'Songs' don't save 'Silverman'

Let's get something straight right out of the gate: I love Ben Folds' music and have ever since I discovered Whatever and Ever Amen and its hit single "Brick" back in 1997. I dug it so much in fact I ventured backward to discover Ben Folds Five's self-titled debut. From there I marched forward through the compilation Naked Baby Photos; the weird side projects with William Shatner; the Five's final record The Unauthorized Biography of Reinhold Messner; their eventual break-up; Folds' follow-up solo album Rockin' the Suburbs; the concert recording Ben Folds Live and numerous shows and EPs since. That is why Folds' latest Songs for Silverman is such a disappointment. That's not to say it's a bad record, far from it in fact, it's just not up to snuff with Folds' other, older stuff.\nThe leadoff track "Bastard," while witty, doesn't really grab this listener's attention musically: things pick up considerably with "You to Thank" and "Trusted," both of which return to the piano pyrotechnics of Messner and are chock-a-block with cool chord progressions. This leads into "Jesusland," a wiseass companion to Suburbs' title track and "All U Can Eat" off the Sunny 16 EP, which further extends an upturned middle finger at yuppies living in McMansions. That "Jesusland" also boasts Beach Boys-esque harmonies doesn't hurt matters. Silverman's first single "Landed," which will ring true to anyone who's ever found themselves in a relationship rut, sounds as if it could've come from Amen with sped up "Sweet Baby James"-like piano plinking. "Gracie," Folds' ode to his young daughter, doesn't have the weight of "Still Fighting It," the beatific ballad he penned for his son. Though, in the song's defense, it's much better live. "Give Judy My Notice," the only transfer from the recent trio of EPs (the other two being Speed Graphic and Super D), is actually improved with the implementation of Bucky Baxter's twangy pedal steel and background vocals from Folds' wife, Frally. "Late," a tribute to Folds' late friend Elliott Smith, is undeniably the record's best cut. The blue-collar rumination on camaraderie lost eschews sappy sentimentality and calls things as they really were: "Elliott, man you played a fine guitar / And some dirty basketball." "Sentimental Guy" is the rarest of things for Folds: an out-and-out miss. While the lyrics are rueful, the accompanying instrumentation and intonation are inappropriately gleeful, jettisoning the tune in sitcom theme music land. "Time" is pretty in spite of being repetitious and incorporating guest vocalist "Weird Al" Yankovic. Silverman closes on "Prison Food" and ends like it opened: with a thud. Imagine Folds doing something halfway prog rock-ish and you get the idea.\nAs a 38-year-old family man, Folds has undoubtedly changed -- some for better, some for worse. It's saddening that Songs for Silverman doesn't even stack up with the aforementioned EPs. Then again, as his priorities change, so will the music. Maybe 10 to 15 years from now I'll understand. Right now I'm missing the guy who was once looking for his money and black T-shirt.