Peter Frampton: “Now” (2003/2015) CD Review

I worked as an extra for a week or so on Almost Famous (at the time referred to as Untitled Cameron Crowe Project), a movie for which Peter Frampton provided some music and worked as a consultant. The movie was about a band called Stillwater, and several scenes were concert scenes. Well, at one point work stopped on a concert scene, and it was announced that Peter Frampton was going to play for us. And indeed, he came out on stage and did a short concert. It was unexpected and a total joy – probably the best time I ever spent as an extra. And it rekindled my interest in his music. So when his next CD, Now, came out in 2003, I bought a copy and was largely impressed by its eleven tracks, all but one of which are originals. And actually one of the songs on this release, “Hour Of Need,” was written for Almost Famous. Now Omnivore Recordings is re-issuing this album. There are no bonus tracks, but there are some new liner notes by Scott Schinder, including bits from an interview conducted with Peter Frampton.

Now kicks off with a solid rock tune, “Verge Of A Thing,” with a nice heavy groove. It was written by Peter Frampton and Gordon Kennedy (who co-wrote the majority of this CD’s material). Gordon Kennedy also plays guitar on this track. Here is a taste of the lyrics: “But oh, as hard as I try, there's no explaining this/It ain't the wine or the dope that's talking/It ain't your psychic on Benzedrine/No, I have been to the mountain and I have a dream/Baby, we're on the verge of a thing.” It’s followed by “Flying Without Wings,” which begins with some good bluesy guitar, which right away gets me on board. This song has a nice groove and some positive lyrics, like these lines: “Take to the skies/You're flying without wings/Get up and do it again/You've got to make the wind your friend/You might just find you'll float away/Sit back, enjoy the ride/You've got to trust what's there inside.”

“Love Stands Alone” begins as a mellower, prettier song, then kicks in with a power for the chorus (“Doesn’t matter/Doesn’t matter to her…”). “Love Stands Alone” was written by Peter Frampton, Gordon Kennedy and Bob Mayo. The lines that always stand out for me are: “Once I was captured/By the fire in her eyes/Now when I look I see the whites of her lies.” “Not Forgotten” also begins as a mellower, acoustic tune, and when it kicks in, it retains that feel. There is something really pretty about this song, and it’s one of my favorite tracks on this release. Here is a taste of the lyrics: “Those who went before/Why are they remembered/They held our hands/And sang us songs/Lived their lives ‘til they were gone/But not forgotten.”

“Hour Of Need” was written by Peter Frampton, Gordon Kennedy and Wayne Kirkpatrick for the film Almost Famous, where it is performed by the fictional band Stillwater (not to be confused with the actual 1970s band Stillwater, who interestingly use that talking guitar effect on their song “Mind Bender,” the effect that Peter Frampton famously used). “Hour Of Need” is a really good song, and stands up well on its own, away from the film for which it was written.

I usually think it’s a good idea to discourage songwriters from writing about their children, because often the resulting songs are their worst material. It’s like how parents expect everyone else to think their children are as amazing as they do. But there is something undeniably sweet about Peter Frampton’s “Mia Rose,” written about his daughter. It’s certainly not the album’s strongest track, but it’s kind of adorable. It was written by Peter Frampton and Kimmie Rhodes. “I’m Back” is a good rock song, though I could do without the reference to The Terminator, which kind of detracts from the song a bit, making it a bit more goofy. “I’m back/Like Schwarzenegger in Terminator.” Unfortunately, the line is in the chorus, so it’s repeated several times.

The following track, “I Need Ground,” is a much better song, with some nice percussion by Blair Masters. “I need ground/Somewhere soft to land/When I come down/Somewhere it's safe to stand.” Then comes the CD’s sole cover, a good rendition of The Beatles’ “While My Guitar Gently Weeps.” It opens with a thoughtful, arresting guitar solo, and features some excellent guitar work throughout. Don Fields plays acoustic guitar on this track. It leads into “Greens,” which also begins with an introspective-sounding guitar solo, and is the album’s only instrumental track. It's a wonderful tune, with the guitar at times playing the part you might imagine a lone late-night saxophonist would play. It was written by Peter Frampton and Bob Mayo, and features Jed Leiber on keyboards.

