Bonnie ‘Prince’ BIlly Shares Ramones Cover Feat. David Berman

Since the beginning, Drag City Records has survived on the depth of the talent on their roster and an approach that has allowed their artists the freedom to create and evolve organically. Jump back 30 years to early SMOG albums like Julius Caesar and the aptly named Forgotten Foundation, or take a listen to the first Silver Jews EP, Dime Map Of The Reef and then try to imagine that the men behind that distorted lo-fi clatter would ever conjure up a Sometimes I Wish We Were An Eagle or an American Water in their future. Whether Drag City could prophesize such evolution or recognize an even greater depth to their abilities may not even matter; they saw value in the work and put trust in its creators. These types of partnerships are rare and if most other labels decided to put their unwavering faith in artists the way that the Chicago indie so often has, the odds are that it would be short-lived — I’m looking at you Royal Trux. At any rate, Bill Callahan and David Berman have long remained two of my all-time favorite songwriters/poets/lyricists and one label housed them both. Rounding off the trifecta of affecting troubadours is the man best known as Bonnie “Prince” Billy. Arguably more prolific in his output, Will Oldham already had the bones of his sound assembled back in the pre-Bonny days when he was still rotating between the monikers Palace, Palace Brothers, and Palace Music. Among releases by acts ranging from Stereolab, Pavement, and Gastr Del Sol to Red Krayola, US Maple, and Flying Saucer Attack; Oldham, Callahan, and Berman were not only able to carve out their own distinct space within their own label, but became like an island of pure songwriting in the greater musical landscape at large. But while many of us may view this trio as the core of a “very Drag City sound,” each one of them has often felt like a very individual force existing in separation from one another within the same universe. If any one of these three was going to bridge the gap with the other two it was going to be Will Oldham.

Two weeks after David Berman passed away in August of 2019, I woke up to see videos of Bill Callahan covering a pair of Silver Jews songs during a show at Webster Hall in NYC. One had to suspect that they had love and admiration for each other’s work, but it was such a raw moment to witness him pay tribute to his friend the way he did. As he stated, “With David gone… everything’s different.” Tears poured down my face as I lay in bed, just as they do now as I listen to the clip and type this. As a fan of both, I guess I’d always wanted to see those two worlds collide in some direct way and no one could have done a better job of covering DCB‘s work or making it feel more poignant than his fellow baritone.

Whether David‘s passing was a partial catalyst, or it was simply the oncoming isolation of the pandemic, a much more open expression of love and admiration for one another began pouring out among the family of Drag City artists. Initially, I recall Oldham playing a John Prine cover on his Instagram account right before Prine contracted covid and passed away from the illness. Reaching out to friends like Callahan and David Pajo to play and sing together from their respective lockdowns, the IG videos would continue. Eventually, it was unveiled that there would be a joint Bill Callahan & Bonnie ‘Prince’ Billy album titled Blind Date Party, consisting of the duo tackling covers by artists they “loved and admired” while accompanied by different artists that they also “loved and admired” from the Drag City stable. The pair would settle on a song and then shoot an email to an unsuspecting artist to contribute to it — hence, the “blind date” aspect — before having the tracks sent back to them for “finishing touches.” Among the artists covered were Yusuf Islam, Hank Williams Jr., Billie Eilish, Steely Dan, Lou Reed, Robert Wyatt, Leonard Cohen, and Iggy Pop with the help of contributors like AZITA, Matt Sweeney, Alasdair Roberts, Matt Kinsey, Bill MacKay, George Xylouris, Dead Rider, David Pajo, Mick Turner, Meg Baird, Ty Segall, Emmett Kelly, Cory Hanson, Six Organs of Admittance, Sean O’Hagan, David Grubbs, and Sir Richard Bishop. Of course, Bonny and Callahan each slipped in a track of their own for good measure, but the most notable moment was their cover of the Silver Jews track “Wild Kindness” featuring David‘s wife and bandmate, Cassie Berman. While the rest of the songs on the LP saw the pair primarily aided by one or two specific collaborators, the cover of Berman‘s tune featured pretty much everyone involved on the record, bringing the total to over 20 artists/admirers singing their hearts out in mourning and celebration.

From his work with Matt Sweeney as Superwolves, the Continental Op record with Pajo, his joint effort with Bitchin Bajas, or releases by Bonnie ‘Prince’ Billy and the Cairo Gang, Oldham has always displayed an interest and belief in the value of collaboration. Berman, on the other hand, seemed to have a much different perspective. When I interviewed David back in 2009, after the dissolution of “The JOOS,” I asked him about the idea of collaboration. Here’s how that went:

ME: The albums that include Stephen [Malkmus] show obvious points of collaboration and Cassie’s vocal and musical contributions add a lot and compliment the songs nicely. Over time, however, the Silver Jews lineup has shifted around quite a bit and your voice as an individual artist has gotten stronger and more prominent. How did you approach collaborations and has it changed over the years?

