Peter Frampton - "Fingerprints"

From my days as a youngster listening to KFYR AM radio, to present-day music afficianado, it seems like Peter Frampton's music has always stayed pretty close to home for me. A skilled player, excellent writer / arranger, and capable vocalist - Frampton's artistry has been a staple of rock music for over (30) years. His latest CD offering Fingerprints, showcases many of the finer attributes of his musical style - not to mention his surprising depth as player. Being that it is an all-instrumental effort, the guitar takes its rightful place front and center, and I must say that the effect is a most pleasing one.

Joined by a cast of all-star players, Frampton explores a variety of musical styles throughout the (14) song set. From a trippy, voice-box'ed cover of power-grunge standard "Black Hole Sun" (*which coincidentally features both Mike McCready and Matt Cameron of Seattle-based rockers Pearl Jam), to the soulful duet "Blooze" with Gov't Mule / Allman Bros. guitarist par excellence' Warren Haynes, to the campy, Django Reinhardt-influenced "Souvenirs De Nos Peres" with guitar virtuoso John Jorgenson (Desert Rose Band, The Hellecasters), there's an abundance of incredible tone & technique on full display throughout Fingerprints.

Perhaps the thing that stands out the most in Frampton's latest release is the absolute joy I hear in his playing. You can tell that it is continually evolving, yet in many ways, still the same. A fluid, jazzy feel permeates a lot of the material, as does an innate knack for the sweet hook / fill. Deep down, though, Pete's always been a rock player at heart. And that being the case, he certainly isn't afraid to crank up his rig, and grind out some heavy riffs with his signature triple humbucker Les Paul Black Beauty and Marshall amp stack.

While it's hard to ignore Frampton Comes Alive as a high water mark in his career (and realistically, how could you?), there's so much more to Pete's playing than made-for-airplay stadium anthems. For example, check out his early work with Steve Mariott and Humble Pie, as well as his second solo album Frampton's Camel (*which features the original studio version of "Do You Feel Like We Do.) Stellar stuff!

I might also mention that Fingerprints took home a 2007 Grammy for "Best Pop Instrumental" album - a very deserving award to a musician who continues to employ his skillful craft in the modern day musical arena. Amongst the dry heave-inducing pop & rap offerings currently littering today's music industry landscape, Fingerprints is an island of refreshing change - real music crafted by real musicians.

If you're looking for a CD loaded with incredible guitar playing, lots of different styles of songs, and a mind-numbing array of tasty guitar tones (both acoustic & electric), I'd highly suggest that you check this CD out. - J.

The Who - "Endless Wire"

A year or so ago, I was active in an internet guitar forum. During my time there, I'd written a number of CD / album reviews, a few of which I though were very good. In an effort to bring our Tone Farm readership the best of music past and present, I thought I would post a few of them. Knowing fully that these were written in "present tense" back then, I will do my best to bring them into current day. Of course, there is the very real possibility that something might "slip through the cracks" from the standpoint of time relevancy, so I apologize in advance if this should happen. My only hope is that these reviews might entice you to explore some new listening material. Cheers - - J.

Hard to believe that (24) years had passed between The Who's last studio album (1982's It's Hard), and their most recent release Endless Wire. Certainly, a lot of history has passed since the band exploded onto the UK music scene back in the early 60's - and in many ways, their music provided a soundtrack to the turbulent times that changed the course of musical history. Yet, there is a note of irony in the fact that we are not too far removed from those same kinds of things here in present day. That very point is something that has always stood firm with me about The Who's music - it's relevance to to the time in which it was created. They are a band that that is cognizant of the world around them, and through their music, they offer solace, perspective, and hope. Their most recent release Endless Wire works along those same lines - only through a wiser, and more interpretive view. No longer do guitars need to be smashed, or revolutions stirred, to offer the listener a reason to listen. Call it street cred, or whatever you like. The Who are a force to be reckoned with, and should you seek to channel yourself inside their musical world, chances are good that you will emerge . . . wholly enlightened.

