V for Victory
Peter Frampton - Thank You Mr Churchill
There is so much more to this musician than 'Frampton Comes Alive!'
'Thank You Mr Churchill' proves that point, but then Peter Frampton has been proving that point for the three and a half decades since that seminal live release.
And before it...
The ex-Herd and Humble Pie guitarist/ singer produced a quartet of solid records prior to that live album, including the excellent debut release 'Wind of Change' and the critically acclaimed 'Frampton'.
The phenomenon that was 'Frampton Comes Alive!' was, admittedly, a hard act to follow, and although 'I'm in You' was a million seller in 1977 it was a little hollow in places, and the decision to co-star with the Bee Gee's in the 1978 movie 'Sgt. Pepper's Lonely Hearts Club' Band was certainly ill advised.
From respected rock musician to teen idol in two years.
It took Frampton a number of years to recover from that unfortunate image, just as it took him some time to recover from the far more serious issue of a near fatal car accident a short time later. He regrouped, and rebuilt his true musical identity with the solid 'Where I should Be' in 1979, before hitting his stride with the the hard rock of 'Breaking All the Rules' and then the hook laden 'Art of Control'.
By the mid eighties there was a musical resurgence for Peter Frampton with the release of 'Premonition' and its mainstream rock, and a string of classy guitar orientated rock albums followed, including a number of live releases.
His 2006 instrumental album 'Fingerprints' was deservedly a Grammy Award winner, and became another hard act to follow.
This time however, he has. And then some...
'Thank You Mr Churchill' is one of Frampton's finest albums, and probably his best rock vocal release since 'Premonition'. For some, it even matches or surpasses the classic 'Frampton' album of 1975.
Frampton himself has confirmed it's "very autobiographical" and it's clearly a personal work, with some of the lyrics reflecting his views on a number of world events, whether topical or historical.
One example is the excellent 'Asleep at the Wheel', telling the story of the young Japanese girl Megumi Yokota who was kidnapped by North Korea in 1977.
It may be the personal touch that makes the album so endearing, or it might simply be that it's a case of right people, right place, right time.
For example, Chris Kimsey, co-producer and co-engineer with Frampton on the aforementioned solo debut 'Wind of Change', has the same role here, and guest musicians include Frampton's son Julian (on 'Road to the Sun'), and Pearl Jam drummer Matt Cameron (who also appeared on 'Fingerprints').
However when all is said and done it's a case of eleven great Frampton penned songs (many co-written with long-time collaborator and fellow guitarist Gordon Kennedy), well arranged, well performed, and featuring some of the most punchy, emotive, and even 'angry' guitar work of any Frampton era.
There are traditional lighter Frampton moments however, such as the closer 'Black Ice' and the exquisitely titled 'Vaudeville Nanna and the Banjolele'.
But it's the heavier tracks that carry the energy and impact, such as the brash and vibrant 'Solution', and the riffy 'I Want it Back'.
There is also the two-for-one instrumental 'Suite: Liberte', starting with the beautiful and understated piece 'Megumi' (for Megumi Yokota) before sliding into the blues movement 'Huria Watu'.
In retrospect, having played the album a number of times, I only have two complaints:
The album was released in the States in April, but the release date in the U.K. was pushed back to July (albeit containing two additional 'bonus' tracks).
It's a minor issue, but still annoying.
Pity that in these instant download days we still can't always agree on same-date worldwide distribution deals.
Secondly, the Motown-esque 'Invisible Man' (featuring The Funk Brothers) sits a little uncomfortably on the album due to its sound and style, compared to the feel of the rest of the album.
Great little song, but for me would be better served as a bonus track at the end of the album.
But that's just a personal view, and of little consequence when compared to the quality of the personal statements from Mr Frampton on 'Thank You Mr Churchill'.
There is so much more to this musician than 'Frampton Comes Alive!'
And for that, Thank You Mr Frampton.
Ross Muir
June 2010
The following audio tracks are presented to accompany the above review.
No infringement of copyright is intended.
