As of fall 2006, Ben Folds has released five solo LPs. His first album, Fear of Pop: Volume 1, an album of spoken word and instrumental compositions, was recorded and released while Ben Folds Five was still together. Since it was an uncharacteristic release, and officially released under the moniker of 'Fear of Pop', it is widely considered that his first "proper" solo album was Rockin' the Suburbs (2001), on which he played all the instruments by himself. A year later, in 2002, he released Ben Folds Live, a collection of live solo recordings. In late 2003, two solo EPs, Speed Graphic and Sunny 16, were released, with a third entitled Super D released in mid-2004. In 2005, Folds released a second studio album called Songs for Silverman. Most recently Folds has released the album "Supersunnyspeedgraphic, the lp" a compliation of his EPs, a The Bens track called "Bruised," "Still" from the motion picture of 2006 "Over the Hedge" for which Folds wrote all the songs, his cover of the Dr. Dre song "Bitches Ain't Shit", and, with the kind permission of his good friend Neil Hannon, a cover of The Divine Comedy song "Songs of Love". "Supersunnyspeedgraphic, the lp" otherwise includes remastered takes from the three internet EPs from 2002-2004. Ben claims that he wanted to have the CD in hard format so he could "put it past him."
Ben resides in Nashville. He often tours the United States, the United Kingdom, other countries in Europe, Japan, and Australia.
Folds' tours are famous for his solo act as "Ben Folds and a piano", often having the audience become involved by "playing" the accompanying instruments (such as the trumpet and saxophone harmonies in "Army") and singing choir-like backing vocals on "Not the Same". His concerts are charismatic, yet calm - an enjoyable experience for most. And although Folds is constantly putting out new songs, his concerts rarely omit classic fan favorites such as "Philosophy," "One Angry Dwarf and 200 Solemn Faces," and "Army." Also, a seemingly fan favorite that started in Chicago, IL was "Rock this Bitch," a song where Folds has to come up an impromptu new tune with the words "Rock this Bitch" in it; though the song seems to be phasing out, it still makes appearances on tours, such as the November 2006 tour and the Spring US College tour of 2007 and 2008.
Folds also produced and arranged the William Shatner album, Has Been (2004); he previously worked with Shatner on the songs "In Love" and "Still in Love" for Fear of Pop.
Folds described his former band, Ben Folds Five, as "punk rock for sissies," and his oddball lyrics often contain nuances of depression, melancholy and self-conflict. Folds also provided a number of songs for film soundtracks. Some of these include "Lonely Christmas Eve" for the Jim Carrey film How the Grinch Stole Christmas! (2000), and a rendition of the Beatles' "Golden Slumbers" for the film I Am Sam (2001). He (as The Bens) has also done charity compilations, from singing "Wicked Little Town" (from film and stage show Hedwig and the Angry Inch) on the benefit album "Wig in a Box" (2003) to appearing on No Boundaries, a benefit album for Kosovo refugees, with the song "Leather Jacket." (written by Darren Jessee)
On a planned tour of Australia, Folds teamed up with solo artists Ben Kweller and Ben Lee to travel the country together as The Bens, at the suggestion of a fan on Ben Kweller's official website. The trio also went on to record a four-track EP together, entitled The Bens.
In summer of 2004, Folds co-headlined an American tour with fellow rockers Rufus Wainwright and Guster. His second solo studio album, entitled Songs for Silverman, was released in the U.S. on April 26, 2005, featuring Jared Reynolds on bass, and Lindsay Jamieson on the drums, thus returning to the trio format, which had been so successful earlier, in earnest. This album includes the track "Late," a tribute to the late singer-songwriter Elliott Smith, and also features backing vocals from "Weird Al" Yankovic on "Time." (Folds had played piano for Yankovic's song "Why Does This Always Happen to Me?" and "Weird Al" directed Folds' music video for Rockin' the Suburbs). In January of 2007 Lindsay Jamieson left the band and was replaced by Sam Smith, of The Comfies on drums.
Folds performed with Rufus Wainwright and Ben Lee in the summer of 2005 as part of the "Odd Men Out" tour. In addition, Folds has performed with many other famous musical names, including Weezer. Folds has also shown the complexity behind his authentic sound by performing with the West Australian Symphony Orchestra, in March 2005, and the Baltimore Symphony Orchestra, in November 2005. A DVD recording of Folds playing with the West Australian Symphony Orchestra was released in December, 2005.
Folds was the first artist to do a "Live at Myspace" concert, held on October 24, 2006 in his recording studio in Nashville, the show was an hour long and had requests from the internet submitted via Myspace's Messenger. It also entailed several stunts, including a suicide attempt, and a falling audience member during "Jesusland". The DVD of the broadcast (almost whole) was released in February of 2007.