The new release is divided into two segments, the first being (9) songs that comprise Endless Wire. The second stanza is a mini-opera entitled "Wire & Glass", and I will offer no other insights to it other than to mention one word - Tommy. By mentioning that, I only imply that W & G has been created by the same basic nucleus that pushed outward the boundaries of the musical landscape with the "rock opera" concept. In short - The Who deliver the goods. They wrote the book. Everyone else is an imitator.

Included with the solid (21) song line-up is a DVD of a recent live performance (recorded in July 2006), featuring one of the new songs, and (4) all-time classics. For long-time fans who've pined to hear the band go into the studio to record some new material, it's an extra reward . All-in-all - a lot of music for $15. And it's The Who - - 'nuff said.

As I see it, the album is a refreshing, if somewhat economical performance from one of rock music's most legendary outfits. Caveats of brilliance are to be found amongst the songs featured Endless Wire, both in the now-grizzled glory of Daltrey's vocals, and shimmery brilliance of Townshend's electric and acoustic riffs. Overall, it's a rewarding listen for fans of all ages, although some of the material may be geared towards the more experienced Who listener.

The sands of time may have taken some of that original, chest-beating glory away from The Who . . . and begrudgingly I might add. But it brings a smile to my face to know that the fire still burns brightly inside of them.

Long live rock. - J.

Finding Keys . . .

Being fully aware of the knowledge and skill already present amongst the "All-Star Cast" that frequents our blog, I though it might be fun to tap into that deep, insightful well for an upcoming feature about "keys" to guitar playing. What spurred this on? Very simply - - talking / e-mailing with you - my fellow axe-slinging compadres. Whether its sitting down and sessioning some killer boutique amps, talking about Winter NAMM, discussing the benefits of NOS tubes, or sharing a few comical observations about gigging live - as players & musicians, these tributaries all flow into the same ocean.

An astounding player / musician I am not - but the desire to be one burns inside of me like a trio of fire-red 6L6's. To get the ball rolling on this feature , I though I'd pass along some things that have helped me to get where I am today. Either via e-mail, written contribution, or comments - it'd be fun to find out about some of those all-important "keys" that have opened doors to your own playing. Yes - this might take some thought. But think of it as time well-spent. Like enjoying a great cup of coffee, or listening to one of your favorite songs (*which does not include You.Tube!)

Believe me, culling (20) years of "lessons learned" down to (5) wasn't easy - - but I think the crux of the endeavor is pretty self-explanatory. Here are my own "keys" to guitar-playing success:

1.) Go your own way - Finding your own personal guitar "place" is where it's at. Rule your own musical universe, and reap its benefits.
2.) Listen! - i.e. are you really hearing it? Become acutely attuned to what you hear musically. Dissect it. Understand it. Know it.
3.) Inspiration is everywhere - All music presents potential inspiration for your own playing. Leave no stone unturned.
4.) Regular & Inventive Practice - Find ways to infuse practice into your daily routine through traditional & inspirational methods.
5.) Look outside the box - Don't play it safe. Continually challenge yourself by exploring new technical styles and musical theories.

What's that I hear . . . the sound of keys . . . jingling? J.

Architect of Heaviness

There is probably little that I could say about Jimmy Page that hasn't been said a million times before. The dark genius behind the rock n' roll colossus known as Led Zeppelin, Page's sonic blueprint spreads across the modern rock landscape like a solar eclispe. I'd venture to say that there's very little that exists in any of today's hard rock genres that wasn't propogated, or at least enhanced by something that Page / Zeppelin did during their storied reign as the biggest band on the planet.

I recently came across a couple of interesting web articles that might be of interest to fellow 'Farmers. The first one highlights a 1977 Steve Rosen interview with Page, and comes courtesy of Modern Guitar's online site. Jimmy was always quite wary of the press, and especially at that point of his career. All of which makes this interview somewhat unique, as he appears to be quite accomodating to Rosen's inquiries on various topics. There's some excellent historical information on Page's pre-Zeppelin days, as well as snippets here and there about the gear used to create some of Zeppelin's masterpieces. A very good read. Should you prefer, there's also an audio format you can listen to.

