SPILL ALBUM REVIEW: PETER FRAMPTON – CARRY THE LIGHT

PETER FRAMPTON
CARRY THE LIGHT
UME

It is a good idea to forget what you think you know about Peter Frampton before you listen to his new album, Carry The Light. This is an extremely important album for Peter Frampton. Not only is it his first studio album of new material in 16 years, but it is co-written and produced with his son Julian Frampton. Further, he has called on some famous friends to make some guest appearances. Artists such as Sheryl Crow, Bill Evans, H.E.R., Tom Morello, Graham Nash, and Benmont Tench. While the artists are a nice touch, Frampton does not really need them. They are icing on a very delicious cake, because Frampton and his son have come up with a winning album full of strong songs and top of the line playing.

Some listeners are going to be surprised by the sound Frampton is producing on this album. Backward guitars, indigenous chants, and restrained, yet blistering guitar solos are just a few highlights of this collection. The album opens with the slow burner “Carry The Light” that keeps growing and adding on vocals and instruments. And Frampton’s voice is strong and passionate. He has a guitar duel with Tom Morello (Rage Against the Machine) on “Lions At The Gate.” It works because he takes time to add the guitars to an already strong song. Plus, the strong anti-war lyrics make it well worth the price of admission. The closing track, the stunning instrumental “At The End Of The Day” is some of Frampton’s most tasteful and melodic playing I have heard in many years. He is not out for speed, but precision and it is an incredibly moving and emotional song.

While not a concept album, Carry The Light does have a theme. The album is a plea from Frampton for the world, the future and people. Like Ringo Starr, he is not hitting the listener over the head with his messages but does let them smoulder as one listens. Elsewhere there are songs that are very personal, such as a song for his granddaughter (“I’m Sorry Elle” which features Graham Nash) and personal growth (“Breaking The Mold”, featuring Sheryl Crow). Shades of his old friend George Harrison drift into this song.

It holds together as an album, and in some ways, not musically but more in feeling, it reminds me of early Frampton albums, such as Wind Of Change. This is not to suggest Frampton has taken a step backward, quite the opposite. But it is much more daring and personal than some of his most recent (well last few) albums. Carry The Light puts Frampton squarely back where he belongs playing and singing his heart out with a few special guests.

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