Product Description

Bright with guitars and harmonies, Lie Down in the Light is a fresh new album from Bonnie 'Prince' Billy. His vocals are at their most expressive, a judiciously dynamic and tuneful performance. Behind and all around is a subtle backdrop of percussive slaps and shakes, touches of keys and steel, loving harmony-vocal arrangements and other sweet surprises that will send fans back to their auto-erotic dungeons, fresh toys in hand. Lie Down in the Light is the ever-searching soul of Bonnie 'Prince' Billy.

Track Listing

1. Easy Does It
2. You Remind Me Of Something (The Glory Goes)
3. So Everyone
4. For Every Field There's A Mole
5. (Keep Eye On) Other's Gain
6. You Want That Picture
7. Missing One
8. What's Missing Is
9. Where Is The Puzzle?
10. Lie Down In The Light
11. Willow Trees Bend
12. I'll Be Glad

Product Details

• Amazon Sales Rank: #14099 in Music
• Released on: 2008-05-20
• Number of discs: 1
• Dimensions: .20 pounds

Amazon.co.uk
Will Oldham has built a reputation as a singer-songwriter who taps into a bleak folk tradition as old as America, so the sound of Lie Down In The Light, his sixth studio album under the still confusing pseudonym Bonnie 'Prince' Billy comes as something of a surprise. Whichever way you look at it, this is an upbeat, uplifting record, almost sunny in outlook. Dedicated fans might not prefer him this way (many consider his first record under the name Palace Brothers, the timeless, stricken There Is No One What Will Take Care Of You to be definitive), Lie Down In The Light is undeniably charming and rather witty with it. Take the unexpected clarinet that turns the conclusion of the already rather daft "For Every Field There’s A Mole" into something as light as a silent movie soundtrack, or the way that the otherwise saturnine "Where Is The Puzzle?" remains unresolved. Ashley Webber, once of Canadian new wavers The Organ, duets but even her mournful contributions can’t deflect from Mark Nevers’ skillful production. Only the title track, following an often used Oldham chord change, really sounds generic. Oldham obviously remains set on creating a determinedly solid body of work, but the odd soufflé, such as Lie Down In The Light, doesn’t come amiss.-- Steve Jelbert

Customer Reviews

Redemptive, moving, beautiful. One of Will Oldham's very best. Freak Folks move over.
For those still under the spell of Will Oldham's majestic "The Letting Go" this latest Bonnie "Prince" Billy album may at first seem a disappointment. It enters with a warm, countrified splash of fiddles, banjo, piano and vocal harmonization, with an air of CSN or the Grateful Dead. An old fan may ask, where is the "darkness," the incest, murder, dissimulation? With repeated listenings the subtle enchantments of Oldham's lyrical song cycle grow, organically emerging from strange and beautiful, unfamiliar areas of the heart and mind.

The chameleonic, Kentucky-native Oldham has always hidden his gnomic and gnostic creations within wizard's cloaks and veiled meanings. Performing under the names Palace, Palace Music, Palace Brothers, even his own name, he has adopted a moniker derived from the young Jacobite pretender, Bonnie Prince Charlie, and from William Bonney, a.k.a. Billy the Kid. Throughout he has been a consistently intriguing and strangely moving songwriter, capable of raw sincerity and piercing insight. But in recent years he has forgone the croaking wail and atonality he had used to hide his oddness and mysteries, dropping the off-key guitars and lo-fi sloppiness, favoring beautifully and subtly produced albums.

Never content to stay in one mode or style, the "Prince" shifts, changes and dodges with each record. This album is more straightforward than his Valgeir Sigurdsson-produced previous album. He has left the Icelandic mood behind for down-home Nashville, under Mark Nevers' production. Ashley Webber's lovely vocal duets and backgrounds, organ and pedal steel, Shahzad Ismaily's multi-instrumentalism, even a row of wrenches and clarinet give it rich, grounded space. And Oldham has never reached more deeply into the human universal lyrically or vocally. "Lie Down in the Light" dispels the "freak folk" label, and should drive the likes of Devendra Banhart back into their caves in shame.

On the cover a comic image--a muscle-bound manly man wrestling a green, Hulk-like angel with psychedelic wings--suggests (and lampoons) the serious depth of the album's themes. "I know my way around the world/It's a circle and it starts and it ends." This cycle, like the seasons and stages of life, begins with roots and ends in enchanted reconciliation. From "good earthly music," home and family, love and exultant public eroticism, through suspicion of human motivation, loss and death, it moves toward the spiritual with a playful sense of humor and grace. He regards the cosmos, which we can never fully understand: "For every king there's a crown, and every time I look around, I am the king of infinite space." Occult and full of potential, this line is actually from a song likening the human to a blind mole in the ground.

Hope and fond irony abound, despite tragedy and obstacles, rather than resignation. Through lists of loss and human incapacity in "What's Missing Is," to recognition of human folly and consequent transcendence in "Where's the Puzzle?" the realization is, "Why do you frown /Why do you try/Why don't you lie down in the light?" Then "Willow Trees Bend" suggests a new salvation: For every man alive there is a fire/And for every king a crown..../When faced with your fire/I will surrender to You." The near-Gospel "I'll Be Glad" offers hope and levity, with its choral backup and allusion to a child's rhyme and Christ as shepherd: "Lord, wherever you go you'll always have me around." This is the "song that does not end." It is life. And yet he holds to the earth and longing for "new harmony on an awesome scale": "The song is a man and a woman, and everything else." For those with ears to hear this album is a wonder not to be discounted. Hail Saint Billy! 4 June 2008, Willow Creek, CA.

He Doesn't Have To Be Dark To Be Brilliant
I'm just going to go ahead and say it: I think this is in the running for the best lp Will has ever recorded. Of the 20+ recordings of his that I own, I have found something quite so immediately and sustainably affecting as this album. He somehow manages to incorporate the best elements of everything he has ever recorded--from 'Get On Jolly' to 'Days In The Wake' to 'Ease On Down The Road' (a fairly representational spectrum of his sound)--and does so with a smirk and a handshake. Warm, intoxicating, and beautifully recorded, file this next to your other 49 favorite records of all time.

NB: Trk. 4--For Every Field There's a Mole, Trk. 6--You Want That Picture (Ashley Webber's vocals are really beautiful here) Trk. 9--Where Is The Puzzle... etc etc etc

One of the most unique and gifted songwriters of the modern era
Will Oldham is one of the few artists who can actually prove the "less is more" theory. Even with simple song structures and sparse instrumentation, his songs still sound rich and full of life. There's only one way to accomplish that... great songwriting. If you're new to Will Oldham, start with 1999's "I See a Darkness" and work through chronologically to this one. I assure you, if you can appreciate good music, it will be an enjoyable ride.