Prepare for the (really) big screen

I'm not quite sure what "due diligence" means here. It's a wonderfully veiled bit of corporate speak. According to a representative from the Regal Entertainment Group, that's what is currently going on as it applies to bringing an IMAX facility to Augusta. I've taken a close look at the tea leaves and my guess is "due diligence" means that yes, an IMAX screen will soon be part of the Regal Exchange 20 -- often referred to as the Mothership in my house -- and that the folks at Regal just aren't ready to announce quite yet. What tea leaves, do you ask? Well, both the Regal and IMAX web sites list an IMAX as coming soon. Actually, only Regal lists it as coming soon. IMAX actually says it is due in Fall 2008. More ambiguity from Regal, but I guess that's all a part of due diligence. Fair enough. It it their house.

According to Regal, the plan undergoing "due diligence" would see an existing theater at the 20 retrofitted to house an IMAX Digital system. Having hit a couple of IMAX rooms in my time, I'm curious to see how that would work. The IMAX theaters usually conform to a very specific geometry which includes, most notably, a really big screen. I'm not quite sure how that sort of size might be shoehorned into one of the the Regal auditoriums.

The good folk at Regal seem to believe this period of "due diligence" should wrap up some time in the next 30 days. Hopefully, before summer is out we'll have some concrete IMAX news to report.

Stay tuned.

The Saga of Peter Frampton continues (I hope)...

Below is this week's installment in the continuing tale of Peter Frampton and myself. It is, for the most part, a review of his instrumental album but also serves as a more detailed explanation of my comments a couple of weeks ago, when I deemed Mr. Frampton's solo stuff suspect. On that occasion, my writing prompted a couple of responses from the man himself. As of right now, I haven't heard from him again, but it is a holiday weekend. Check out the column and I'll keep you posted on any Frampton sightings.

A couple of weeks ago, in complimenting the music of Humble Pie, I was somewhat dismissive of guitarist Peter Frampton's solo career. Little did I know I was opening a big can of worms. 

A slew of Mr. Frampton's fans pummeled me with e-mails -- my favorite made fun of my last name -- and Mr. Frampton himself dropped me a line expressing his disappointment and urging me to listen to his latest release, the all-instrumental Fingerprints . I promised I would. I have been and will be the first to admit that I might have been wrong and still stand by my assertions.

Let me explain.

I stand firm in my opinion that Mr. Frampton's post-Pie work, the Camel material and, most notably Frampton Comes Alive , leave something to be desired. I believe that his increased interest in song structure and melody softened some of the rough edges that made him an interesting guitar player. Sorry, fans. Sorry, Peter.

That being said, I did listen to Fingerprints and was pleasantly surprised to discover that I enjoyed much more of it than not. Instead of a traditional review, I'd like to offer a track-by-track rundown of the release.

BOOT IT UP: Funky, jazzy and unexpected, it's a sort of soul song that sets the eclectic tone for the record.

IDA Y VUELTA (OUT AND BACK): An acoustic jazz tune that deftly avoids the sleepy trap, thanks in large part to a great melody.

BLACK HOLE SUN: This by-the-numbers Soundgarden cover distinguishes itself only by the addition of Mr. Frampton's famous talking guitar trick, a technique that is starting to feel a bit over-exposed. Not the strongest of tracks.

FLOAT: Ethereal, but perhaps not in a good way. This is zone-out music and while fans of Pink Floyd obscurities might approve, it never engaged me.

MY CUP OF TEA: An almost seamless transition from Float , it also streams past without leaving much of an impression.

SHEWANGO WAY: Propulsive and infectious, this is a pretty amazing track that earned more than a few repeat listens.

BLOOZE: There's a smoothness to this traditional-sounding electric blues that steals some of the done-me-wrong passion from the playing. A nice arrangement that might have benefited from just a little more edge.

CORNERSTONES: More talking guitar, but it's not bad. Perhaps pleasant is the right word. Still, it doesn't rock the way a track with two Stones (Rolling) involved should.

GRAB A CHICKEN (PUT IT BACK): Although there is some evidence of the famous aforementioned effect here, this songs turns out to be something of a creeper. A great little laid back jam that grows more appealing with repeated listens.

DOUBLE NICKELS: Sporting a vaguely Americana vibe, this track is loaded with tasteful licks, a great groove and just enough rock to really roll.

SMOKY: One of the more interesting tracks on Fingerprints , it is, on the surface, a lovely little swing. Investment in the track, however, yields rewards as this plays out to be one of the more accomplished, imaginative and courageous tracks on the record.

BLOWIN' SMOKE: A righteous rock song filled with guitar indignation. Could this have been written after the off-handed dismissal of an anonymous music writer?

OH WHEN ... : So low-key it's easy to dismiss. That would be a mistake. There's a sense of sweetness, melancholia and true emotion on this track that runs deep.

SOUVENIRS DE NOS PERES (MEMORIES OF OUR FATHERS): Part Parisian cabaret tune and part Gypsy hoedown, this is the perfect finale for this record. I would love to hear an entire album of Mr. Frampton's interpretations of this kind of music.