The Best Record of 2001: Day 8

Ben Folds takes on The Langley Schools Music Project.

Good morning!

Today we’re taking a look at Ben Folds’ Rockin’ the Suburbs (#48) and The Langley Schools Music Project’s Innoncence and Despair.


Note: As many of you saw, I recently wrote about a Best Record of 2001 challenge and noted that I’d be writing some of these up.

The plan is to do quick hits on each first-round matchup and post them directly to the page. Some will be longer, some won’t, and some might just be a handful of sentences. There’ll probably be a few typos. We’ll also have a few guest posts along the way, so make sure to stay tuned for those!

Check ’em out and let me know your thoughts! Chin wags & hot takes welcome! Sharing and restacks always appreciated.

KA—


Ben Folds- Rockin’ the Suburbs

Talk about bad timing.

Rockin’ the Suburbs should’ve been Ben Folds’ ticket to stardom. There’s no more “five” riding his coattails (okay, there’s three of ‘em still, but still…), he’s got a couple of great records behind him and a new one in the can ready to go. It’s chock full of the usual witticisms that brought us all to the party in the first place. There’s plenty of piano and a good chunk of fuzzy bass. What’s not to love?

If only they hadn’t picked September 11th for the release day. And really, who releases a record on a Tuesday?! Maybe that’s a thing? I dunno. Either way, I spent the day at the airport, smoking, “guarding planes” (lol), and listening to ABC radio; Ben probably spent it wondering what might’ve been.

One of the things I’ve always dug about Folds’ writing is how he writes about the human condition but wraps it in a brand of wit that makes you feel good about it all. “Army” could’ve been a dirge about not getting along with his dad. Instead, a whole generation of us has “Grew a mustache and a mullet/got a job at Chick-fil-A” stuck in our head like a sonic sleeper agent, just waiting to be our next earworm. This, of course, makes piano-led music more palatable. I also suspect he wrote many of these not as catharsis but for his own amusement.

The first song on Rockin’ the Suburbs is “Annie Waits,” and doesn’t pivot too far. As Exhibit A for the people, I offer you: “Annie waits… But not for me.” Iseewhatyoudidthere. The title track is also one of the catchiest on the record, and my fave of the lot. Catchy is good, as there’s a good deal of heavier material here. And tbh, after 9/11, that’s the last thing anyone needed.

Folds’ records have always been a mixed bag for me, with some must-listens and some must-skips. I’ve only ever owned/borrowed these on CD; that came in handy. But the highs! So, so high. I suspect at some point, I’ll be wandering the halls of the old folks home and will just start singing “Army,” or I’ll be in the dining hall and the melody to “Don’t Change your Plans” will pop into my head. It’s a high bar.

And it’s a bar that ‘Suburbs never quite clears. It’s good, not great. Some of the tracks are wonderful, but I can guarantee there’s no way I’ll be signing “Annie Waits” at some random point in old age.

What might’ve been.


The Langley Schools Music Project- Innocence and Despair

Speaking of getting old, I hate that time keeps screaming by, but there are a few silver linings. One of ‘em? No more elementary school “programs.” Look, I love my kids, but there is no need for me to ever sit through another music program. No reason to pretend not to be driven mad by off-key crooning or that one kid whose parents made him play the French horn. Remember that weird resurgence Journey enjoyed about 10-12 years ago? Yeah. Just in time for my oldest’s (then ) third-grade class to do a whole-ass thing featuring their songs. You’d think this would’ve been fun, if only ironically. You would be wrong.

But this! This is great. Maybe it’s because I didn’t feel like attendance was compulsory. I mean; literally no one was gonna give a f**k if i didn’t play this. And tbh, I thought about it. But this whole record made me feel some kind of way. Recorded in 1976-1977, it’s essentially a school-assembly-as-covers record using hits of the era. Bowie? Sure, why not? Rhiannon? Okay. Sweet Caroline? Gotta take the bad with the good, I ‘spose.

On paper, there is no reason why I would normally like this, but some sort of Grinch-type stuff happened, and my heart grew three times its normal size. Maybe it’s the shit state of play in 2026, but man, this was exactly what I needed today. They even cover Herman’s Hermits! Something tells me I’m into something good? You better believe it.


Bottom Line:
Bracket pick: Ben Folds all day. There are quite a few first-round matchups where I defaulted to picking the higher seed. This is one of ‘em. My vote? Going to the kids.

Any thoughts on either of these records? Agree/disagree with my takes? Which one of these would you vote for? Sound off in the comments!

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In Conversation: Morgan James

The singer stops by to talk about her new album, the inspiration behind it, and what being pulled onstage to sing with a soul legend was like.

Photo: Lila Wolfe

Good morning!

We’re in for a treat today; soul singer Morgan James stops by to chat!


If you’re taking on AC/DC, Stone Temple Pilots, and Metallica, you need your A-game. With Soul Remains the Same, Morgan James delivers, backed by the quiet defiance that’s fueled her career for over a decade.

This record is way more than just a covers album; it’s a declarative statement.

James reshapes the tracks on Soul Remains the Same by standing her ground, not distancing herself or making rote copies. These versions are “faithful” only in that they respect the bones; after that, all bets are off.

Honestly, I had some questions, but it’s a good thing. She knows what these songs mean to all of us (she’s a fan too), and what they mean now, in her hands.

