Paul Westerberg has become so prolific as of late, that it's as if he and Steve Earle are coming to the end of a long marathon and they've both called upon some superhuman second-wind for a strong kick to the finish line. It seems like only yesterday that I was writing about the virtues of Come Feel Me Tremble, and now some 9, 10 months later here I go again. I suppose there will be those who might point to the coincidence of this record coming out so soon on the heals of ex-Replacement mate Tommy Stinson's Village Gorilla Head. I wouldn't put much stock in that, Paul doesn't strike me as the type who would even "know" about Stinson's record.

The Replacements, for all their indelible place in history, are 15 years gone and, "Kick Me on the Bus" if you must, but I prefer Westerberg's solo work to most of the Replacement's catalog. In fact I would go so far as to say that, particularly given the tender age of the Stinsons and Mars at the time, that the Replacements were pretty much Westerberg's back-up band. True the chemistry and legendary mayhem that they created on stage were the product of a band, but the post-Mats production of the other members would seem to substantiate my contention. All that said, that's just a lot of bong-water under the bridge and I recommend Tommy's new release, he gives the almighty master of the Mats a fair run for his money here.

Again, any competition that may exist I'm sure is in the Stinson camp. Westerberg records his craggy "crackle and drag" dusty diamonds in his basement and is about as much a social gadfly as Quasi Modo. I'm sure he's happy for Tommy, hell aren't we all? Held hostage, as it were, by Axel Rose for so many years.

Folker certainly doesn't find Paul deviating much from his S.O.P. but for fans like myself, I don't want change - I'm just happy to have more. Interestingly the opening line to track 10 "How Can You Like Him?" is "Come feel me tremble/ bring a thimble and I'll pour my thoughts out." Suggesting that Paul does little else other than hang-out in his boxers and write gorgeous songs for those of us wise enough to understand that we should still be hanging on his every word. For Paul knows few peers as a lyricist. I can see newer fans put-off by his cigarette and Lortab croak of a voice, but the man can set-up a chorus hook and turn a phrase around it with the very best.

In general terms this release is quite similar to Come Feel Me Tremble, (though, as of yet I haven't heard of a Grandpaboy companion piece). The up-tempo tunes are stronger here than on Tremble, the sprightly "As Far As I Know" and "What About Mine" shake the dust out with a welcome bouncy jangle. On the negative side of the ledger I would say that Folker lacks as good a sucker-punch sad-ballad like "Meet Me Down the Alley" or "Crackle and Drag." This isn't to say, however, that there aren't some good ones here. In fact the ballads on Folker find Paul giving us a glimpse of his fiercely-protected sentimental underbelly, with songs like "My Dad" and "When Will We Arrive." I wish I knew exactly how personal this latter song is? If anyone knows please respond. Let me share these lyrics because this is unbelievably atypical of Paul:

"The vices of the parents/ soon reveal themselves in sickness of the child / Divine intervention was not my intention / but Jesus Christ please save us from his smile/ And we'll get down on our knees / and we don't care who sees / and to hell with them who laugh / and we'll tell the ones that ask / That we're damned if we do / and we're damned if we don't / and there's one thing that's true / if I'm wrong I'm not alone."

If anyone knows anything more about this song - I'm all ears. And if you're a fan of Minneapolis' real and true genius, by all means, Folker, have a smoke, get dressed and go buy this disc.