The CD then ends with one of my favorite tracks, a sweet and positive number titled “Above It All,” written by Peter Frampton, Gordon Kennedy and Wayne Kirkpatrick. Here is a bit of the lyrics: “It's me and you/Chasing sunshine until tomorrow/What will we do/If the sky cries and turns to sorrow/I see us picking up/The pieces when they fall/Rising above it all.”

CD Track List

1. Verge Of A Thing
2. Flying Without Wings
3. Love Stands Alone
4. Not Forgotten
5. Hour Of Need
6. Mia Rose
7. I’m Back
8. I Need Ground
9. While My Guitar Gently Weeps
10. Greens
11. Above It All 

This re-issue of Now is scheduled to be released on September 4, 2015 through Omnivore Recordings, following re-issues of Frampton's 1986 release, Premonition, and 1989 album, When All The Pieces Fit.

Peter Frampton: “When All The Pieces Fit” (1989/2015) CD Review

When All The Pieces Fit was the second Peter Frampton album on the Atlantic label, following 1986’s Premonition. To my ears, When All The Pieces Fit is a much better album. It still has quite a lot of synthesizer, as well as some drum machine stuff (which I never appreciate), but the focus seems much more on the songwriting. Also, the guitar has a lot more prominence. Unlike the re-issue of Premonition, this disc contains no bonus tracks. It does, however, include new liner notes by Scott Schinder, with bits from an interview with Peter Frampton.

The album opens with “More Ways Than One,” written by Peter Frampton and Danny Wilde, and straight off, this disc definitely has a 1980s pop thing going on, but is not quite as much a product of its time as was the previous album. There is a positive bent to this track, with lines like, “I believe there are more ways than one/Any door can be opened.” It’s a song in which he woos a woman. “I knew I was in trouble when I saw you for the first time/’Cause you’re a little bit different, you’re driving me wild/I’m gonna make you love me even if it takes a lifetime.” However, by the end, his perspective has changed a bit, and he’s decided he doesn’t want to spend a lifetime wooing her: “Don’t wait too long to come around/I might be nowhere to be found/And you’ll be standing all alone.” It’s interesting that as he’s come to be a bit less patient, he also comes to think that if she’s not with him, she’ll be alone.

“More Ways Than One” is followed by “Holding On To You,” one of my favorite tracks on this disc. There is a bit more of a focus on the vocals and lyrics, which I appreciate. There is also something of a sweet vibe to this tune, and some nice backing vocals by Mark Williamson and Jean McClain. This song was written by Peter Frampton and Will Jennings. Here is a taste of the lyrics: “I won’t be letting go/I just started to hold on harder to you/I won’t be letting go/I just wanted you to know/I won’t be letting go/I just started to hold on harder to you.” Then “My Heart Goes Out To You” features a nice lead guitar part halfway through, and that familiar Frampton guitar sound toward the end.

One of the album’s most interesting tracks is “People All Over The World,” written by Peter Frampton and B.A. Robertson (Robertson is also on synthesizer and backing vocals). It opens with the chorus, which finds Frampton joined by several other vocalists, including Alfie Silas, Mark Williamson and Jean McClain, giving it the feel and power of an anthem. “People all over the world/Here and now are in suffering, struggling to be free/You’re there in your little world/I’m in mine and we’re mumbling, crumbling/What about me?” I found myself singing along to this track pretty quickly.

“Back To The Start” is a fairly straight-ahead rock tune, which was pretty refreshing in 1989. It was written by Peter Frampton and Danny Wilde (Wilde provides backing vocals on this track). “Now And Again” is one of my personal favorites. It has both beauty and energy, and again the focus is on the vocals, the lyrics. “Maybe you still hear the echoes/As they make their escape/There was nothing so special here/We need time to debate/I offer no explanations/For those who remain.” I also really like John Regan’s work on bass. “Now And Again” was written by Peter Frampton, John Regan and B.A. Robertson. It’s an excellent song.