Vocally, James sounds assured. This is someone who spontaneously swapped verses with Chaka Khan, after all. There’s no trace of studio polish (or autotune) papering anything over. She’s giving 110% here; the result is full-range soul, restraint when needed, power when it’s called for. Her background in theater and classical music explains the discipline, but emotion rules this release. There is a fine line between putting one’s stamp on something and staining it. Morgan is aware of this and keeps it in mind. She doesn’t copy anything here; instead, she completely reinterprets everything. Nor is she trying to out-sing the originals-she doesn’t have to. She’s giving them new life while honoring where they came from.

“I don’t try to change something to be clever. I don’t want to change something that’s already great…But sometimes I’ll hear a song and think to myself, This would be amazing with horns, or what would this sound like with a choir or a B3?”

James has built her career off the beaten path—first at Juilliard, then Broadway, and now releasing records independently. Some artists release cover albums as placeholders or as a cash grab. This isn’t one of those times. James takes a bigger gamble here: she puts herself into every verse. These aren’t tribute tracks or glorified karaoke—they’re testimonials.

As I listened, I’d think, “This sounds familiar,” only to remember that it was a song I’d heard countless times before. That’s perhaps the best thing I can say about Soul Remains the Same; James’ take is so novel that you forget you’re listening to her perform one of your favorites. Instead of comparing versions, you’re too caught up in how good these are.

“In making this album, I fell in love with these songs all over again,” said James. “Even iconic songs you’ve known your whole life take on a completely new meaning when seen and heard through the eyes and voice of a woman. This may not be a musical space people would envision me entering into—but I hope fans will listen with fresh ears and find new meaning and power in this music, just as I have.”

I know this is starting to read like a presser, so I’ll stop here. But consider me sold. Soul Remains the Same is a fantastic record well worth your time.

I recently had a chance to speak with James via email. We covered everything from the song that “had” to be on the record to licensing tracks. Our conversation has been lightly edited for clarity and flow.


Congrats on the new record! Can you quickly walk us through your backstory for those who might not know?

Thank you so much!! So my new album is called Soul Remains The Same, and I like to describe it as: It’s as though Aretha Franklin went into the studio with AC/DC. It’s heavy, masculine tunes from the ‘80s and ‘90s, iconic rock songs through a soul lens. But it’s all the classic soul sounds that I am known for and that I love so much—the songwriting is just from a different era.


You’ve previously recreated entire single albums, such as Jeff Buckley’s Grace. Why take things in a more collective direction this time?

Between my original music albums and my periods of writing songs, I like to exercise my creativity in other ways. And what better than to draw inspiration from the great artists and songwriters around me. The reason I covered complete albums in the past, such as Grace, the White Album, or Joni Mitchell’s Blue, is because I wanted to step inside a whole body of work. And I think that really teaches you so much about the mind of an artist and the process of making an album, from start to finish.

For this album, I really wanted to focus on a period of time that was united by certain themes and a very specific sound, and it was a period of tunes written by and for men— where sometimes the soaring melodies are slightly obscured by the (really cool!) but heavy production style. I wondered what would happen if you stripped some of that away and replaced it with horns, a Wurlitzer, or layers of feminine vocal choirs. I hoped that it would really bring these songs into a light.


Of the tracks on Soul Remains the Same, do you have a particular favorite, or one that just “had” to be on the record?

I have fallen in love with every single one—even more than I already did, listening to them as a teen!

I KNEW I had to have ‘The Day I Tried to Live’ by Soundgarden. I think Chris Cornell is one of the greatest singers of all time, and his songs are so virtuosic and dramatic—I wanted to pay tribute to him, for sure. I also knew I wanted to rep Living Colour, as well, with ‘Cult of Personality.’ And that song has never been more relevant.


How have the original artists reacted to your work? Have you received any feedback?

I haven’t heard feedback from them yet! I hope I do.


On a more technical note, how much of a hassle was the licensing process? Was securing the rights for any songs, particularly easy or hard?

Securing compulsory licenses is not difficult—you don’t need ‘permission’ to record a song that was already previously released. Unless it’s by Prince (IYKYK) 😉


Getting pulled onstage to sing with Chaka Khan had to be the thrill of a lifetime! What was going through your mind as you belted out “Sweet Thing” together?

I am still not over it! It was one of those true magical New York moments, completely unplanned. But like they say: stay ready so you don’t have to get ready! But I definitely blacked out hahaha.


If you could pick one track to play for someone who’s never heard your work, which would it be and why?

One track from this new album? That might be… ‘Better Man,’ because it has all the elements of what I love in a song and in one of MY arrangements. It has the instrumentation and background vocal arranging, and the dynamic range really takes you on a journey. If I were to choose a song of mine that I wrote, I would choose ‘Say The Words.’


Last one, just for fun; I bump into you as you walk out of the record store. What records are you carrying?

I am carrying the Duke Ellington Nutcracker, Aretha Franklin Unforgettable: a tribute to Dinah Washington, and Stevie Nicks Wild Heart.


Click the record to listen on the platform of your choice.

Image preview

Soul Remains the Same is out today (8/8). You can grab your copy here.

Click here to learn more about Morgan, grab copies of her records, and find her tour dates.

To connect with her on social media, you can go here: YouTube | Instagram | Facebook

Thank you to Morgan James for her time, and thank you for being here.

Kevin—