Customer Reviews

Lonely Avenue

5 star:		(15)
4 star:		(11)
3 star:		(3)
2 star:		(0)
1 star:		(2)

 

 

I've been a Ben Folds fan since the beginning of his career, and I've got to say that this release is by far his most "different." I mean that in the best way possible. As most of you know, Nick Hornby wrote the lyrics this time around. I personally think Ben's lyrics are just as good as Hornby's, but if there's anything a guest lyricist's contribution did, it had Ben approach songwriting from a totally different perspective. I think Ben is a great songwriter in every single way, but he's been doing it for 16 + years with the same formula. Having to write music around someone else's words seems to have given Ben a reason to really perfect the music. He said it himself in recent reviews; he felt like he had to live up to the quality of the lyrics being sent to him. You can tell extra attention was given to these songs, so that they could reflect exactly what Hornby was trying to get across. I've got to say, it made Ben's music sound fresher than it has in years (and I don't think he's put out a bad one yet.)

This is, however, an album you need to pay a lot of attention to if you want to get the most out of it. Rockin the Suburbs has some great lyrics, but you don't need to listen to the words to have fun with it. The songs are bouncy and catchy, which is something that can't be said as much about Lonely Avenue. The songs aren't quite as instantly catchy, but I would not put that against the "quality" of the songs at all. It's just a bit more of a grower, mainly because you have to pay close attention to how the music plays off the words to really FEEL the album like you're supposed to. Once it clicks, you're going to find yourself lost in this record. It's the most stylistic thing he's done since Reinhold Messener, way back in 99'.

I reviewed the normal version simply because I knew that this was going to be where most people would be reading a review, but I must tell you that the deluxe version is the definitive version. It comes with lots of pictures, short Hornby stories, full lyrics, all wrapped up in a little hard cover book, sized like a thick cd. It's really a fun package, and its worth the extra money.

This is just a well balanced, stylish, catchy, deep, and intelligent record that should please anyone who can respect this genre of music. This is probably a one-and-done collaboration, so I've got to give it to Ben and Nick. This is a well earned five star review.

I couldn't disagree more from the previous reviewer. I think this release is amazing and has such classics as Levi Johnston's Blues (love the fun romp of this tune), From Above (So freaking catchy and clever), Saskia Hamilton (another romping song). I also love the ballads such as Practical Amanda and Picture Window. I felt the lyrics by Hornby are some of his best. IMO Ben can do almost no wrong but I haven't been so excited for a release like this one. As a fan of Mr. Hornby's this was a dream come true. We can only hope for more in the future.

I really came to like this album with repeated listenings, not knowing what to expect with lyrics by novelist Nick Hornby. My favorite track is Doc Pomus which is about the life of the songwriter of that name. Other great songs are Picture Window and Clair's Ninth which is about a girl with divorced parents. Looking forward to what Ben comes up with next.

I went into this album without expecting very much. I enjoy Ben's creative projects, but I try not to look at them like I look at his regular studio albums. "Lonely Avenue", however, really surprised me. It's become one of my favorite albums Ben has been a part of. The top songs for me include "From Above", "Doc Pomus", and "Picture Window".

Thinking back on it, I don't realize why I was skeptical at all going into it. Ben is an excellent musician and Hornby is a fantastically inventive and funny writer, so it really was a match made in heaven.

Although none of the songs have quite the same feel as some of my favorites Ben has put out, like "Brick", "Magic", "Bruised", or "Emaline", it is still a really good album and an interesting concept that is definitely worth checking out.

Ben previewed 3 songs at a solo piano show last September in St. Louis ("Picture Window", "Levi Johnston's Blues", and "Belinda"). All 3 were very well received by the crowd, and other than the added strings, "Picture Window" stayed virtually the same. It's great to hear the full band treatment on the other 2. This union works for one main reason. Lyrically, these two men are soulmates. Ben Folds has been writing about real people and real situations for years (no throwaway songs about girls and cars like most rock bands). Nick Hornby has tapped into that spirit of songwriting. Each song is detailed in such a way that the story is fully realized by the end of the song. Ben really "explores the studio space" on the record. From the magnificently DEVO-esque "Saskia Hamilton", to the hilariously stalkerific "Password", the album truly runs through a different musical style on each song. An uplifting, funny and heartbreaking release from 2 very talented individuals.

Really great record. I've had it a few days now. Like "way to normal", it is somewhat of a grower. My first listen I thought it was good, but after 3 or 4 spins the songs really get stuck in the head. I liked way to normal, what it lacked was consistency. It had some great songs, with some mediocre songs sprinkled throughout....but really....is there a better ben folds song than effington??? Not sure there is.

Anyway, about lonely avenue. It's fantastic. A solid record from start to finish. Nick Hornsby's lyrics really hit the mark, and Ben has done them proud with heartbreaking melodies and arrangements. There is some fun to be had here, too, as "levi johnston's blues" is a hilarious and fantastic tribute to america's favorite white trash high school dropouts, with lyrics taken right from levi's facebook page. Amazing.