Solution
Peter Frampton - Thank You Mr Churchill
There is so much more to this musician than 'Frampton Comes Alive!'
'Thank You Mr Churchill' proves that point, but then Peter Frampton has been proving that point for the three and a half decades since that seminal live release.
And before it...
The ex-Herd and Humble Pie guitarist/ singer produced a quartet of solid records prior to that live album, including the excellent debut release 'Wind of Change' and the critically acclaimed 'Frampton'.
The phenomenon that was 'Frampton Comes Alive!' was, admittedly, a hard act to follow, and although 'I'm in You' was a million seller in 1977 it was a little hollow in places, and the decision to co-star with the Bee Gee's in the 1978 movie 'Sgt. Pepper's Lonely Hearts Club' Band was certainly ill advised.
From respected rock musician to teen idol in two years.
It took Frampton a number of years to recover from that unfortunate image, just as it took him some time to recover from the far more serious issue of a near fatal car accident a short time later. He regrouped, and rebuilt his true musical identity with the solid 'Where I should Be' in 1979, before hitting his stride with the the hard rock of 'Breaking All the Rules' and then the hook laden 'Art of Control'.
By the mid eighties there was a musical resurgence for Peter Frampton with the release of 'Premonition' and its mainstream rock, and a string of classy guitar orientated rock albums followed, including a number of live releases.
His 2006 instrumental album 'Fingerprints' was deservedly a Grammy Award winner, and became another hard act to follow.
This time however, he has. And then some...
'Thank You Mr Churchill' is one of Frampton's finest albums, and probably his best rock vocal release since 'Premonition'. For some, it even matches or surpasses the classic 'Frampton' album of 1975.
Frampton himself has confirmed it's "very autobiographical" and it's clearly a personal work, with some of the lyrics reflecting his views on a number of world events, whether topical or historical.
One example is the excellent 'Asleep at the Wheel', telling the story of the young Japanese girl Megumi Yokota who was kidnapped by North Korea in 1977.
It may be the personal touch that makes the album so endearing, or it might simply be that it's a case of right people, right place, right time.
For example, Chris Kimsey, co-producer and co-engineer with Frampton on the aforementioned solo debut 'Wind of Change', has the same role here, and guest musicians include Frampton's son Julian (on 'Road to the Sun'), and Pearl Jam drummer Matt Cameron (who also appeared on 'Fingerprints').
However when all is said and done it's a case of eleven great Frampton penned songs (many co-written with long-time collaborator and fellow guitarist Gordon Kennedy), well arranged, well performed, and featuring some of the most punchy, emotive, and even 'angry' guitar work of any Frampton era.
There are traditional lighter Frampton moments however, such as the closer 'Black Ice' and the exquisitely titled 'Vaudeville Nanna and the Banjolele'.
But it's the heavier tracks that carry the energy and impact, such as the brash and vibrant 'Solution', and the riffy 'I Want it Back'.
There is also the two-for-one instrumental 'Suite: Liberte', starting with the beautiful and understated piece 'Megumi' (for Megumi Yokota) before sliding into the blues movement 'Huria Watu'.
In retrospect, having played the album a number of times, I only have two complaints:
The album was released in the States in April, but the release date in the U.K. was pushed back to July (albeit containing two additional 'bonus' tracks).
It's a minor issue, but still annoying.
Pity that in these instant download days we still can't always agree on same-date worldwide distribution deals.
Secondly, the Motown-esque 'Invisible Man' (featuring The Funk Brothers) sits a little uncomfortably on the album due to its sound and style, compared to the feel of the rest of the album.
Great little song, but for me would be better served as a bonus track at the end of the album.
But that's just a personal view, and of little consequence when compared to the quality of the personal statements from Mr Frampton on 'Thank You Mr Churchill'.
There is so much more to this musician than 'Frampton Comes Alive!'
And for that, Thank You Mr Frampton.
Ross Muir
June 2010
The following audio tracks are presented to accompany the above review.
No infringement of copyright is intended.
Solution
Suite Liberte