The album concludes with another of its best songs, “This Time Around,” which has a sweet and uplifting feel. Here is a taste of the lyrics: “No one breaks this time around/Life just takes us where we're bound/Hear the music playing/We know what it's saying now/Lost until we're found/And we're found this time around.” Nice, eh? Plus, it features a saxophone solo by Sam Riney. “This Time Around” was written by Peter Frampton, Will Jennings and John Regan. I love how this album ends on such a positive note: “It's our time this time around.”

CD Track List

1. More Ways Than One
2. Holding On To You
3. My Heart Goes Out To You
4. Hold Tight
5. People All Over The World
6. Back To The Start
7. Mind Over Matter
8. Now And Again
9. Hard Earned Love
10. This Time Around

This re-issue of When All The Pieces Fit is scheduled to be released on August 28, 2015 through Omnivore Recordings.

Peter Frampton: “Premonition” (1986/2015) CD Review

Peter Frampton’s Premonition was originally released in 1986, a full ten years after Frampton Comes Alive!, and yet it seems we were still comparing everything he put out to that record. And 1986 was not a great year for music. The joy of the 1983, 1984 pop records was basically gone, and the sounds were getting stale. This was the year of New Kids On The Block and Billy Ocean and Whitney Houston and Janet Jackson and Europe and Stryper and Salt-N-Pepa. Synth sounds were everywhere. Peter Frampton is of course known for his guitar work, and Premonition has quite a lot of synthesizer, with the guitar adding nice touches and accents, but certainly not driving most of the material. But there are still some really good songs here, including “Lying” and “Into View.” And this special re-issue includes two bonus tracks and new liner notes by Scott Schinder, featuring parts of an interview done with Peter Frampton.

Premonition is unmistakably an ‘80s album right from the opening notes of its first track, “Stop.” It nearly screams, 1986! Beneath all those 1980s trappings is something of a love song, with lines like “We've seen heartache and we've seen rain/You and I have made it through again/I will stand by you/No matter what you do/I will always be your lover and your friend/So this story will not end.” “Stop” was written by Peter Frampton and Mark Goldenberg. It’s followed by “Hiding From A Heartache,” which is also so clearly an ‘80s track. This is really an album of its time. But again, if you can get past those mid-1980s sounds, you can appreciate this track. “When I'm faced with the memory of love/And it's you that I want but you're not enough.” “Hiding From A Heartache” was written by Peter Frampton, Arthur Stead and Steve Brougton Lunt.

“Premonition,” the album’s title track, is a fairly good rock tune, with a steady beat and some nice work on guitar. It was written by Peter Frampton and Rob Sabino. That one is followed by “Lying,” which was released as a single, reaching #74 on the Billboard chart. This is a good, strong song, one of the best tracks on this album. This one makes really good use of those 1980s sounds and simultaneously rises above them. Then “Moving A Mountain” opens with a guitar riff, which gets me excited. There is a certain power to this 1980s rock tune, making it another of this record’s highlights.

But my favorite track is “Into View,” a tune I love right from its opening. It has a good groove, and some catchy elements. And it certainly doesn’t hurt that the guitar takes prominence here (including a bit of that talking guitar sound Peter Frampton is so famous for). “But there's always another hill to climb/And never enough of that precious time.”

Bonus Tracks

This special re-issue contains two bonus tracks. The first is “So Far Away,” which was included as the flip side to the single of “All Eyes On You.” “You left me without a reason/Not saying goodbye/I can remember you said you’d stay/All that’s so true, girl, until yesterday/You’re so far away.” “So Far Away” was written by Peter Frampton and Daryl Stuermer. The second is “Nothing At All,” which is from the soundtrack to the 1986 Kevin Bacon film Quicksilver. Here is a taste of the lyrics: “I never liked history/It's a thing of the past/If I lived to a thousand years/Would time still go so fast/I've been up to the mountaintop/I had to look down/Nobody ever greets you there/Only you and your prayer/But there's nothing at all, nothing at all/In my way.”