Folds supports the independent music scene, creating his own record label (Attacked By Plastic) and doing promotional work for independent record stores across the country.
In 2008, September 16 marked the release of Amanda Palmer's solo album which was produced by Folds. Two days following that release, Ben Folds Five had a one-time reunion concert held in Chapel Hill, North Carolina, the same place the band was formed. Weeks later, he released his third solo album entitled Way To Normal, released on September 30. Folds also recorded a fake album that was leaked intentionally during the summer to please fans and in an attempt to stop the real album from leaking. The fake tracks were recorded and mixed over a period of only several days. The leak contained 6 fake songs with names similar to the real songs or the album, and three songs from the actual release (except the song Cologne, which was an orchestral version of a song by the same name on the final album).
Since December 2008, Folds has been collaborating with English novelist Nick Hornby, writing the music while Hornby writes the lyrics. This album was originally planned to be recorded over a course of 3 days, the same amount of time in which the fake album was recorded, but Folds has since been recording the album in a more standard format, albeit attempting to retain the live recording format. He has also played several songs from the upcoming album at live shows since mid-2009, and the album is slated to be released on September 27th of 2010.
From December 14 through 21, 2009, Folds was featured as a judge on NBC's a cappella competition The Sing Off alongside Nicole Scherzinger and Shawn Stockman and offered insightful, constructive comments and criticisms to the contestants. On the final show, in a departure from his a cappella purism, showcased his talents and played the roaring, riffing piano background on "Why Can't We Be Friends?" sung by the two finalist groups, Tufts Beelzebubs from Tufts University near Boston and Nota, from San Juan, Puerto Rico. He again returned for the show's second season, and has been confirmed to return for the third season in September 2011 alongside Stockman and new judge Sara Bareilles.
Recently Ben Folds was assumed to be the anonymous pianist playing songs to random ChatRoulette users, named "Merton." Although Ben Folds has admitted to NOT being Merton, he paid tribute to the YouTube star at a concert in Charlotte in "Ode To Merton."
Ben Folds recently released his first album since So There, What Matters Most in June of 2023 after a 12 year hiatus.
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Ben Folds Lyrics
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Bearing teardrops that shatter in slow-motion
Novocaine our brains and we're out like lights
But as I'm growing older I'm bored
I remember when misery thrilled me much more
When I can't relax
And I'd like to go back
But that's gone
Turn the volume down
We're counting the days down
[Chorus]
'Til the day when we live in a video
I'll be stone-faced and pale
You'll pout in stereo
24 hours every day of the year
Oh, what fun I can't wait 'til the future gets here
Closing in on the pain and the torture
He's slamming the doors like it's something to strive for
The girl tearing the curtains down looks funny as hell
And a sense of humor can there be any doubt
Now that natural selection just weeded it out
Used to keep me from laughing out loud
But that's gone
We don't think that way no more
That's gone, turn around, turn the volume down
We're counting the days down
[Chorus]
Well I've seen some old friends sort of die
Or just turn into whatever
Must've been inside them
And whatever all of us had then in common
Grew up and left home
We don't think that way no more
Turn around, turn the volume down
We're counting the days down
[Chorus]
The song 'Video' by Ben Folds is a commentary on the ironic nature of our obsession with technology and media. The lyrics describe a future in which we live in a video, where we are numb to the outside world and our own emotions. Folds sings about how the constant bombardment of media and technology has desensitized us, making us bored and uninterested in real life.
The first verse paints a picture of people staring blankly at television screens, shedding tears that are caught in slow motion. The use of the word "Novocaine" emphasizes the numbing effect of technology on our brains. Folds then says that he remembers when he used to find misery and pain more exciting than the dullness of modern life. He longs for the past when he could actually feel something, but recognizes that those days are gone.
The second verse refers to the violence and drama that is often portrayed in media, with people slamming doors and tearing curtains. Folds notes the irony that we find humor in this violence, even as our natural ability to laugh is being weeded out by constant exposure to the bleakness of life. The chorus then returns, with Folds singing about how he will be emotionless in this future, and his lover will be nothing but a two-dimensional image. He sings about how we count down the days until this future arrives, which speaks to humanity's obsession with what the future holds, even if it may not be positive.
Overall, 'Video' criticizes our addiction to technology and the desensitization that comes with it, highlighting the loss of natural human emotion and connection.
Line by Line Meaning
Barren stares as they light up the screen
The lifeless faces of the actors in the video light up the screen without any emotion or expression.
Bearing teardrops that shatter in slow-motion
The actors in the video shed tears that break apart and fall slowly in order to create a dramatic effect.
