Published on Aug 5, 2004
Some people practice the piano. Others play it. Ben Folds rocks
it.
It was only a few weeks ago that Jason Warburg posted
a review for Ben’s album
Rockin’ The Suburbs. I read how much Jason liked it, and
being the fan of piano based rock/pop that I am, decided to buy it.
Flash forward to the present, two albums and one amazing concert
later, and here I am to heap even more praise on Mr. Folds.
Ben Folds Live (which I am now going to refer to as
Live from now on) is a series of performances from his 2002
solo tour. That’s right folks, it’s just Ben and his piano for the
entire album. That may turn many people off, but they would be the
ones to miss out. It is here that Folds truly cements his place as
the best rock pianists out there today.
There are a lot of live albums out there that sound just as
sterile as an album recording, leaving listeners wonder if some
live recordings are just songs that someone in a studio added claps
to.
Live is an exception to the rule. Despite the fact the songs
are taken from various different performances, the album flows as a
single show. Adding to that vibe is the audience participation
Folds encourages. He recruits his fans to sing the harmonies on the
superb “Not The Same,” and create a “bitching horn section” as
Folds himself puts it during “Army.” These are the little touches
that make live albums worth getting, the moments that immerse you
in the experience.
All that I’ve mentioned so far is pretty much window dressing,
it comes down to the music in the end. Fortunately, that is no
problem for Folds.
Live features some of the most compelling piano work I have
ever heard. On “Zak and Sara,” Fold attacks the keys with a
ferociousness you wouldn’t think possible. Then, on the next track,
“Silver Street” he completely shifts gears and plays a soulful,
bluesy number. Elton John’s “Tiny Dancer” is covered here, and Ben
performs it better than Elton can these days. Folds even dips into
a little improv on “Rock This Bitch.” This allows for
Live to have some variety, which is needed for a solo piano
album.
Folds ability to write hooks and melodies comes through just as
strongly solo as it did when he was with Ben Folds Five. “Brick” is
still an aching, poignant ballad. “One Angry Dwarf And 200 Solemn
Faces,” remains a rave up rocker. “The Luckiest” is just as
emotional a tribute to his children as it was on
Rockin’ The Suburbs. This truly is a testament to the power
of Folds songs. His solos are just as captivating. My personal
favorite is the bluesy solo he injects into “Army” right before the
“horn break.” “Philosophy” features the longest solo on
Live, and it is a tour de force. Folds is all over the map,
playing with various different styles, and even throws in bits of
other songs. It’s one big mish-mash, but it works.
Live has quickly skyrocketed to the top of my favorite live
albums of all time. It’s a showing of immense talent and song
writing. Folds fans will already know this, but
Live will give novices a chance to recognize how good Folds
really is.