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.