“There Must Be a Someone” (2021) – Matt Sweeney and Bonnie “Prince” Billy

“There Must Be Someone” (2021) – Matt Sweeney and Bonnie “Prince” Billy * Written by Vern, Rex, and Cathy Gosdin * Album: Superwolves * Label: Drag City/Palace

You, too, would adopt a stage name with the carefree connotation of Bonnie “Prince” Billy if you enjoyed such longtime critical attention and TLC as Will Oldham. On Superwolves, he shares billing with producer/guitarist Matt Sweeney. Two standouts: 1) “Hall of Death, one of three songs to feature guitarist Mdou Moctar, but going even further by including an additional three Moctar bandmates, thereby vaccinating it with Nigerien Tuareg musical immunity; and 2) “There Must Be a Someone,” covering a 1968 Gosdin Brothers track wherein 4/4 is changed to an Otis Redding 6/8. Another tweak explodes the surface-level pathos in the song’s yearnings for love, acceptance, and friendship: Oldham sings, “Why can’t a man be accepted for what she has to be.” (The Gosdins, of course, went straight “he.”) It comes off, on one hand, as a gag, leading you to think that you now “get” the gender-confused singer’s self pity. Could Oldham be poking fun, along the way, at gender dysphoria icons Antony and the Johnstons and their “Hope There’s Someone” (2004)? Or is he being sincerely PC, on the other hand, and presenting the pronoun switch as fair play and/or food for thought? That the motivation is so unclear is probably what made it worth doing.

 

“My Baby Wants a Baby” (2021) – St. Vincent

“My Baby Wants a Baby” (2021) – St. Vincent * Written by Annie Clark * Album: Daddy’s Home * Label: Loma Vista

The “look at me” messages in St. Vincent’s cover art follow a fame arc. Album one (Marry Me, 2007) is the introductory entreaty, where she needs us to look her in the eyes. On album two (Actor, 2009), she needs us to keep looking, but she’s no longer obliged to meet our gaze. Albums three (Strange Mercy, 2011) and five (Masseducation, 2017) make do with St. Vincent body parts, while on album four (St. Vincent, 2014) she surveys us from a throne. Album six (Daddy’s Home, 2021) shows an altered, I-never-knew-ye Achtung Baby St. Vincent. She’s looking us in the eyes again but we don’t recognize her. On this album she sings a song called “My Baby Wants a Baby” in which she wrestles with and rejects the notion of familial dependency and responsibility. (Her audience may perhaps feel a Freudian inclination to read themselves into this.) Has anyone noticed that she sings it to the chorus melody of Sheena Easton’s 1981 hit “9 to 5 (Morning Train)”? That hit single was an ode to the straight world, and a songwriting credit to Florrie Palmer might have given St. Vincent’s distaste for that in this song even more clarity.