CD Track List

1. Stop
2. Hiding From A Heartache
3. You Know So Well
4. Premonition
5. Lying
6. Moving A Mountain
7. All Eyes On You
8. Into View
9. Call Of The Wild
10. So Far Away
11. Nothing At All 

This special re-issue of Premonition is scheduled to be released on August 28, 2015 through Omnivore Recordings.

Go See The Grownup Noise August 14 and 15

The Grownup Noise is one of the best bands around these days, and they're about to release a new CD, which I'm seriously excited about. They're also about to break up, at least sort of, at least for a while, which I am truly bummed out about. Several days ago the band announced that the shows on August 14 and 15 would be the last shows with Todd Marston and Aine Fujioka, and today I've learned that they will also be the last shows with Adam Sankowski. So that is definitely an end to the current sound of the band. Or, a temporary end to the current sound. Who knows what the future will bring? I am hoping that this will end up being just a short break. And in the meantime, Paul Hansen will continue writing and performing, so there is still something to look forward to. But I highly recommend going to the shows on August 14 and 15. I love this band, and these guys put on a really good show.

Here are the details:

• August 14, 2015 - Davis Square Theatre, 255 Elm St., Somerville, MA  -  8 p.m.
• August 15, 2015 - Lily Pad, 1353 Cambridge St., Cambridge, MA  -  7 p.m.

And here are links to some of my earlier posts about The Grownup Noise:

• The Grownup Noise at The Silverlake Lounge, 8-15-11 Concert Review
• The Grownup Noise at The Silverlake Lounge, 8-8-13 Concert Review
• The Grownup Noise at The Silverlake Lounge, Photos
• The Grownup Noise: "The Grownup Noise" CD Review
• The Grownup Noise in Los Angeles , 8-17-10 Concert Review
• The Grownup Noise: "This Time With Feeling" CD Review

The Mangoes: “The Mangoes” (2014) CD Review

The Mangoes is the new project of Bret Bingham and Tim Morse, and the band’s self-titled debut album is a concept album with a narrative about a struggling musician who becomes obsessed with a woman (the story is outlined in the CD’s liner notes). This is an unusual pop album that takes us in interesting directions, like some nutty hipster film created by a team where each person gets to contribute a section, leading to several different sounds, different voices, and somehow adding up to something kind of wonderful. It’s pop, sure, but dips into rock, jazz, and other genres, so even if you don’t like every song here, you’re bound to enjoy at least a few, regardless of where your taste lies. The album has a sense of humor, which I appreciate, but that also doesn’t stop it from having moments of beauty, as in “Headed For A Fall.”

It opens with “I Told You So,” a very catchy, bright-sounding pop song, which is directed at the female character of the story, Candy, who has made it in the music business. Billy, the album’s protagonist, sings to her, “I never had a doubt that/One day they’d be blown away/By the talent that is you/And that’s all I’m gonna say.” But that’s the beginning of the song and of course that’s not all he’s going to say. The song has a certain sense of humor about it, as later he sings, “But I guess there’s one more/Thing I really ought to say/Yes, I got myself a lawyer/And if I get my way/I’ll have royalties/Along with my flat fee/And a fair percentage of your gross proceeds.” Ah, love and the music business.

It’s followed by “Mango Overture/Over.” The “Overture” has sound effects of a car radio finding a bit of “The Mangoes Theme,” and feels a bit pointless. It leads straight into “Over,” about struggling on the road and knowing it’s going nowhere (“The crowd’s a no-show”). There is a Beatles influence that can be heard at moments on this track, and on others. “Barista Girl” is a fun and kind of silly tune, a love song dedicated to the chick behind the counter at Starbucks. “Barista girl, pants so tight/But I’m only her amigo/Oh, I travel far/I wait so long in the Starbucks line/For barista girl.” It has a wonderful vibe about it, like a Latin country song, and some lines that had me laughing. Then “Samba Mambo” is a cool instrumental track, and we can imagine Billy and Candy sizing each other up, and the coffee shop disappearing around them as the world focuses on just these two as they begin their dance.

“The Future (Will Be Yours)” is one of my favorite tracks. It has this sly, slick hipster jazz vibe, with a sense of humor, and I totally dig it. How can the girl help but buy into the fantasy, as he sings to her, “Hey girl, there’s magic in the air/And there’s money everywhere.” And I love the bass. That’s Scott Southard on bass on this track.