The second article comes courtesy of Guitar Player Magazine's online site, and gets into a bit of detail on a few of Page's recording and production strategies. Fully realizing that you could fill a large volume with some of the intricate details of Page's / Zeppelin's recording prowess, this should be looked at as an abbreviated take on a mere handful of highlights. Personally, I find these little snapshots very useful in my own recording endeavors, as it gets me thinking about other ways to arrange / develop songs, as well as techniques that I can use improve their overall tone / sound.

Lastly, it should come as no surprise to anyone that creating a catalog of music as tonally / dynamically diverse as Zeppelin's requires an amazing arsenal of killer gear. I'd featured a link to the Complete Jimmy Page Gear Guide on the Back Forty section a month or so ago, and will also include it in this post due to its relevancy. One of the most interesting things that I've come across in regards to Page's gear involves Zeppelin's juggernaut 1968 debut - most, if not all tracks, were recorded with a Fender Telecaster! Yes, that guitar and a little Supro amp (*which uses a coaxial 6" x 9" speaker - like the ones I used to have in my car!!) were vital elements in shaping some of the heaviest rock tones this planet has ever heard! Anyways - the article is loaded with great information, some of which might surprise even the savviest of gear-hounds. Bon apetit' - J.

Rocket Ride . . .

With the last KISS-related sighting in ND being almost (8) years ago, the announcement of Ace Frehley's upcoming March 11th Fargo performance was truly exciting news for local guitarists and music fans. My lovely wife excitedly delivered the news to me a week or so ago, after reading about it on the In-Forum website. As if she wasn't already perfect in every way, she scored (2) nice floor seats for my sister and I to attend the show.

A notorious prankster and died-in-the-wool rocker, Ace has never been one to jump the train to notariety - a far cry from the paths chosen by his KISS counterparts Gene Simmons and Paul Stanley. Simmons, the quintessential media whore, acts as the "fall guy" in his own family-based reality show (*which is actually very funny, by the way). And Stanley, vain as ever, preens and poses for his line of signature model guitars. Other than an occasional call-in to friend Eddie Trunk's NY-based radio show, and appearances at select events and shows - the Spaceman remains largely out of the public eye. Such may bide well to his renewed musical efforts, which include a bevy of spring dates, as well as a rumored - but seemingly eminent 2008 release.

Pandering the historical significance of a theatrical-based rock guitarist like Frehley might come easy for casual fans, especially in light of the Simmons-led mega-marketing campaign of the past decade (KISS condoms, anyone?!!) However, those "in-the-know" are well aware of Ace's penchant for the glorious rock hook and trademark Les Paul-wielding saviour fare'. Costumes and gimmickry aside, Ace has paid his rock n' roll dues, and has a vast catalog of heavyweight material to prove it. From the gut-wrenching, power-chorded magnificence of ALIVE's 100,000 Years, to Love Gun's stadium rock standard Shock Me, to the pop-rock genius of New York Groove, Mr. Frehley has given us more than an ample dose of rocket-propelled guitar bravado.

The build-up for Ace's present tour and album release has been rather hush-hush, but my guess is that this isn't going to be the case when the lights go down at the Fargo Theater on March 11th. Not only does Frehley have a lot to draw from in the KISS catalog, his Frehley's Comet-era material features a lot of solid, kick-ass power rock. Throw in the possibility of a vintage cover or two (perhaps the Stones' "2000 Man"), and we could be talking about a really awesome show from start to finish.

However you choose to look at KISS, or their individual members, know for a fact that I'll be in the seats - grinning from ear-to-ear - when one of my favorite players of all time takes the stage in my hometown.

Really - does it get any better than that? J.

Power Snake . . .

The Tone Farm would like to welcome friend and fellow player Joe Austin to the contributor's fold. In a recent e-mail, he highlighted (2) newer releases that had been seeing frequent rotation at his secret lair in Grand Forks, ND. Thinking that there'd be a few 'Farmers that would appreciate the low-down, he has graciously offered to share with us his informative takes on Gary Moore's latest - Power of the Blues, as well as "Live: Still of the Night" from 80's metal icons Whitesnake. So, without further adieu . . .

