Ben Folds – University A Capella!

I’m not sure Ben Folds songs would be my first choice for an a cappella project. But more obvious choices aside, this collection of college a cappella choir Ben Folds interpretations is a delightful listening experience. The key to its success is Folds melodic writing style. Folds may not be the best guy when it comes to creating memorable group vocals, but in the hands of well trained voices, these various songs come to new life.

Furthermore, this non-instrumental program highlights Folds’ excellent lyrical gifts. Religion – whether he likes to admit it or not – plays a big role in Folds’ musical life. Whether it’s the twisted conversion experience described in “Not the Same”, or the weird landscape of “Jesusland”, God is clearly lurking between the lines. Even “Brick”, the tragic telling of an abortion experience, touches a few religious right hot buttons.

Folds is also quite good at writing break-up songs, exemplified by the kiss-off words to “Landed” by CU Baffoons from University of Colorado. Folds is considerably playful, which he reveals with “Effington”, a play on the f-ing radio-approved substitution for the f word. Folds has a habit of dropping a lot of f-bombs in his songs, but this track gets all the profanity out of his system without him uttering one bleeping cuss word.

With “Selfless”, performed by Sacramento State Jazz Singers, Folds’ music takes on a jazzy-soulful side we never knew it had (or could have). It comes off sounding like a relaxed Manhattan Transfer. Additionally, the track’s scatting is a particularly unexpected surprise. For other new wrinkles, “Boxing” includes an operatic female vocal, while many tracks – including “You Don’t Know Me” – bring to mind some of Billy Joel’s more doo-wop-y pop experiments.

One suspects Folds’ thinking behind this recording was to bring more attention to a cappella music. After all, most of these choirs are rarely recognized outside their various college towns. But a cappella music can get annoying at times. It can be a little like solo electric guitarist albums, where the participants seem only intent upon showing off what they can do with their instruments of choice. Singing gone awry can get on your nerves more than a leaf blower powered-up right behind your ears, believe me. For instance, when a gospel singer is given the microphone for the national anthem at some sporting event or other, it can spell aural disaster. With all those trills, scales, and false endings, you soon wish the umpire would interrupt with a hearty “Play ball!” The most of these recordings, however, are relatively uncomplicated, yet still well-sung. And the songs themselves always take center stage.

Although this release brings overdue attention to a cappella music, it mostly brings greater focus to Folds’ songs. Without pounding drums, or even Folds’ own plunking piano, his wise and wise ass words come out so much clearer. In many cases, these choir arrangements soften Folds’ edgy approach, which helps showcase rarely observed beauty in the man’s work.

Perhaps this unique project will give other pop artists the same singer-ly idea. I mean, can you imagine a Beach Boys a cappella project without salivating uncontrollably? [Okay. That’s an extreme reaction. But I think you get my point.] But anything that lets us listen to fine music with new ears is always a good thing.

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