The Central StandardsÑone of my favorite bands, local or otherwiseÑmade their initial mark on the Memphis music scene earlier this decade with two CDs of REM- and Big Star-tinged folk rock. With their latest CD, however, the group has applied a healthy dollop of White Out to the ÒfolkÓ half of Òfolk rock.Ó The Central StandardsÕ Folly rocks.
A tough, edgy sound pervades: Folly features more sting and bite from the electric guitars, more punch from the drums soundÑas well as a willingness to explore different vocal effects. The first sound heard on Folly is the backbeat of drummer Marty Christopher (one of MemphisÕ finestÉthink the forcefulness of REMÕs Bill Berry, the tastefulness of WilcoÕs Glenn Kotche, and the controlled looseness of Charlie Watts) leading into ÒDamaged Dollar,Ó a composition by lead guitarist/keyboardist (and co-lead singer and songwriter) Ted Horrell that incorporates piano as well as musical colors heretofore unheard in their music (a train-flying-off-the-rails sax solo). The second track, co-leader Jeff CappsÕ should-be-a-single ÒGreat Big Cosmic,Ó recalls the jumpy swing of earlier Standards tunes like ÒWhat They MeanÓ (from 2003Õs Refrain) and ÒGumball Machine Diamond RingÓ (from 2005Õs CanÕt Remember the Last Time)Ñexcept on steroids. HorrellÕs ÒAnnie,Ó too, rocks harder than anything from the first two StandardsÕ releases.
The groupÕs evolution from folk rock to something edgier is most apparent on the Capps composition ÒStrike,Ó which arrives about three quarters of the way through the record. Big, anthemic, shimmering, ÒStrikeÓ is awash in atmospherics foreign to previous Standards releasesÑechoing vocals, distorted tremolo guitar, an expansive drum sound that would make Unforgettable Fire-era Larry Mullen, Jr., proud. ÒDonÕt let me disappear,Ó sing Capps and Horrell, as if trying to keep the metamorphosis from being too complete.
ItÕs not all about loud guitars and vocal effects, though. Fans of the ÒclassicÓ Standards sound will recognize the homier sonic textures and easy-goingness of earlier tunes in a handful of songs (including ÒMy Friends TooÓ and ÒThank You, Herman MankiewiczÓ). And the albumÕs closing track, CappsÕ ÒEndless Green and Blue,Ó fits into none of the categories named above. A deliberate (at 6 minutes plus, the longest Standards song by far) and ethereal gumbo of acoustic guitars and auxiliary percussion, the song easies its way into the subconscious, bringing the record to a soothing pause instead of an abrupt stop.
Despite the increasing divergence in songwriting styles of Capps (more impressionistic, stream-of-consciousness) and Horrell (more linear)Ñand despite the fact that the CD was recorded at three different local studios over several monthsÑFolly is the groupÕs most cohesive record to date. Much credit for this result goes to the ever-growing integration of bassist Casey Smith and drummer Christopher into the performances. Smith and Christopher drive the songs when needed, yet one never feels that they are overplaying or trying to have their parts heard for their own sake.
If I have one complaint with Folly, itÕs that, unlike the recordÕs predecessor CanÕt Remember the Last Time, it does not seem to have (to my ears) a ÒcenterpieceÓ like the previous recordÕs piano ballad ÒTeenage Heart,Ó which really shaped the emotional arc of the record when listened to from beginning to end. Of course, IÕve had Folly for only a couple of weeks; the shape of the narrative may make itself more apparent as I listen more. And fortunately, the strength of the singing, writing, and playing on The Central StandardsÕ Folly will lead to many, many repeat listens.
Learn more about The Central Standards at www.centralstandards.com.
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