CD Odyssey Disc 1906: William Prince

I apologize the stretch between posts. This was a combination of a heavy work schedule and being out on Tuesday night at a concert when I’d ordinarily be at home writing.

On the plus side this means that we get a bonus concert review – it appears immediately below the end of this studio album review, as is traditional here at the Odyssey.

We also have a new streak to track: albums made by people named William. As of this next record it stands at two.

Disc 1906 is… Further From the Country

Artist: William Prince

Year of Release: 2025

What’s up with the Cover? The aforementioned Mr. Prince, looking contemplative against a backdrop of sunset and stars.

How I Came To Know It: I was already a fan of William Prince through his 2020 album “Reliever” (reviewed back at Disc 1476), and check in on his new albums when they arrive.

How It Stacks Up: I have two William Prince albums. Of those two, “Further From the Country” narrowly lands in second. No shame – I just liked “Reliever” slightly better.

Ratings: 3 stars

Life’s not fair. Some of us get our one and a half octaves of scratchy/dodgy tenor and some of us get the rich velvet baritone of William Prince. Fortunately, through the power of technology, that glorious voice can travel with us in our homes, cars and walks. I had this record going for a full week and enjoyed it in all three of those venues.

“Further from the Country” is aptly named, as Prince explores arrangements and approaches that feel more atmospheric and mystical than previous efforts. No doubt this is partly the influence of members of Boy Golden.

That said, the opening – and title – track had me nervous. It was a bit too meandering and atmospheric for my tastes, and I felt nervous that my beloved baritone troubadour would be drowned in a soup of production.

Alas, my fears were ill-founded as after that opening experimentation, Prince returns to a more well-trodden country foundation. Yes, it’s a thicker sound, and there’s a piano rounding things out, but the tunes still have their foundational bones in back roads and pickup trucks, just as I like it.

The songs have the usual introspective qualities of William Prince’s earlier work, many focusing on exploring memories of his father, or just earlier wilder times. The songs don’t celebrate that wildness but rather seek redemption for any hurt caused along the way.

The best song for this (and my favourite on the album) is “All the Same” which starts with this heartbreaking scene:

“I had a good friend
Life cut short by his own hand
Everybody but his old man
Seemed so surprised

“He was a younger man than I
Didn’t think to say goodbye
Now the last time that we spoke’s the last time.”

Hard words, but Prince has a talent for taking on hard subjects – suicide, substance abuse, violence – and giving them grace and a safe place to explore from. It isn’t sugar coated, and lines like “and my hand’s messed up/from a fight I had to finish” shows that it ain’t ever as simple as just saying, “don’t do that”. Life’s complicated, but forgiveness is there if look for it.

The other standout is “The Charmer” a song dedicated to Prince’s father, a gregarious fellow who right to the end was even charming the hospital nurses. The love is evident, and the gentle, meaningful ways that Prince explores loss – supercharged with the velvet power of a voice – is transformative.

There are some songs I didn’t love. As noted above, the opener was too diffuse and unfocused for me, and “Thousand Miles of Chain” felt like a song that didn’t know what it wanted to be, but these are minor quibbles. Overall, another fine record from an artist who still has the magic in both his voice and pen.

Best tracks: For the First Time, All the Same, Damn, The Charmer

The Concert: March 2, 2026 at the Royal Theatre, Victoria BC

I always enjoy a show at the beautiful Royal Theatre, and we were particularly excited (thanks to Sheila’s excellent selection) to have seats right on a break between rows, leaving plenty of legroom. Mostly, though I was excited to see not one, but two artists I like, having just found out earlier in the week that the opener was Boy Golden (his previous release, “For Jimmy” was my #1 album of 2023 (Disc 1699)).

Boy Golden

Boy Golden took to the stage with the self-possessed dignity of a band that knew they would own it, and did not disappoint. My previous time seeing them there was a jubilant slightly manic feel to the performance. That energy was still present, but it had softened around the edges and their ability to hold the crowd in more subtle ways was on display.

The band played a short but well-structured set that included old favourites from previous records, but focused on their new material which was, according to frontman and creative force Liam Duncan, “mostly bangers”. Sure.

The guitarist (name escapes me) played with a sublime softness in his tone that suited the blend of country wisdom and grass-stained feel of many of the songs (n.b. – not the kind of grass you lie down on). He had three guitars and one had an incredibly large whammy bar. I know it’s not about the size of your whammy bar, but how artfully you pull on it, but still, just sayin’. It was large.

The drummer (apologies – again missed her name) was well loved by the audience and had a set of pipes on her she showed off in two songs (one as a lead, one as a duet). She played portions with brushes that leaned into the soft and rounded feel of the guitar.

I was sad to see Boy Golden off so early (the fate of all openers) and much as I love William Prince, if I’d had my druthers I’d have swapped headliner and opener.

William Prince

When William Prince came on stage there was a prolonged period where the stage was black and ambient music played and it all felt very psychedelic rock and roll for what was, ultimately, a country show. I kinda liked it, and it primed the crowd and made sure everyone was paying attention.

Including himself, Prince fronts a seven-member band which is a lot of members for someone who isn’t, you know, Prince. One more band member and Canadian law would have required all the songs to be played as ska.

