Peter Frampton
Frampton Comes Alive: 25th Anniversary...
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Why would Peter Frampton, so close to stardom after a decade, release a live, double-record set when he hasn't really established a large audience? He says, "I just wanted to do an album that summed up the first four solo records in the most effective way possible." This album also gives him a dynamic, highly charged context for both his dramatically phrased vocals and a new, rougher guitar style. And the move may not be as ill-conceived as it seems—his manager, Dee Anthony, used live albums to put J. Geils and Humble Pie over the top. This album is a primer for those who've overlooked him in the past. In addition to shattering guitar leads on tracks like "Lines on My Face," "Show
Read More Me the Way" and "Do You Feel like We Do," the vocals are forceful, the harmonies balanced and the ensemble playing well-rehearsed. Although Frampton has been stereotyped a hard rocker, the introspective side two is largely acoustic. This album also reveals other facets of Frampton's musicianship that his studio efforts have obscured. Second guitarist Bob Mayo provides a rich, dense middle texture, and working with him, Frampton demonstrates his excellence as a rhythm guitarist, a rare thing among lead players. Echo has always been a key factor in his sound and Frampton here manages to combine Leslie speakers, a compressor and augmented echo onstage without losing any presence. But what really makes his lead playing distinctive is his intuitive melodic sense, the economy of his solos and his elegant, quasi-jazz phrasing. Although Frampton has included most of his best material, numbers like "I Wanna Go to the Sun" and "(I'll Give You) Money" run dangerously close to heavy-metal redundancy. The adapted "Jumping Jack Flash," like several other previously recorded songs, hasn't really evolved beyond the original Frampton version, and "Do You Feel like We Do," which invariably gets the live crowd crazy, runs on far too long here. Overall, however, this album is Frampton's most coherent, exciting and accessible. Frampton Comes Alive is more than a summation of his solo career; it's also a synthesis of the best third-generation British rock styles. As the genre's brightest light, it will be interesting to see where he takes it from here. (RS 208) JEAN-CHARLES COSTA |