Amidst my busy schedule, I always find time for my favorite hobby: music. I recently picked up Gary Moore's Power of the Blues. Now critics have always denigrated the lyrical content of Moore's projects, preferring instead, to focus on his six-string heroics. However, w/Power of the Blues, I have to disagree with the critics - it may possibly be the best Moore CD he has put out since the Black Rose project w/Thin Lizzy.

Moore's singing and playing are top-notch. What I love about Power of the Blues is the overall sonic tone. The mix is well done. Sure, Gary's guitar is up in the mix, but the rest of the band is heard at just the right level as well. And to top it all off, Gary's tone is about the best I've ever heard. Plenty of double-up notes and dizzying vibrato (wait a minute....are we sure we not talking about Mr. Frehley? lol) make this a 5 star (*****) CD and a absolute must for every blues guitar fan!

On the DVD side, the 2004 Whitesnake release "Live: In the Still of the Night" has been getting a lot of airplay. After watching it several times, I must say that the current lineup may be the best ever. David Coverdale and Tommy Aldrich remain from the 1987 tour. New players include keyboardist Timothy Drury, bassist Marco Mendoza, guitarist Reb Beach, and one of my new favorites, guitarist Doug Aldrich.

This DVD was shot in London in 2004. The material focuses mainly on the 1987 blockbuster self-titled release, but does throw in a few gems from previous endeavors. Highlights include "Ain't No Love in the Heart of the City" and "Burn/Stormbringer" from Mr. Coverdale's days in Deep Purple. The band is super-tight and it shows. Doug Aldrich's guitar is way up in the mix and being a huge fan of the Les Paul/Marshall tone, I absolutely love it. However, at times, you can hardly hear Reb's guitar when he solos - which leads to a slightly uneven overall mix. It's likely that Reb's fans would have appreciated a more level playing field. Never-the-less, as a buddy of mine once told me, "This whole video is BAD-ASS" - and I couldn't agree more. I give it 4 1/2 stars (****1/2).

You can find these gems at www.cduniverse.com. The Whitesnake release also comes in a DVD/CD combo for a little extra $$$.

Personally, I'd hoped for a few revealing back stage shots of Tawny Kitaen (Dave Coverdale's squeeze). ;~) But alas . . . no dice.

Nice reviews, Joe. Keep 'em comin. J.

Run for cover . . .

I was recently introduced to "Real to Reel" - the latest CD offering by 80's metal darlings Tesla. If you have any familiarity with the band, you might remember heavy airplay, made-for-MTV hits like "Love Song", "The Way It Is", and "What You Give". Enter modern day. The once lush paradise of Hair Metal Cove has now turned into the barren, cracked earth of "Ain't Had a Hit in Twenty Years". In the majority of cases, it's all but killed bands of that genre. Those more vigilant have since found new avenues to pursue, to include the boys from Tesla - who have re-invented themselves as a professional cover band - - and are now touring in support of it. *insert sound of pin dropping*. Um . . . yeah.

Material-wise, Real to Reel consists of not one, but two volumes of classic rock power standards from 70's heavyweights like Alice Cooper, Bad Co., Montrose, Aerosmith, UFO, Thin Lizzy, Lynyrd Skynyrd - just to name a few. If you're savvy enough to have caught the intended play on words with "real" and "reel", then you're also clued into the other gratuitous quirk that this double set offers: all of the tracks were recorded using a vintage Neve console, and then mastered directly to Ampex 456 analog tape (i.e."reel-to-reel" tape). If your name isn't Donald Fagen, this probably won't mean a whole lot to you, But don't feel bad - it certainly won't ring a bell with any of the raccoon-eyed, ripped-jean-wearing thirty-something moms wearing that'll be lining the first six rows of the small-to-medium-sized clubs Tesla will be playing on tour. All of whom will be secretly praying that the band will deviate from their cover-heavy set list . . . to play "Love Song" - - just for them - - perhaps twice!