The set list was exactly the right mix of new and old, and if anything I enjoyed the records off the new album better live than on CD, which is always a good sign. (If Neil Young had been there, he’d have moved a motion that “live music is better” bumper stickers be issued. IYKYK…

New album highlight was the song “The Charmer” in honour of his father, and he gave the audience (including me) what they wanted with the old favourite, “The Spark”. I would have liked him to work “The Gun” into the set, which is one of my old faves, but a concert should always leave you wanting more.

During the encore the audience (many of whom were clearly veterans of Prince’s live shows) shouted out tunes, and to my surprise he agreed to play one – “Goldie Hawn”. I’m pretty sure it was improvised, partly because he briefly jumped a verse, before correcting himself with an impish smile that shows he has inherited no small part of the “charmer” from his father.

Prince has a truly thankful and humble quality to him that draws you in and makes you feel he’s as happy to be there as you are.

As for the crowd, they were one of the best crowds I’ve spent an evening with in some time. They were thoroughly engrossed in the show, gave great feedback and were careful to not be disruptive of other people’s good times while having theirs (one woman stood up in front of people during “The Spark” but it was one song only and she was really excited to hear it, so we shall give her a pass).

Best of all, there were nary a cell phone raised anywhere in my vision. Apart from a few discrete pictures people were there to engage with the music directly, not prove later on Tik Tok they’d been there. Awesome, and something for us all to learn from.

Sheila and I talked to the folks sitting near us, all of whom loved William Prince a lot - one couple had seen him seven times. All crowds should be this great.

The merch table was also solid, with a good selection of shirts n’ stuff. One guy sitting nearby said to me “that stuff is all garbage” but he was speaking generally of merch tables, not this merch table. Also, he was wrong. It’s another way to support the band, mister and also keeps me from being denied service at local restaurants for want of a shirt.

Overall, this was a fine show, with two great acts, both of whom I’d seen before, and both of whom I would see again.

CD Odyssey Disc 1775: Boy Golden

It’s my second album from 2021 in a row. Did I buy a lot of music in 2021, you ask? That’s a silly question. I buy a lot of music every year.

Disc 1775 is…Church of Better Daze

Artist: Boy Golden

Year of Release: 2021

What’s up with the Cover? A lot is going on with this cover, which depicts a cutaway view of an eight-story building – possibly the titular Church of Better Daze – with all manner of events taking place. Pets run about, people play guitars and sleep (not at the same time) and various passages run away into the distance to new worlds.

At the very top we have someone who looks to have achieved enlightenment, but unlike every other floor, there’s no obvious way into that room. Ain’t that the truth.

How I Came To Know It: My friend Casey discovered this band, and I joined him at a live show to see what all the fuss was about. I liked what I heard and bought both the CDs for sale at the merch table, this one and 2023’s “For Jimmy” (reviewed back at Disc 1699). 

How It Stacks Up: I have two Boy Golden albums and if you’ve been a careful reader to this point (or even have basic reading comprehension) you know which two. Of those two, “Church of Better Daze” comes in at #2.

Ratings: 4 stars

Listening to Boy Golden’s “Church of Better Daze” is to experience being a slacker without all the anxiety about being broke all the time. Don’t get me wrong, the characters in these songs are almost certainly broke. They just seem OK with it, as they dream of – you guessed it – better days.

Boy Golden picks the perfect musical style to pull off this lazy dreamy quality, with a record that floats languidly between folk and country. The air in these laid-back scenes is hazy and indistinct, but it’s probably just all the marijuana smoke.

Yes, Boy Golden likes to sing about the sweat leaf. Sometimes it is the star of the show, and other times it is secondary to his whimsical explorations of ordinary life. For the latter we get the crowd-pleasing jingle, “KD and Lunch Meat” a song replete with oohs, woos, and clever turns of phrase. A song so chill it turns eating KD and lunch meat into a victory. It is also very catchy and (I am told) a radio hit. I expect in ten years Boy Golden will hate playing it, but for now it’s a natural instant hit and those are rare and worth celebrating.

The title track doubles down on how to live a relaxed and righteous life. Boy Golden shows off his immaculate talent for phrasing and hazing as he trips through various protocols on how to smoke grass. 90% of the song is that and only that, but he finds time to provide a stanza of life advice which is worth passing along:

“You gotta follow your heart, make good art
Call your momma and work real hard
If you never ever cheat then you never have to lie
If you're in the right place, you never ask for the time”

Good advice, and it even ends with some helpful directions, metaphysically speaking.

The production is a bit on the fuzzy side, without a lot of low range. I’m a mid-range guy anyway, so that wasn’t a deal breaker, but it left things a bit diffuse on some of the less dynamic songs. I fully expect that’s what Boy Golden was going for, so fair enough.

“The Year That Clayton Delaney Died” is more of a cautionary tale that those cool and reckless guitar heroes of our youth are more likely to die young than get famous. Boy Golden doesn’t let the song get too heavy, choosing to see a tragic local rock and roller’s end through the adoring eyes of a young fan. For the most part we are spared the grimmer imagery, but the overall lesson is there if you’re willing to pick it up.

