Album Features Ben Folds A Capella Arrangements
Newest Effort from Singer-songwriter Includes No Instruments
Jun 15, 2009
Over the past two decades, Ben Folds has developed a sizable following on college campuses across the country. His combination of contemporary piano rock and clever, insightful lyrics have made him a staple of the music collections of many a twenty- or thirty-something.
His latest effort, a collection of a capella renditions of some of his best songs, merits inclusion in those aforementioned collections. Although some fans will miss the trademark Ben Folds unique piano technique, most will be impressed with the album's exceptional vocals and musical arrangements.
Musical Arrangements
One strength of the album lies in the arrangements of the songs. Most of the a capella arrangements have been interpreted in a manner that avoids falling into the realm of easy listening music -- a point worth noting because many of Folds's lyrics are not easy-listening-friendly. ("Brick," arguably his biggest hit, is a song about an abortion.)
Several of the tracks feature beatboxing to give the songs a more contemporary sound than is found in most other a capella music. A strong bass beat is integral to "Not the Same," so the Spartones from Greensboro, North Carolina (in a highlight of the album) beautifully weave beatboxing into a soulful and technically sound arrangement without distracting from the song's narrative.
Beatboxing is also a welcome addition to "Still Fighting It," by the Washington University in St. Louis Mosaic Whispers; "Fair," by the University of Wisconsin-Eau Claire's Fifth Element; and to the University of Colorado Buffoons' rendition of "Landed,"
Vocal Performance
Like the arrangements themselves, the vocalists' performances maintain a rock attitude without losing the sensitivity of many of the songs. In addition, some tracks distinguish themselves with a soulful delivery that Folds himself, for all his strengths as a musician and writer, has yet to deliver. The Ohio University Leading Tones deliver soul to spare in their interpretation of "Brick," and the University of Chicago's Voices In Your Head evoke a more soulful version of Manhattan Transfer with their version of "Magic."
In some cases, women's interpretations of the songs remind listeners of the universal nature of Folds's themes. Most notably, the female lead is a perfect for "Jesusland," by the University of North Carolina at Chapel Hill's Loreleis and for "Selfless, Cold, and Composed," by the Sacramento State Jazz Singers. Substituting Folds's voice with a woman's also works, albeit to a lesser extent, on "Fred Jones Part 2," by the West Chester University of Pennsylvania Gracenotes.
The album has its shortcomings, but they are few. Some tracks are stronger than others, but all of the performances and arrangements are solid, making this an album worth hearing -- even for listeners who have never tried a capella music.
