Ben Folds Entertainment Art “Songs for Silverman” (Sony) Entertainment Art “Songs for Goldfish” (Sony) Entertainment Art “Whatever and Ever Amen (Reissue)” (Sony)

I acquired and reviewed the EPs as they came out during 2002-2004 and, at 5 songs each, none was skimpy, and all contained completed works, not the usual demo tracks or alternate takes that often comprise such releases. The newest EP, though, “Songs For Goldfish,” sounds more that way, what with tracks entitled “Weather Channel Music” and “Radio Jingles for Tokyo’s Inter-FM.” This is the sort of fan club stuff last found on the contractually obligated throw together “Naked Baby Photos.” Some of the live tracks are solid and the selection comes from all over the Folds catalog, although another version of the Cure’s “In Between Days,” which already appeared on another EP seems redundant, and the version of “Rockin’ The Suburbs” seems included just so Folds can say ‘fuck’ another dozen times. The most compelling tracks on “Goldfish” are “Hiro’s Song,” which missed the cut on the original “Suburbs,” and another cover, Lucinda Williams’ melancholy “Side Of The Road.”

Also a mixed bag are the bonus tracks on the reissue of “Whatever And Ever Amen.” The original 12 songs are remastered, but only serious audiophiles will be able to tell the difference. Read the liner notes from Folds, Robert Sledge, and Darren Jesse for more fun and insight on the sessions that produced the album and most of the Bonus material, some of which are one- or two-listen novelties, like “Song For The Dumped” sung in Japanese. Other tracks are notable mostly for Sledge’s and Jesse’s co-writing credits, while the covers (of Flaming Lips’ “She Don’t Use Jelly” and a terrific version of the Buggles’ “Video Killed The Radio Star”) should end up on a lot of IPods and mix CDs.

Which brings us to the main release: “Songs For Silverman.” Perhaps most important is that Folds has finally settled on a new band. As in its predecessor Ben Folds Five, there’s a regular drummer (Lindsay Jamieson) and bassist (Jared Reynolds) aboard, along with a bunch of guests, including co-producer/partner in crime John Mark Painter, pedal steel guitarist Bucky Baxter, and even Weird Al Yankovic. They’re good players, but the project as a whole lacks the fire and drive that has marked Folds’ other post-Five work. It could be that the songwriter just isn’t very ticked off about anything, writing more reflectively and pensively.

The opening track, “Bastard,” is the most ambitious, featuring a typical Folds story of staying cranky as we age, a catchy chorus, and a swelling finish. Ben and his mates also emphasize harmony throughout (Yankovic’s lone appearance is on harmony vocals), which, along with the occasional fuzz bass echoes earlier BF5 material. Surprisingly, one of the strongest songs on the set is the sentimental “Gracie,” written about his five-year-old daughter. If you’re a parent of small children, the image of not wanting to move your arm after your kid falls asleep in your lap will totally hit home. The DVD is a separate disc on the deluxe edition, but the regular edition includes the DVD on the back of the CD. This, and the pocket book size cover and look appear to be the only differences between the two editions – no bonus tracks on the deluxe. But the sometimes dull ‘making of’ approach of the DVD works here, as Folds and his cohorts put many of the songs in a context you don’t get from the songs by themselves. Most compelling is Folds’ take on the song “Late,” about the late, lamented musician Elliot Smith.

BTW - I’m not a downloader, but Folds is also making a splash, at least on college radio, with his cover of Dr. Dre’s “Bitches Ain’t Shit,” available on the Net.

Write Comment
Name:	Guest
Title:
Comment:
Code:*

Powered by AkoComment 2.0!