This song is the Rosetta Stone for decoding this record, which despite the general tone of hedonism, has a good heart at the centre of it all, and a lot more to say beyond just how to pass a blunt and eat on the cheap.

Best tracks:  KD and Lunch Meat, Something to Work Towards, Church of Better Daze, A Little Space, The Year That Clayton Delaney Died

CD Odyssey Disc 1699: Boy Golden

Today is my first day of a much-needed holiday break. So far, I have slept in with my cat and had a shower and since you’ll be reading this after I post, written this review. I plan to make myself more useful through the day, but a nice slow ramp up to useful is just what I needed.

Disc 1699 is…For Jimmy

Artist: Boy Golden

Year of Release: 2023

What’s up with the Cover? Despite some fashion decisions for the photo shoot, it is hard not love a man with a moustache and a mullet like that. Also, as Boy Golden himself sings on “Mountain Road”:

“Been wearing the same thing for coming a year
But I'm thinking of changing my style”

So there’s hope.

How I Came To Know It: Earlier this year, my friend Casey suggested I go see Boy Golden in concert. I didn’t know who Boy Golden was, but after listening to a few tracks on Youtube I decided it was worth my while. I am glad I did, as the live show was all kinds of awesome.

As for the album itself, I bought this one and another Boy Golden release (2021’s “The Church of Better Daze”) from the merch table at the show. I love getting albums at merch tables because it means more profit to the artist, and not some intermediary.

How It Stacks Up: This record and “Church of Better Daze” are my only two Boy Golden records. I haven’t given “Church” the attention it deserves to make a value judgment, but you didn’t come to this section of the review to watch me equivocate, and besides, it ain’t in my nature. I’m going out on a limb and saying it would be a great record indeed to displace, “For Jimmy” and for that reason I rank it #1, at least for now.

Rating: 5 stars

In the next week or so I’ll be considering my much anticipated (by a few) best releases of 2023. Expect “For Jimmy” to land high on that list. This record may be short (at six songs/22 minutes it is straddling EP territory) but it packs a whole lot of awesome into those 22 minutes.

“Just what kind of music is this, then?” You may ask yourself, as I did when my friend mentioned the show. I’d say it is outlaw country music, and at its core that is exactly what it is. Like Steve Earle accomplished 35 years ago, “For Jimmy” brings in elements of backcountry bluegrass and good old-fashioned rock and roll into something all its own. In many ways, Boy Golden is the inheritor to Earle’s groundbreaking early work, filling a much-needed space in modern music alongside folks like Hayes Carll.

The album is a well-balanced mix of self-exploration and party tunes, with the two concepts often crossing over one another. Consider, these lines from the aforementioned “Mountain Road”:

“Living is easy if you want to
Sure can be hard if you don't
Walking through the parking lots lost in your thoughts
Now you're standing at the No Frills alone”

Deep stuff, but mingled with cheap motels, it captures the grit and grime that binds this record together. The themes of “Mountain Road” echo through the record, returning full force on “Blue Hills”, a song laden with great observations, powerful images, and lyrics that send your brain down twisty passages you may not have walked in a while. I could quote the whole thing, but I’ll grab just six for you here:

“Out on the road, that's where I belong
Highway Ten's getting long
Dirt road junkies in their trucker caps
You don't get stopped by the cops when you look like that

“Where you get born ain't always where you're coming from
It matters more what you intend to become”

“Blue Hills” also has some sublime guitar work. Because beneath all the great songwriting and lyrics, Boy Golden is one hell of a guitar player.

“Aging Mr. Riley” is a tale of lowlifes engaged in fixing horse racing, double-crossing each other along the way. If you’ve been waiting for a worthy inheritor to Townes Van Zandt’s “Pancho and Lefty,” this is it. The tune even gives a nod to the melody from “Copperhead Road” for the bridge, just so you know that while Boy Golden is forging new trails, he’s also respectful of those who came before.

The record ends with “Out on the Weekend” which is a perfect reflection of what it is to chill with friends on the weekend. This song is hyper specific and yet universal to anyone fortunate enough – as I am – to be surrounded by good friends that you love and trust. Best (of many great) lines:

“In the garage, they're spinning some wax
Old country music helps me relax
So does a beer and we're throwing them back
Jen rolled a joint my God was it fat
It's a good time, I'm drinking coffee you're drinking wine”

So much in here, including that different people get their kicks in different ways, but they can still get them together. Here we've got three vices covered in six lines - four if you count old country music.

Better still is the exceptional phrasing of Boy Golden’s delivery, and the structure of the lyrics perfectly serving that phrasing. Some artists rearrange a sentence to force a rhyme. Boy Golden rearranges a sentence because it serves the song. It festoons his work with memorable punch lines and thoughtful observations that heighten the story or theme of the song every time.

My friend Casey initially sold me on this record by saying “it only has six songs but every single one of them is great.” He was right. This record was short, and I could’ve reviewed it on Tuesday, except I wasn’t done enjoying it. Instead I let it play over and over again for the better part of the week, loving it more and more with every listen.

Best tracks: All tracks