DCB: I found near the end that to be the most difficult part. I don’t think I’ll collaborate on art again. It’s a good thing for young people.

I own a fairly weird short-run novelty 7-inch record titled, Mr. Jews…The Search For The Elusive Silver Palace Record, which, although generally credited to David Berman and Will Oldham isn’t really a collaborative album, at all. Not only were neither of them directly involved in its creation, the concept behind it actually involved Drag City‘s Rian Murphy “interviewing” the artists on each respective side to find out if an “elusive” rumored collaboration called ‘Silver Palace” would ever actually be completed and see the light of day. Their “responses” to his questions are just soundbites cut directly from each of the individual songwriter’s own material. It’s true that their names have been credited on each other’s releases in select instances — David as a “Voice Coach” on one occasion — but even that has been minimal.  Referencing Oldham specifically, I followed up my initial question to David by asking if he “would ever be interested in doing more things like that where the main focus and weight of a project isn’t solely on [his] shoulders?” His answer was simple: “I don’t think so.”

Once DCB teamed up with Jeremy Earl and Jarvis Taveniere of WOODS to release his final album — and first, as Purple Mountains — I had to wonder if he’d rethought his idea about collaboration being only good for the young. Thinking back on the idea of a mythical “Silver Palace” album, it’s easy to wonder what, if any, unreleased recordings might exist out there for a beloved artist that left us far too soon. Today, one such recording has surfaced, and, not only is it a collaboration, but it’s a song with none other than Bonnie ‘Prince’ Billy, himself. Furthermore, it’s a cover of a song written by another musician who died far too young.

Originally appearing on the 1983 Ramones album, Subterranean Jungle, Dee Dee Ramone wrote the song “Outsider” as a driving tune about a fringe-dwelling outcast who’s had his share of being jerked around by society. Oldham approaches the song with a more pastoral, reflective, and somber take, complete with warbling western guitar work from Chris Scruggs (of the Fabulous Superlatives) and William Tyler and restrained percussion by longtime collaborator, Pete Townsend. The gem, of course, is being able to hear Berman‘s voice again, this time spilling in at the bridge to announce that he’s “all messed up” but “already had all [his] fun.” The brilliant cross-stitch featuring BPB, Dee Dee, and DC Berman that operates as the cover art for the single was created by Oldham‘s wife, artist, Elsa Hansen Oldham.

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Produced in 2016 with Mark Nevers, a digital version of the song is currently available for purchase through bandcamp. We don’t know if this recording is a one-off at this point, or if this is part of some greater Bonnie ‘Prince’ Billy project to be rolled out in the future, but as for now, we’re just happy that it’s made its way out to the public.

Check out the original version by the Ramones below followed by a list of upcoming Bonnie ‘Prince’ Billy live dates.

Bonnie ‘Prince’ BIlly Tour Dates

8/13/22 Woodstock Town Hall Theatre Woodstock VT*^

8/14/22 Nova Arts Keene NH*#%

8/15/22 the Shea Theatre Turners Falls MA*@

8/17/22 Mill No. 5 Lowell MA*~

8/18/22 Black Birch Kittery ME*!?

8/19/22 SPACE Portland ME*+

8/20/22 Brattle Theater Cambridge MA/

9/14/22 The Chapel San Francisco CA {}

9/15/22 The Chapel San Francisco CA>

9/16/22 Kuumbwa Jazz Santa Cruz CA&

9/17/22 Hubba Winery Paso Robles CA&

9/18/22 Henry Miller Library Big Sur CA&

10/23/22 Brooklyn Folk Festival Brooklyn NY

11/4/22 Channing-Murray Foundation Urbana, IL

11/5/22 Fitzgerald’s Berwyn IL=

early show

11/5/22 Fitzgerald’s Berwyn IL=

late show

11/6/22 Shelton Auditorium Indianapolis, IN

* with Footings

^ with Empath

# with Myriam Gendron

% with Party of the Sun

@ with A.P.I.E (Animal Piss Is Everywhere)

~ with Charlie Chronopoulos

! with Dead Gowns

{} with KidiBand

> with Ari Micich

? with Modern Fools

+ with Asa Irons

/ with Damon & Naomi

& with evicshen

= w/ Jon Langford