Bonnie "Prince" Billy
Bonnie "Prince" Billy Sings Greatest Palace Music

THE REVIEW

Return to Nashville.

A little over a year ago, Bonnie “Prince” Billy, also known as Will Oldham, a singer and guitarist from Louisville, released “Master And Everyone,” in my opinion one of the most beautiful and moving albums of 2003. For this reason, as soon as I saw this new work, I grabbed it without a second thought, despite it being considered a kind of “the best of…”, which I’m generally not particularly fond of. “Greatest Palace Music” (Domino Records – 2004) is, in fact, a collection of some of the most famous songs by Palace, a folk-country group founded by Oldham in the early '90s. The songs, chosen after a survey among the group’s fans, have been subjected to new arrangements, reworked, and reinterpreted by Will Oldham, who involved Mark Nevers of Lambchop in the album’s production, who had already been in this role in “Masters And Everyone.” Not just a simple anthology, therefore, but a reinterpretation of Palace's musical history.

Despite these interesting premises, I confess that the album initially left me a bit puzzled. I did not expect to find such a serene atmosphere in these songs, in clear contrast to Will Oldham's recent productions, undoubtedly more introspective, dark, and bitter. Even Oldham’s voice is clean, calm, less painful than before. In fact, thinking about it afterwards, the bright colors of the cover could have been a warning in this regard. Furthermore, contrary to the simplicity and minimalism of Oldham's other works, I was surprised by the richness of the arrangements and instruments in the album, which unfolds between piano, violin, acoustic, electric, and steel guitar, mandolin, horns, choirs, and vocal duets.
Surprised, yes, but not disappointed. Indeed, once I got past the initial superficial listens and completely forgot my expectations, I managed to appreciate this work as a whole. A record of softly flowing American folk country, perhaps not exciting and too traditional, but spontaneous, honest, well-done, carefully crafted, clear, presenting some small and delightful gems like the vocal duet with Marty Slayton in “Agnes, Queen Of Sorrow” or the emotional final crescendo of “No More Workhorse Blues” together with David Berman, or the instrumental delicacy of “Gulf Shores”.

Not bad at all then, but only if you love classic country folk and the atmospheres of Nashville, otherwise don't bother. Four stars rounded up for excess.