Novocaine our brains and we're out like lights
Watching too many videos causes our brains to become numb and unresponsive, leading us to fall asleep.
But as I'm growing older I'm bored
As the songwriter gets older, he becomes bored with the constant repetition and lack of authenticity in videos.
I remember when misery thrilled me much more
The songwriter recalls a time when he enjoyed watching sad and depressing videos more than he does now.
When I can't relax
The songwriter becomes anxious and uneasy when he can't unwind by watching videos.
And I'd like to go back
He wants to return to a simpler time when videos had a more emotional impact on him.
But that's gone
Unfortunately, that time has passed and will never come back.
Yeah, that's gone, Turn around
The songwriter is acknowledging the loss of the past and asking the listeners to turn away from it as well.
Turn the volume down
He suggests that they can find relief from the overwhelming influence of videos by simply decreasing the volume.
We're counting the days down
He and others like him are waiting for a time when videos won't have such a grip on our lives anymore.
'Til the day when we live in a video
The songwriter is suggesting that one day, life will become so artificial that we will all be living within videos.
I'll be stone-faced and pale
He imagines that, in this video-dominated future, he will become emotionless and pale, like the actors he once watched on the screen.
You'll pout in stereo
People will be constantly trying to attract attention and create drama for the camera by behaving in an exaggerated or insincere way.
24 hours every day of the year
Videos will become a permanent and all-consuming part of life.
Oh, what fun I can't wait 'til the future gets here
The songwriter is using irony to suggest that the future he foresees is actually quite bleak and frightening.
Closing in on the pain and the torture
The video being watched now is becoming more dark and disturbing.
He's slamming the doors like it's something to strive for
The character in the video is behaving destructively for no reason, and others are trying to emulate him.
The girl tearing the curtains down looks funny as hell
The songwriter is expressing a sense of humor about the absurdity of the actions taking place in the video.
And a sense of humor can there be any doubt
The songwriter is questioning whether or not it's still possible to be amused by videos, given their current state.
Now that natural selection just weeded it out
The quality and authenticity of videos has been lost due to the overwhelming quantity being produced.
Used to keep me from laughing out loud
The quality of videos used to be high enough to cause genuine emotion, including laughter.
But that's gone
The authenticity and emotional impact of videos is a thing of the past.
We don't think that way no more
People no longer have the same emotional reactions to videos that they used to.
That's gone, turn around, turn the volume down
The songwriter wants people to let go of the past and turn down the influence of videos in their lives.
Well I've seen some old friends sort of die
The songwriter has seen friends grow old and become uninterested in the things they once enjoyed.
Or just turn into whatever
His friends have become unremarkable and unoriginal.
Must've been inside them
The songwriter speculates that his friends' lack of originality must be a result of some internal change or trauma.
And whatever all of us had then in common
All of the things that he and his friends shared in the past, including their emotional reactions to videos, have faded away.
Grew up and left home
All of the things that once made them unified have disappeared, as if they had moved away from the shared home of their collective consciousness.
Turn around, turn the volume down
He concludes by advising that people should turn down the influence of videos in order to escape the numbness and lack of originality that they represent.
[Chorus] 'Til the day when we live in a video
I'll be stone-faced and pale
You'll pout in stereo
24 hours every day of the year
Oh, what fun I can't wait 'til the future gets here
The chorus is repeated to suggest that the songwriter's criticisms of videos will only get worse as they become more pervasive in daily life.
Lyrics © Sony/ATV Music Publishing LLC
Written by: FOLDS
Lyrics Licensed & Provided by LyricFind
Ezra C
This song is so underrated. It gets me melancholy and nostalgic, despite me only listening to this lately.
Lippy Pongstockings
“A melancholic waltz with country music harmonic sensibilities. It’s a niche genre and Ben takes it home to his Fold.” -Lippy Pongstockings
Ian Okamoto
Man, I wish they played this one live!
Reni
Absolute tune! One of my favourite's off that album
dancingnancy09
this is such a special song- those of us who are gifted and exceptional and bullied by the pathetic and the scared before they are made aware of thier gifts keep this song in mind- you are the chosen ones and dont forget it
Lippy Pongstockings
“There’s a palpably poignant tension - in this piece - between the twin narratives of the ‘pop music’ cliche and a Romantic Era melodic tension resolution” - Lippy Pongstockings
Logan Barnes
I don't think Ben knows how great HE is...
Stephanie Meijer
I think he does. I just think that most people are just too busy trying to be cool nowadays to even consider listening to actual good music.
Billy Graham
Oh he knows. Not enough other people do though!
Lippy Pongstockings
He knows. I’ve met Him. And he is right to know.