Way to Normal [PA]

Performer: Ben Folds
Artist: Regina Spektor
Distributor: Sony Music Distribution (

Notes: While the delightfully silly opener, "Hiroshima (B B B Benny Hit His Head)," is a particularly obvious nod to Elton John, one of the many dynamic pop keyboardists Ben Folds has frequently been compared to (also see: Billy Joel, Todd Rundgren), WAY TO NORMAL brings to mind another pianist who rose to power in the 1970s. With its quirky, witty wonderings about the neuroses of love and God and country, Folds's third record recalls Randy Newman post-LITTLE CRIMINALS--bright, bouncy, and buoyant, yet subtly twisted. On "You Don't Know Me," Folds softly trades a cooing call-and-response with Regina Spektor, as perfect rapport and playful rhapsody disguise lyrics of human isolation in destructive love. The ultra-hooky "Brainwascht" fools around in the "You're So Vain" vein as Folds continues a beef with an unnamed busybody songwriter friend, all while a deceptively perky Bacharach-esque plays behind him. While he's still able to romp in the just plain goofy style that originally brought him attention in the Ben Folds Five days, particularly on the pun-happy Midwest walkabout "Effington," Folds is at his mature best when confronting exhausted honesty as on closing track, "Kylie From Connecticut." Ben Folds' seventh studio recording begins appropriately with an Elton John spoof. After a string of introspective albums, the old-school (as in Ben Folds Five era) "Hiroshima (B B B Benny Hit His Head)," with its bombastic strings, "Benny and the Jets"-inspired piano motif and not-so-subtle refrain of "They're watching me, watching me fall" marks a return to the snarky, sarcastic days of old when Folds' signature blend of nerdy bravado and apathetic melodiousness wrested dominance of the proverbial cheap, college dorm stereo from They Might Be Giants. Like all of Folds' records, Way to Normal is full of melodic hooks and witty, semi-obvious barbs. Folds rarely works in metaphor, so when he sings, "The bitch went nuts/she stabbed my basketball and the speakers to my stereo," that's really all that happened. Surprisingly, it's the quieter moments on Way to Normal like "Cologne," "Kylie from Connecticut," and to a lesser extent "You Don't Know Me" (the latter, a duet with Regina Spektor) that elicit the biggest thrills, but they're few and far between. Folds has always found a way to balance all of the privileged, rich-kid prickishness with moments of surprising profundity, but this time around the profanity and outrage feel more forced than usual -- the aforementioned "Bitch Went Nuts" feels somehow more sophomoric coming from the mouth of a 42-year-old producer, composer, and father. Way to Normal may win a few fans back who balked at the newfound sincerity that peppered his last two or three records, but a little more nuance and a lot less displaced teen angst would have made it palatable for everybody. [Folds reissued Way to Normal in 2009 as a two-disc set called Stems and Seeds. Disc one featured the remixed, remastered, re-sequenced album in its' entirety, though without the excessive, radio-ready compression that accompanies most major label releases, while disc two featured files from the sessions that listeners could upload to "Garageband" and remix themselves.] ~ James Christopher Monger

Entertainment Weekly (p.76) - "[T]he piano man pounds the ivories with undiminished fervor -- and lyrical venom....Folds shows off his gentler side on the confessional tune 'You Don't Know Me'..." -- Grade: B+ Mojo (Publisher) (p.102) - 3 stars out of 5 -- "Folds crashes about on piano and throws in string arrangements that lurch from melancholy to chaotic discord..." Paste (magazine) (p.56) - "These 12 songs are more of an anthropological study of aberrant human behavior, idiosyncratic news stories and bizrre chapers of the musician's own autobiography, all observed with the same unstinting absurdist eye as J.D. Salinger when he penned NINE STORIES more than 50 years ago."

North Carolina's Ben Folds Five flouted convention at every turn; for starters, they were a trio, not a quintet. And for an (initially) indie pop-rock band, the absence of guitar (leader Folds was a singer/pianist) was an anomaly. The band's mix of catchy popcraft and offbeat, light-hearted lyrical content. After breaking through to the majors with two late-'90s albums, Folds dismantled the band and continued as a solo artist, scoring a big hit in 2001 with the characteristically quirky "Rockin' the Suburbs." Folds would continue to release crisp pop records sporadically throughout the '00s, while remaining a tremendous concert draw. Along the way, he would produce the long-awaited album by William Shatner.

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