we see a little darkness, too) wherever they appear."
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LP
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DC 367LP
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2024 repress; LP version. "Bristling with guitar strings and laced with harmonies, Lie Down In The Light is the brightest album to date from the Bonnie 'Prince.' Brisk tempos skip among his signature slower numbers and ballads. Bonnie's vocals are among his most expressive: carefully nuanced, singing all up and down his range, showing him at a judiciously dynamic and tuneful apex. Coloring the sound, is a subtle backdrop of percussive slaps and shakes (but nary a drumkit), touches of keys and steel, delicate harmony-vocal arrangements and other sweet surprises that might send some sad-sack fans back to their auto-erotic dungeons, fresh toys in hand. Lie Down In The Light features Bonnie repeat players Paul Oldham and Emmett Kelly and also benefits from the multi-instrumental presence of Shahzad Izmaily, who works percussion, piano, guitar, banjo and the mysterious, sensual 'row of wenches' -- I mean, mysterious, sensual 'row of wrenches.' New (duet) partner Ashley Webber forges her own presence next to Bonnie in a pair of fantastic turns. Additionally, some of Nashville's finest appear in between the band's strings and harrows, adding light (and yeah, we see a little darkness, too) wherever they appear."
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12"
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DC 354EP
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CD EP
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DC 354CD
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"Following the many intensities of The Letting Go and its three singles and EP, Bonnie 'Prince' Billy went to Philadelphia to cool out with a record of covers versions. But the combination of summer days, Philadelphia streets and the way Bonnie was ambushed in the cooling process, producing eight sizzlers instead and creating the need to 'ask forgiveness.' Redolent of the haze hovering o'er the city of brotherly love, Ask Forgiveness was recorded on the fly at Hexham Head. With a basic alignment of Bonnie and Meg Baird on acoustics and vocals and Greg Weeks on electric guitar, aided and abetted by Maggie Wienk on cello at times, the colors begin shifting and flashing right away, with acoustics glinting and a bit of electric guitar tone, running clean to resonant to Leslie and back; a light touch on the faders bringing vocals and guitars to and fro in perfect time. Covering a handful of diverse songwriters (Newbury, Guðmundsdóttir, Anzalone, Ochs, Billy, Haggard, Caldwell and Kelly), Bonnie makes each one of their songs his own simply, through the process of having taken it within and loving it -- and then singing it out again, in good company."
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12"
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DC 337EP
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CD
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DC 337CD
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"Another haunting chapter from The Letting Go, 'Strange Form of Life' is highlighted for your edification. The gauzy webs of this song gleam with clarity divorced from its siblings on The Letting Go; the music made by Emmett Kelly, Dawn McCarthy, Paul Oldham and Jim White shines all the brighter. In stark relief are the three tracks from a Daytrotter session, done during the Bonny Billy free tour of Midwestern states in August 2006. In the wide-open spaces of Iowa, the ten year-old songs 'New Partner,' and 'The Sun Highlights the Lack in Each,' are delivered in solo performances of Bonnie with guitar, both finding new life in the process. Also delivered is a pre-release version of 'The Seedling,' bristling with the energy found in the layers of The Letting Go version. The appearance of an electric guitar in this ostensible 'solo' performance only adds to the mystery and menace of the song."
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CD EP
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DC 329CD
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"The third single from Bonny's momentous latest. The now-mythic The Letting Go group is fully in effect on Lay & Love -- Jim White and Paul Oldham on rhythm, Emmett Kelly playing guitar, Dawn McCarthy bringing voice and Valgier Sigurdsson recording and mixing. Outside of the context of The Letting Go, 'Lay And Love' shines ever brighter and kicks off a remarkable fourteen minutes of musical experience -- for after 'Lay And Love,' the balance of the single is given over to two rarely-covered songs from the catalog of Bob Dylan. 'Señor' is rendered by Bonnie all on his lonesome (with recording by 'Tusitala de las olas'). 'Going to Acapulco' features backing from the early days of the century -- a New Orleans-style brass band accompaniment."
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12"
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DC 318EP
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CD
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DC 318CD
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"First came 'Cursed Sleep,' then The Letting Go. Now get ready to get Cold & Wet, the latest release in a series from Bonnie 'Prince' Billy, all centered around the awesome new album, The Letting Go. His new issuances are always greeted with a razed glass and a yell or two from dark corners. Cold & Wet will not let the fucks down -- a favorite from The Letting Go combined with a favorite 'Master and Everyone' song (cut LIVE) and a rendition of a Kenny Rogers favorite from the 1980s, plus (on the CD) the video for 'Cold & Wet'."
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CD
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DC 420CD
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"Through the years and the shape-shifts of different albums, players and songs, the music of Bonnie 'Prince' Billy has proven to be an experience of sharing: Bonny sharing the songs with musicians for a new experience; Bonny sharing the record with you. What do you think? The Letting Go is an overwhelming undertaking. As mentioned, there are strings -- lovely charts that do so much more than just trace chord changes up and down the neck. Arrangements by Ryder McNair and Nico Muhly are threaded throughout the record, augmenting a simple quintet of players to provide a sixth sense. The deceptive nature of his band is on display from the top. 'Filthy' Jim White is known far and wide for his resource behind the drum kit and he proves it song after song, with sensitivity that provokes dynamic variety from skins, an acoustic depth to the room. Paul Oldham's bass is a feeling accompaniment to Bonny's guitar, played with brotherly clairvoyance and constancy. Young Emmett Kelly's clean electric guitar lines roam within the web and suddenly shine, are blues and folk and r'n'b in shifting turn, guilelessly tactic and soulfully expressive. And up front with Bonny is the bewitching Dawn McCarthy of Faun Fables. Her vocal flights on those records can hardly prepare one for the intimacy and empathy of her harmonies and other voices on The Letting Go."
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DVD-AUDIO
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DC 420-5.1DVD
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DVD-audio version. Digital 5.1 DVD-A Surround Sound.
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viewing 1 To 25 of 38 items
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