Ian Yang's List: AMG - allmusic

Superficially, there's not much separating Ben Folds' first official solo album, Rockin' the Suburbs, from his records with Ben Folds Five. It's hard to note any difference, really, since he still works from the same vantage point, borrowing equally from new wave, '90s irony, and a love of classic pop. Still, there is a difference, even if it's hard to pinpoint -- perhaps it's an increased focus, perhaps it was a hot streak from Folds, or perhaps the Five really were more of a group than they seemed and he's benefited by working according to his own patterns. Regardless, Rockin' the Suburbs is as good a record as any he's made, possibly his best. It's still possible to hear his influences -- Joe Jackson still stands out, as do elements of Billy Joel and Todd Rundgren -- but there's no shame there, and he's accepted it as part of his musical personality so much that it sounds like him, even when it sounds familiar. Better still, he's tempered his tendency to be a collegiate wiseass -- it pokes through on the title track, but that's the rare time that it's brought to the forefront -- which helps his songs shine brighter. And while there are no surprises here to anybody familiar with his work, it's a remarkably consistent record, filled with great mid-tempo pop tunes and nicely sentimental ballads. It's simply a good, solid record that captures Ben Folds at his most engaging, and that's more than enough.

The Chess Hotel is an album of many firsts for the Elms: it's their first record in four years, the long-awaited sequel to their second album, 2002's Truth, Soul, Rock & Roll; it's their first album for a major label; and it's their first album not to be targeted at a CCM audience. Prior to this record, the Elms were recording for the Christian label Sparrow, but based on the sound of The Chess Hotel, that's a little hard to believe, since it's a loose, rowdy, invigorating set of no-nonsense rock & roll. No other band from the alternative CCM market has ever been this much fun or so genuinely rock & roll. On this terrifically entertaining album, they come across as a blend of the Black Crowes and Oasis, with a little bit of the roots rock of fellow Seymour, IN, native John Mellencamp thrown in for good measure. They love loud guitars, including greasy slide guitars, ragged rhythms, and big, big hooks that are hard to forget, and since it draws clearly and unashamedly on classic rock traditions, whether it's from the U.S. or the U.K., it might seem like it'd be easy to peg the Elms as retro-rock, but they're hardly throwbacks. They might be working within the confines of classic rock, but there's an unstudied nature to their writing and a commitment in their performance that makes The Chess Hotel seem fresh, particularly since there are virtually no straight-ahead, unapologetic rock & roll bands like this in 2006. And that's why The Chess Hotel is one of the best surprises of the year -- not only does nobody else sound like this right now, the Elms have the skills as songwriters and musicians to sound exciting. Fans of their first two albums have known this about the band, but those who are reluctant to try the Elms based on their past history should get past their doubts, because this album proves that this quartet is a good rock & roll band by any standard.