Nice work. As far as I can tell, Ben hasn't lost a thing in 16 years.

I've been a big Ben Folds fan from the beginning, and this detour from his lyrics to Nick Hornby's words is well worth the ride. It's amazing to me that songs like Claire's 9th and Belinda can be beautiful, sad, and funny all at the same time. It's probably too sophisticated to get much airplay, and the one song that has some airplay, "From Above" only gives you a hint to the depth of this CD.

Musically, the strings and horns are breathtaking, particularly at the end of Belinda. Personally, I'd prefer more of Ben's fabulous piano playing and less electronica, but overall, it works pretty well. You can tell they both really enjoyed this collaboration, and hopefully has re-energized both of them. And although I wouldn't be opposed to them trying it again, I'm looking forward to see what comes next from both of these writers.

A couple quick notes on this album:

-I loved most of Ben Folds' earlier material, but I must admit that I was so disappointed after purchasing "Way to Normal" I threw it in a drawer and forgot it existed for two full years. His creative spark seemed to have dwindled, perhaps died altogether.

-After hearing the single "From Above" on NPR I was stoked enough to give him another chance. Mainly, I was intrigued by the original concept he and Nick Hornby used to co-create "Lonely Avenue." I'm not a particularly huge fan of "High Fidelity", but I just liked the idea of B.F. essentially being 'commissioned' to write music to fixed lyrics.

-The result works fairly well: the lyrics are definitely fresh (compared to recent B.F. efforts), and the music fits appropriately.

-Musically, several of the songs aren't terribly to my liking, but there were highlights - 'Doc Pomus', 'Claire's Ninth', and 'From Above'. The 'buzzy', distored bass is almost entirely absent from this album, and while synth-ey effects are featured on several songs, it's not as overpowering as on "Way to Normal". Overall, the entire album has a smoother, more polished feel, and is more piano-centric - especially thrilling on 'Claire's Ninth'. Lyrically, it's a bit too gloomy for my taste these days. This has always been his characteristic (and this time he's not the one responsible for the lyrics anyway), so it's more a matter of my personal taste changing than anything.

-In the end, I bought it mostly for the originality of the concept and the hope that it would produce refreshing results, and it is that originality that impresses me more-so than the actual music itself, leading me to give it such a favorable rating. And something tells me this album will age reasonably well, but we'll see...

I hope this is review provides accurate and helpful analysis for you!

Most of Ben's stuff takes a few listens for me to get into it. I've only done a single pass, but from that, it seems solid and there's potential. But seriously, even Ben's mediocrity is better than 99% of the crap out there. The guy loves what he does, and it shows. Picture Window is a clear winner for me, in the vein of Cologne. This album is certainly better than his his last release (college a capella) or his stuff with Shatner.

I was somewhat disappointed with Ben's last long-player, Way to Normal (although the "Seeds" version proved to be much better than the original release). I'm happy to report that Lonely Avenue is a wonderful return to form for Ben Folds. In Hornby, Folds has a perfect collaborator; one who allows Folds to compositionally stretch out in terms of melody and structure; to approach songwriting from new angles and perspectives.

Although, Folds is a fine lyricist himself, his biggest weakness (if you can call it that) is a tendency to be a bit "on the nose" with his words; light on metaphor and generally leaving little room for interpretation, "i.e. Give me my money back, you bitch/I want my money back and don't forget my black T-shirt." In the character-driven Lonely Avenue, Hornby succinctly and effectively communicates layers of subtleties and emotion, often using very few words.

Many of the songs/stories have an emotional "zap" at the very end; a line or two that suddenly pulls everything that proceeded it more sharply into focus. Such is the case with "Claire's Ninth," about a young girls ninth birthday, ruined when her separated parents reunite the family of three for pizza and ice cream. While the majority of the song is seen from the eyes of the child--horrified by the staged normalcy and just wanting the day to pass--in the final seven words the perspective shifts to the parents point of view, taking on greater meaning, and now serving as a sad memorial to a failed marriage, "It used to be our birthday too." Or "Working Day," (the only outwardly autobiographical song on the album), which juxtaposes the daily insecurities of a struggling working artist with the exaggerated arrogance and bravura needed to combat the intensely powerful and daily feelings of creative impotency. Until the final stanza, it almost comes off as a character study of a schizophrenic, but Hornby brings it into focus, "It's a working day." It's not surprising that most of the songs carry similar literary qualities.

Those who are familiar with Nick Hornby know that he is a music-junkie; a man who seems to regard musicians as divine messengers. It remains to be seen whether the Folds/Hornby collaboration will continue pass Lonely Avenue, however for the time being, Hornby can say that for a moment, with a little help from a friend, he stood alongside his heroes.