With “Stupid Chorus,” the album suddenly goes in a techno pop direction. It’s unexpected and definitely not my favorite track. But in the story of the album, it’s the song that gives Candy and Billy a minor hit. And the song is sort of poking fun at its very genre, with lines like “Stupid chorus, stupid chorus/Like a ringtone in our brains” and “Feel the sterile bass drum beating.” Hope Rogers performs the lead vocals on this track. That tune is followed by “Brickwall,” which has shades of They Might Be Giants, and reminds me a bit of certain songs by Jim Infantino, at least during the chorus. “I like the music when it’s free/It sounds good to me/I like the music when it’s louder/I like the music when it’s free.”

“Headed For A Fall” actually has a pretty feel to it, helped by the cello, an instrument I’m always happy to hear. (That’s Rebecca Roudman on cello.) This is another track that has a Beatles influence. “And all I ever wanted was to make her a star/Just a little more time, I could take her real far.” And then “200 Yards” is a good pop tune about dealing with a restraining order. “Thanks my dear pumpkin/For the legal injunction/I’m not backing down/I’m still hanging around.”

“Epilogue” is a sort of progressive instrumental track. Oddly, there are two more tracks after “Epilogue.” The first, “Broken Soul,” is like a message from the grave. The second, “The Mangoes Theme,” doesn’t really seem to have anything to do with the narrative of the rest of the album, but it's fun and goofy and short, so just enjoy it.

CD Track List

1. I Told You So
2. Mango Overture/Over
3. Barista Girl
4. Samba Mambo
5. The Future (Will Be Yours)
6. Together – You And I
7. Stupid Chorus
8. Brickwall
9. Headed For A Fall
10. The Future (Will Be Ours)
11. Surveiller
12. 200 Yards
13. Dirty Love
14. Disguise
15. No Future
16. Tunnel
17. Epilogue
18. Broken Soul
19. The Mangoes Theme 

The Mangoes was released in the fall of 2014. 

Cactus Flower: “Magic Hour” (2015) CD Review

Cactus Flower is the project of Jess Lewis, who wrote or co-wrote all of the tracks on the new release, Magic Hour (the debut CD under the Cactus Flower name). She also does the vocals and plays many of the instruments, including guitar, piano and percussion. She is joined on certain tracks by Levon Campbell on keyboard and piano, Dave Ewenson on drums, Evan Cardwell on bass, Asa Brosius on pedal steel, and Cailean Lewis on vocals. And, in case you were wondering, yes, this is another excellent disc out of Canada. Jess Lewis is based in Halifax. You might also know her from her work with Dark For Dark.

Jess Lewis opens this album with “China Blue,” a simple and delightful folk song. Her voice is somehow one of both innocence and experience. “Headed out into the world/That brave little girl/All she wanted was something to do/China Blue.” That’s followed by “Darkest Hour,” a truly fun rock tune with a catchy rhythm, and some interesting, unexpected changes. “Times are good, some times are tough/But you keep on doing your stuff/Not a thing can get in your way.” I love the mix of the fun groove with those stranger, darker passages. Then “Summertime” has a pretty folk feel. “Watching the trees/Sway in the breeze/Catching a sneeze/And God bless you/And bless me too.” It’s the line “And bless me too” that made me first love this song, just way she adds it.

“Jojo” a fun country rock song that feels like it should play at an old-time ice cream parlor or something, mainly because of the work on keys. In other words, I love it. There is something completely fucking adorable about Jess Lewis, the way she sings, her attitude, her vibe, everything. “Jojo” was written by Jess Lewis and Lacey Haynes. And that’s Levon Campbell on keys on this track. “Gonna find out what went wrong/Too late, but not before too long.” This is one of my personal favorite tracks. And then “Left The Lights On” is a wonderful piano instrumental. It’s kind of mellow, but with a sort of timeless quality that I admire and enjoy.

