BLOGS

Fifteen years ago this week, Ben Folds Five released its self-titled debut album. At the time, Folds' style of music was a bit too mature for my junior high tastes. But while I was rocking out to Silverchair, Everclear, Tripping Daisy and PUSA, Folds was furiously flailing on the keys, creating music I would someday grow to love even more (well, maybe not more than Tripping Daisy ... it's a toss-up).

His music has been on my mind a lot this season. Maybe it's because he hasn't issued a new record for a couple of years and I'm getting antsy, or maybe it's because bouncing piano melodies sprinkled atop a sunny day elicits a mood to fit, or maybe, just maybe, it's because my hairy friend Adam keeps posting Ben Folds videos on his Facebook page. Could be anything really. But what's important now is that it is especially relevant this week, because 15 years is a significant anniversary to note.

Ben Folds Five (actually a trio) broke up in 2000 and Folds has continued very successfully as a solo musician. Overall, he's been improving over time, but some of his best work still lies in the trio's first album. The baroque-esque keyboarding of "Philosophy" hinted at the immense instrumental skill Folds could offer, while "The Last Polka" additionally revealed his unique prowess for composing.

Consistently through his career, Folds has shared his observations and woes about love and life, poetically describing break-ups, interesting characters, strange situations and offbeat things — telling stories one stanza at a time, leaving out just enough so no one entirely knows what they're about. Dealing with the hardships of moving away in "Alice Childress" and heralding his unmanliness in "Sports and Wine," Folds sings coarsely in a voice without airs, a texture that makes music otherwise over most of our heads approachable.

http://www.dailymotion.com/video/xcsuhj_ben-folds-five-underground_music

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