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Carl Culpepper
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Amplitude
Insight Music
Release: 1/11/2005
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Rated:
Review by:
Greg Downey
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2005 gives way to a new face in an old arena. Enter guitar
virtuoso Carl Culpepper; an Atlanta native who unfortunately
was born way after his time. To the unstudied music fan,
Culpepper's musical style may come across as being "new"
or "innovative." His Web site calls him "creative." However, I
must beg to differ. There's nothing new, innovative, or even
creative about Carl Culpepper. Although he is good at what
he does, he spent way too much time practicing and far too
little time releasing records. I would say he's at least 10
years behind.
The 1980s began by giving birth to guitar virtuosos such as
Eddie Van Halen, Joe Satriani, Vinnie Moore, Steve Vai,
Blues Serencino, Jason Becker, Paul Gilbert, and Marty
Friedman to mention a few. Each brought something new,
innovative, and creative to the face of instrumental guitar
music, unlike Culpepper.
But is Amplitude a good album? Sure, if you're
relatively new to this genre, which I thought I was until I
listened to Amplitude. Immediately I felt as
though I was thrown back to 1989.
Culpepper opens up Amplitude with an ambient
piece appropriately and predictably titled "Prelude." This
piece gives an immediate look at Culpepper's ability to play,
and play well he does.
The album then moves into track two, a slow paced groove
titled "Cartwheels." Culpepper throws down a series of
tapped scales throughout the piece that are reminiscent of
cartwheels. The jam in and of itself sounds an awful lot like a
Scorpions riff combined with a hint of Yanni.
Track three, "Tomcattin'," Is a Missippi Delta blues flavored
piece on steroids that lacks melody and is far too
repetitive.
Track four, "The Aerialist," takes on a whole new feel, which
was refreshing coming out of the previous track. However,
the track is far too reminiscent of Joe Satriani's "Flying in a
Blue Dream."
Track five is a rehashed rendition of Edgar Winter's
"Frankenstein." Enough said there.
Get ready to tap your toes and dance a little jig because
track six will make you want to boogie. Well sort of. I guess
it's because it's called "Billy Jack Boogie." Hey, who's Billy
Jack anyway, and why is there a boogie dedicated to him? In
this piece Culpepper makes an attempt to throw in some
sweeps but has a tough go at it. They're slow and awkward,
and it's obvious they don't fit.
Hey Kenny G, get out of here! Track seven, "Barney's
Breakdown," is modern jazz a-la twang. The bass line on this
groove is lackluster to say the least, but over all, this piece
is a nice change of pace for the album. The gospel piano has
to go though. Who let that guy into the studio?
Oh please tell me he's not covering Hendrix. Just because
the dude can play a guitar doesn't give him the right to dig
up Jimmy's body, lay him out on the floor and hack up his
poor dead dry old bones. Track eight is a miserable
"Midnight." I should be asleep for this.
Track nine, "Office Space," is unique. Is that office
machinery I hear, or did someone run down the toy isle and
press the buttons on all of the Star Wars toys?
Hey buddy, Paul Gilbert and Eddie Van Halen did the power
drill back in the 80s. Let it go already.
Track 10 is titled "Diminished Capacity." The diminished part
is a clever play on his choice of chords for this piece, but I
don't see where "capacity" plays into the title. The tune is
somewhat sleepy in feel. Not different from what you might
hear if it were Mr. Rogers playing guitar. I would have called
the piece "Diminished Energy." But hey, I didn't write the
thing.
At last it's track number 11. "Ventura Blvd." is another
sleepy time tune in the key of Z major. An anticlimactic end
to an album that offers very little of anything new to this
genre.
As a guitarist, Carl Culpepper is talented, but as a
songwriter, he's a talented guitarist. He's far less capable
than some of his predecessors, but to a kid who has recently
picked up a guitar in one hand and a copy of this album in
the other, Culpepper would appear to be a deity
incarnate.
If you like this album you really need to check out Joe
Satriani's The Extremist as well as some of his
earlier catalogue and Vinnie Moore's Mind's
Eye. |
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