On the cover of his latest album Will Oldham's portrait looks more like a bare skull than a human head, the sleeve is reminiscent of Neil Young's Tonight's the Night. Because of this grim cover and the album's portentous title I was expecting a much darker affair, but this is anything but dark. Oldham has sketched out a country album that has far more in common with the cheerier parts of Young’s Nashville recordings. Employing over a dozen musicians for these sessions, Oldham has made his slickest album yet but without sacrificing the soul of his music.
The kitchen sink production could have been a disaster but aside from the odd over-arrangement (is a saxophone ever necessary in country music?), the large range of instruments being used works in the music’s favor. The band is culled from Oldham’s touring group of last year, which is normally a good sign as the musicians have time to build up a rapport before entering the studio. The band sounds like they have been playing together for many years rather than just one. Emmett Kelly’s guitar provides a mainstream country confidence as a foil for Oldham’s more rustic flair. While Jennifer Hutt’s violin and occasional pedal steel from Greg Leiscz pushes the music further into a typical Nashville sound, the inclusion of accordion and marimba give the music a feel that escapes the traditional borders of country music.
Without doubt this is the kind of album that could serve as a crossover for Oldham to a new and more commercial audience. His lyrics are safer than they have been in the past and the smooth production makes the songs easier to swallow. However, to suggest that this is some form of selling out on his behalf is silly. I always got the feeling that Oldham would make a straightforward country album if he could and like the aforementioned Neil Young, his foray into straight country has not come at a cost to his integrity. The songs here are as strong as ever (and it is a marked improvement on the somewhat lacklustre Lie Down in the Light) but while there is not a bad tune on Beware, I must admit that some of them are better than others. “My Life’s Work” takes a lot of the joyous fire that has been present in his live performances with jubilant lyrics to back up those flames. “I am Goodbye” sees his sense of humour come through, belting out the somewhat grisly lyrics with good spirit.
The rough edges may have been planed off but Oldham’s charm still shines through these polished recordings. Beware shows his Bonnie ‘Prince’ Billy character in decidedly less morbid form than the man who sang about being a wolf among wolves. Here he doesn’t see a darkness, he sees a light. Anyone still expecting the Bonnie ‘Prince’ Billy of ten years ago would be better served ignoring Beware but anyone who genuinely enjoys good songs could do far worse than listen to this.
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