Chris Francis is perhaps one of the more versatile guitarists I have heard coming from the UK of late, he plays instrumental music that is more hard rock based, no prog, no fusion, just fairly simple melodic hard rock with an emphasis on melody and stinging licks. His styles sounds far more like that of the likes of Blues Saraceno, Nuno Bettencourt, Eddie Van Halen, all players that Chris cites as influential to his musical tastes. In other words, all three of these players are unique apart from the multitude of clones of shred guitar, in that they are gifted players that have their own voice on the instrument, that is what I hear with Chris Francis' playing, it's full of serious shred, yet always tasteful and loaded with carefully constructed melodic lines that are utilized in the same way a lead singer's voice would be. 

Many of these songs, in fact all of them, could easily have had a lead singer fronting the songs, and then I would be reviewing a quality hardrock/AOR cd, but with Francis' guitar acting as the voice, we have a cd full of music that creates images and memorable melodies that will reside with the listener far after hearing the songs. Nice to hear in this day and age of speed, anger, loudness and ego, that a guitarist like Chris Francis can still take a fairly simple rock rhythm section and create instrumental music that has some taste and feel.

I think that Chris is an important player, and one who can do a lot more for the instrument in the future, not since hearing Tim Pierce's - Guitarland have I heard an instrumental cd with such good melodic playing, that has direction and feel.
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Sounding inspired by Van Halen and Steve Vai, on his 2006 CD Studs N’ Sisters U.K. guitarist Chris Francis rolls a blend of instrumental guitar rock enhanced with his freewheeling heavy metal guitar licks.  It’s not all hard rock and there’s some tasty melodic work especially on his refreshing anthemic guitar instro cover of the Madonna classic “Material Girl” while the moog-like guitar groove of “2nd Base” gets it right with trancelike Jan Akkerman sound. The colourful liner booklet serves as a program guide for Chris’ cinematic, retro-flavored electric rock and jazz guitar instrumentals.
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Not only does Francis avoid the sophomore jinx that derails so many artists, but he continues to build on his prolific profile creating a feast for famished guitar instrumental fans looking for something just a little different. Each song has a fictional movie theme that is given both a stud and sister rating. In fact, the movie theme even invades the musical content with the opening tongue in cheek dialogue between a male and female in disagreement. The male uses much profanity though it is completely blocked out by Steve Vai like guitar effects similar to those used in the David Lee Roth song “Yankee Rose.”

The dialogue merges directly into the sassy “Studs n’ Sisters” which explores the twin lead guitar harmony work that made Thin Lizzy and Wishbone Ash so famous. Add some fine flirtatious bass work from Francis and you know that you are in for another treat release from this still young though very mature axe slinger.

The song is followed by impressive track after impressive track. One such moment is the funky horns of “Light it Up” that also includes an extended guitar duo between Francis and Blues Saraceno. And if the dueling was not enough, fast forward to the end of the album courtesy of the bonus track cheekily titled “Deleted Scenes” for even more battle axe escapades between the two. Great stuff with exceptional speed and execution. Meanwhile, if you found the brass work stimulating, then the R&B flavor of the danceable yet gritty “You Can Dance Better Than That” much in the vein of Aerosmith, will also float your boat.

However, it is not just volume that pervades and directs Chris’s compositions as the electric warrior is also very capable of being an acoustic saint. This is best exemplified by the hauntingly beautiful “Used To Be”. Instead of power and speed, Francis shows his listener the value of a well held soaring note that will send chills down your spine. Though the song is a little more mid tempo and mellow it would still benefit you to turn up the volume to grasp the entire vibe that is being presented. This mid tempo theme is repeated courtesy of the more moody and bluesy “Riding For A Fall.”

The album is self produced and is warm and technically meticulous. In fact, with the exception of a few musical guests as well as the powerful interpretation of Madonna’s “Material Girl,” this is a solo album in the truest sense of the word. Yet it is of high caliber material that never falls into the category of another boring guitar workout. In fact, Studs n’ Sisters translates into one of the best instrumental guitar albums in a very long time. One can only hope for continued success for this up and coming guitarist and that Ten’s Gary Hughes wises up and makes full use of Francis’ songwriting capabilities
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When it comes to shred guitar, Satch and Vai laid down the blueprint back in the eighties and the mark by which guitarists in this genre are measured. 
Chris Francis won Guitarist magazine 'Guitarist Of the Year' back in 2000 and he's also appeared with melodic rockers Ten. 
Musically, it's difficult to know whether Chris has a true voice of his own - always a difficulty in this genre - but he certainly has an ear for a good tune. And, whilst technique will always be important, it's the strength of songwriting that usually sorts the men from the boys. 
Guitarists will no doubt salivate over this one, with the pinched harmonics, sweeps and taps in all the right places. It took Chris two years to develop and it's also a lesson in meticulously-crafted production. 
And, if Chris evokes the founding fathers of shred, he nevertheless demonstrates a deft mastery of his art. 
The standout has to be 'Light It Up', an excellent groove with brass interjects and reprised on the 'deleted scenes' bonus. He's at his best with this funkier, brassier approach, mainly because it sounds a little different in the context of shred guitar. The groove is repeated on 'You Can Dance Better Than That'. 
'2nd Base' is the sort of thing Larry Carlton or Lee Ritenour may have laid down on a good day, in smooth jazz mode, Madonna's 'Material Girl' is played pretty straight and 'Death Bitch' enters Megadeth territory. I'm not quite sure what Chris wanted to achieve on this one, but it does demonstrate he can do good thrash metal. 
Overall, this is an excellent set. Maybe too over the top in places for the faint-hearted, but there's enough melody to win them over.
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