Now before you get the wrong idea about these two CD's, let me tell you that I'm a big Tesla fan. Always have been. I have fond memories of tossing around the 'ol 165g "frizz" down at Sertoma park (*back in the day when you could actually drive through the park), a pair of Pioneer home stereo speakers (*that I'd ingeniously wired to work into my car stereo) setting atop my Mach 1, while Mechanical Resonance blasted for all to hear. The only thing cooler than that was the fact that we were sucking down Schlitz Malt Liquor with these clever soda can decals wrapped around them, so no one knew we were drinking illegally. Yeah, I know. Total coolness.

Perhaps the most enticing thing about "Real to Reel", at least for me, was the guitar work. Side-to-side, it's all incredibly well done. I've always been impressed with players that appreciate and / or revere the guitar tones achieved using vintage gear, and original band guitarist Frankie Hannon, along with sideman Dave Rude, weave some incredibly lush classic rock tones throughout both CD's. For a gear junkie like myself, that alone was worth the price of admission. While Hannon and Rude's playing rarely strays outside the lines - they do occasionally work in a tasteful original run, slide progression, or lick now and then. Toss in the fact that the tracks were recorded and mixed using vintage studio gear - and hey, break out the bell-bottoms and Keep On' Truckin tees! Overall, the guitar playing is technically very strong, and really fun to listen to - if you're into that sort of thing. I'm thinking that these CD's will get a lot of use as jam / practice tools.

Amongst the bevy of classic tracks, there were two songs that did stand out for me. The first was Grand Funk's Stealin', and the other was Aerosmith's Seasons of Wither. Both are under-appreciated gems from two of the biggest bands of the 70's. What makes Stealin' work particularly well is that Jeff Keith's voice matches nicely to the original sound and vibe of the song. In other words, you still get feel of Jeff's vocal style, blended with a bit of that magical mojo from past. Seasons of Wither - a dusty jewel off of Aerosmith's Get Your Wings album (1974), impressed for the same reasons as noted previously. While it's not on par with the original delivery, courtesy of a young, pre-chemically-dependent Steven Tyler - the song does have its moments . . . and especially on guitar.

My friend James, who sent me the CD's, made mention of the fact that in his opinion, the Tesla version of Saturday Night Special was perhaps the best he'd ever heard - - cover or original. Indeed, bold words coming from someone who does not own a single piece of Skynyrd on vinyl - - or a Skynyrd release devoid of the words Greatest Hits (*I make light of this only because I can). Me - I've been listening to Saturday Night Special longer than I care to admit publicly, so my take on the Tesla version of SNS is a well-earned "C" - with most of this grade being given on the strength of the guitar work. The vocals, IMHO, are a bit "light", and the delivery less vengeful / toxic than the original album version. When you listen to Ronnie Van Zant's vocals on SNS, you don't have a hard time imagining him getting liquored up on cheap whiskey at a dingy local watering hole - - and then jumping in his rusty old pickup, hell-bent to fill his wife's adulterous lover full of cheap lead slugs. I don't hear that desperate, twisted vibe in Jeff Keith's rendition, and hence, it just kind of lies there - - like a prom date who's had one-too-many chugs on a bottle of T.J. Swan. Bottom line - if you wanna' run with the big dogs, you'd better be able to bring it. Tesla's version remains content to stay on the porch, though quite honestly, most bands would be happy with that.

As I see it, the big fall on "Real to Reel" is pretty simple - Jeff Keith's voice sounds great on Tesla records, but not that spectacular singing other bands' material. Add to that the fact that there's very little in the way of production done on his vocal parts, which leaves his singing sounding like it's "forced", or even worse, unnatural. Although I can tip my hat to the effort put forth on this project, it's hard to really appreciate anything that is not at least equal to, or better than the original. Most of the songs featured on "Real to Reel", sadly, are not. There's a gem or two here and there, but quite honestly, I'd have have been more impressed with the band releasing a single CD's worth of decent new originals, spiced with a strong cover or two as bonus tracks. But then again, what the hell do I know.

I know a lot of people dig Tesla's music, including myself - and for that reason, I'm really at a loss as to why they'd fill up two entire albums with other bands' tunes. Especially when they're perfectly capable of kicking ass on their own stuff. Give me some new tunes, and I'll be more than happy to come and see you on tour, drink a few brews, and we'll all have a good time. J.