“Lose Your Head” is a quirky, fun song, featuring Cailean Lewis on vocals (I love the way he happily sings, “You’ve got to shut your mouth and lock it”). It’s insanely, delightfully catchy, and is another of my favorite tracks. There is a certain 1960s thing happening here that I totally dig. “Lose Your Head” was written by Jess Lewis and Lacey Haynes. Also written by Jess Lewis and Lacey Haynes is “Lady In Red,” which features Asa Brosius on pedal steel.

The album then concludes with “You Messed Up,” a song that begins as a kind of groovy country rock number with a prominent bass line, but becomes a psychedelic little gem that owes a bit to both The Beatles and Syd Barrett. It’s a very cool track, another highlight of this CD.

CD Track List

1. China Blue
2. Darkest Hour
3. Summertime
4. Jojo
5. Left The Lights On
6. Redbird
7. Cola
8. Lose Your Head
9. Lady In Red
10. You Messed Up

Magic Hour was released on July 24, 2015.

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 DVD Review

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 is a documentary and follow-up to 2008’s Van Morrison: Under Review 1964 – 1974. The film is narrated by Thomas Arnold, and obviously focuses on Van Morrison’s career in the late 1970s and 1980s, a time when his music went through quite a few changes. As Thomas Arnold says at the beginning, “he embarked on a journey in which he sought to find independence as an artist, and explore spirituality in his music.”

Van Morrison didn’t take part in this documentary, so there are no new interviews with him. There are, however, snippets of interviews he did in 1986 and 1987, in which he talks about songwriting, the music industry, touring, and the themes in his music. There are also interviews with several music journalists, including Nigel Williamson (Uncut Magazine), Anthony DeCurtis (Rolling Stone), Gavin Martin (NME) and Chris Welch (Melody Maker). Anthony DeCurtis talks about how Van Morrison “distinguished himself as a singer. The instant you heard Van Morrison, you knew exactly who it was.” There are also interviews with Keith Altham (Van Morrison’s former publicist) and Gary Ladinsky, who was the engineer on A Period Of Transition (and who uses the word ordeal in an odd way), as well as with musicians Pee Wee Ellis and Chris Hayes. Pee Wee Ellis was Van Morrison’s musical director from 1979 until 1985. Chris Hayes (whom you likely know from his work with Huey Lewis And The News) played guitar on Beautiful Vision.

Though the film focuses on the albums A Period Of Transition (1977) to Poetic Champions Compose (1987), it does give a bit of Van Morrison’s earlier history at the beginning, including mention of Them, plus a bit of his early solo career. It also goes into 1974’s Veedon Fleece, and how its lower sales led to a three-year absence just before A Period Of Transition, and how an appearance in The Last Waltz led to a friendship with Dr. John, who worked with him on the 1977 record. The film then goes in chronological order from album to album, with those interviewed also discussing Van Morrison’s personality and the spirituality of his music.

When reaching 1983’s Inarticulate Speech Of The Heart, the camera focuses on a line on the back of the record sleeve: “Special thanks to L. Ron Hubbard.” But the film doesn’t delve too much into any association that Van Morrison might have had with that man or with the insane cult of Scientology. A little later one of the men interviewed does talk a bit about how Van Morrison was on a spiritual journey at the time, and so he looked into Scientology and other groups as a result of spiritual pain. I would have liked a little more information there (and in some other areas).

The film does include some concert footage, including bits of performances of songs like “Street Choir,” “Bulbs,” “You Gotta Make It Through The World,” “Wavelength,” “Checking It Out,” “Bright Side Of The Road,” You Know What They’re Writing About,” “Summertime In England,” “Spirit” and “In The Garden.”

Special Features

The DVD includes You Know What They’re Talking About: Van Morrison And The Music Press, which includes more from interviews with Nigel Williamson, Keith Altham, Chris Welch and Anthony DeCurtis, who talk about their personal experiences with Van Morrison. This feature is approximately seventeen minutes.

There are also brief biographies of those interviewed in the film.

Van Morrison: Another Glorious Decade Under Review 1977 – 1987 was directed and edited by Elliot Riddle, and is scheduled to be released on DVD on September 18, 2015.