2008 Woodie Awards
Ben Folds
Solid arrangements, disgraceful lyrics
Eddie Schmid
Issue date: 10/1/08 Section: Diversions
For a man who spent the better part of his music career trying to shun the label of "novelty act," Ben Folds sure seems to have come to terms with the prospect. A few years ago, this shamelessness took the form of a tongue-in-cheek rendition of Dr. Dre's "Bitches Ain't Shit," a humorous but quickly stale b-side from the well-worn Dynamite Hack playbook, and what should have stayed a silly footnote became an exhausted show staple. Over a month ago, Folds toyed with fans by releasing a fake leak of his latest full-length, Way to Normal, featuring re-worked versions of actual album cuts that received a "Gotcha guyz!" explanatory spread in Rolling Stone.
While it's difficult to criticize an artist in the current music industry landscape for soliciting attention by any means necessary, the line of gimmickry should be drawn at the music itself. Thus, despite brimming with some of Folds' most thrilling arrangements in nearly a decade, Way to Normal's descent into cringe-worthy contrivances, eye-rolling pop culture references and misplaced self-awareness renders the album a disappointingly disjointed affair.
2004's maddeningly mediocre Songs for Silverman was an all-out lobotomy, neutered of any prior semblance of Folds' swagger in favor of an adult-oriented schlockfest that'd fit comfortably in tomorrow's "Delilah" show. If Silverman was his mid-life contentment, Way to Normal is Folds' mid-life crisis. Recorded after what appears to have been a bitter divorce from his wife of nine years, the song titles speak for themselves: "You Don't Know Me," "Brainwascht" and "The Bitch Went Nuts." Folds infuses an energy and direct approach in his songs unheard of since his output with Ben Folds Five, but he manages to frequently overcompensate in the process. As accomplished a musician as Folds is, it's difficult to picture how such a shallow and half-baked lyrical approach can fit into such exceptionally-arranged pop tunes.
Exhibit A is "Effington," a reflection from his tour bus using a cheeky lyrical motif already driven to the ground by any teen who's ever commuted on I-55: "Effington could be a wonderful f'ing place / I can see it from the highway / And I'm wondering / Are they f'ing in their yards? / f'ing in their cars? / f'ing in the trailers and the back roads and the parking lots of Effington?" Not only does he glaringly omit a nod to the city of Effingham, but Folds wastes a frenzied stop-start composition with a scorched-earth policy to a one-dimensional joke.
While it's difficult to criticize an artist in the current music industry landscape for soliciting attention by any means necessary, the line of gimmickry should be drawn at the music itself. Thus, despite brimming with some of Folds' most thrilling arrangements in nearly a decade, Way to Normal's descent into cringe-worthy contrivances, eye-rolling pop culture references and misplaced self-awareness renders the album a disappointingly disjointed affair.
2004's maddeningly mediocre Songs for Silverman was an all-out lobotomy, neutered of any prior semblance of Folds' swagger in favor of an adult-oriented schlockfest that'd fit comfortably in tomorrow's "Delilah" show. If Silverman was his mid-life contentment, Way to Normal is Folds' mid-life crisis. Recorded after what appears to have been a bitter divorce from his wife of nine years, the song titles speak for themselves: "You Don't Know Me," "Brainwascht" and "The Bitch Went Nuts." Folds infuses an energy and direct approach in his songs unheard of since his output with Ben Folds Five, but he manages to frequently overcompensate in the process. As accomplished a musician as Folds is, it's difficult to picture how such a shallow and half-baked lyrical approach can fit into such exceptionally-arranged pop tunes.
Exhibit A is "Effington," a reflection from his tour bus using a cheeky lyrical motif already driven to the ground by any teen who's ever commuted on I-55: "Effington could be a wonderful f'ing place / I can see it from the highway / And I'm wondering / Are they f'ing in their yards? / f'ing in their cars? / f'ing in the trailers and the back roads and the parking lots of Effington?" Not only does he glaringly omit a nod to the city of Effingham, but Folds wastes a frenzied stop-start composition with a scorched-earth policy to a one-dimensional joke.
Viewing Comments 1 - 4 of 4
Mike Mike
posted 10/01/08 @ 11:08 PM CST
Well Eddie, I guess that it probably doesn't matter, but I am going to whole heartedly disagree with pretty much with your review of "Way to Normal".
Bitch Went Nuts is funny, but also brilliant in its delivery with both music and lyrics, if only due to the fact that it is so in your face. (Continued…)
Eddie Schmid
posted 10/02/08 @ 10:54 AM CST
Mike-
Thanks for your comments.
Allow me to preface by saying I remain a huge fan of Ben Folds' work--I idolized the man for a significant portion of my life. (Continued…)
Jono
posted 10/04/08 @ 11:53 AM CST
I think you're missing the point of the interplay between Free Coffee and Frown Song. He's not saying that he DESERVES free coffee and food now that he's rich; he's saying that if you're going to give it to someone, you might give it to people who actually need it. (Continued…)
Christina R
posted 10/20/08 @ 5:11 PM CST
Eddie,
I think your review and utter disemboweling of Ben Folds's most recent work comes from a certain naivete, and maybe a certain pompousity and journalistic arrogance that you wrap yourself in as a young journalist. (Continued…)
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