SONIC REDUCER Skip the cherries — life at times seems like a big fat bowl of Froot Loops — the type that figure-eight, undulate, and connect in the most unpredictable ways. For instance, Bonnie "Prince" Billy, né Will Oldham, and his ungainly, increasingly ecstatic shadow folk-country — that association's only right and natural. Oldham and Gen X cinematic hot-spring stoner sagas — it's altogether plausible. But Oldham and Diddy, the Bad Boy impresario identified in his own PR literature as a "mogul" before proffering the job title "artist" — huh?
What could these two possibly have in common apart from their age, 36? It's a logical leap if you study Diddy — arriving about two hours late for his recent roundtable interview at the Ritz-Carlton with absolutely zero Burger King Whoppers for yours truly and the other journos who were ready to gnaw their own typing arms off in hunger and antsiness. Instead the mogul packs a makeup artist and hair man (who brandishes a far-from-puffy comb — sorry) and plays us no tracks from his new, still-scarce album, Press Play (Bad Boy/Universal), yet carries it in his bejeweled hand like a salesman. (Perhaps in answer to the inevitable query: with fashion design, artist development, reality TV, label jockeying in his past, and DiddyTV on YouTube currently serving up alleged shots of Sean in the john, why does he even bother making an album? Diddy's comeback: "It's a gift and curse, because I do so many things. I'm making sure people know how serious I am about music.")
Well, Diddy and Oldham name games are the most obvious thread. Like Diddy, a.k.a. Puff Daddy, a.k.a. P. Diddy, a.k.a. Puffy, a.k.a. Sean Combs — Oldham is a man of many hats, personae, songs: a humble troubadour, a rambling tangent-exploring interview, a perpetual touring player, a before-his-time out-folker, a Hollywood-shunning onetime teen star of Matewan. At one point it seemed like he had a recording name for his every sound, if not every album — Bonnie "Prince" Billy was just the latest handle in a line that included Palace Brothers, Palace, Will Oldham, and at least one disc that sported no name at all. It was disorienting, delirious, and hard to track, and at times it just made you want to throw your hamburger mitts up, shave the nearest beard, and beat yourself around the face and neck.
Oldham probably feels much the same after fielding the same question repeatedly, explaining that he once thought of his albums much like films or plays and wanted to label each uniquely. "I thought it would be a way of focusing things on each record," he says from his native Louisville, Ky. "People would say, 'I like this record,' rather than 'I like the music of ...’ I didn't realize that it was sort of a definitely pointless battle — to see about maybe trying to make people focus on records as independent entities rather than representations of an individual's or group's work, and it became sooo energy-expending to always explain this name thing. I was finally just, like, 'This is just bullshit.’"
And if Diddy and his whirlwind junket offered little apart from the lingering impression that for some reason it was critical for him to leave the scent of power and money (he's reportedly worth $315 million) on local media — then Oldham is his opposite. On time and generously unearthing the contents of his mind, he's disarmingly candid and eager to dive into the depths of his past, untangling his feelings and thoughts about acting, recording, and mentoring (he famously championed a solo Joanna Newsom and played her music for their label, Drag City). Yet unlike Diddy, who appears to be jetting around the country in search of the artistic credibility he first found in music as a producer, Oldham has never been more on top of his so-called game.
His new album, The Letting Go (Drag City), is the worthy, relatively full-blown, and outright beauteous studio follow-up to his 2005 stunner Superwolf with Matt Sweeney.
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