Well, someone needs to be crowned the Midi King! And clearly, Les Fradkin occupies that niche with relish! Mr. Midi Guitar is an album like no other: a giddy canter interpretation through some of the most well-known Baroque and classical numbers, scored with impeccable precision on a range of MIDI formats, including a MIDI guitar which looks like something from the film, Back to the Future. The record is indeed a fusion time warp between late 17th century, 80s’s Metal and 90’s dance culture.
Lift off! is the first track. I like the sine wave looped introduction, and there is good use of panning to give some depth to the track. Plenty of suspense is provided through the synth layers, and the introduction is long enough to build anticipation (45 seconds) , before dropping into a face melting frenzy of arpeggiated, dramatic chord progressions. Very closely modelled on Bach, this is indeed an original composition. The chosen production style favours the melody very high in the mix, with only the top end of the drum kit and other instruments peaking out behind it. There is a bit of a low rumble, which is a bit noisy from the toms (is this clipping or intentionally distorted or just too hot into the feed?). overall this is a high octane track with playful use of panning and depth, a great tierce de picra di ending fading away with some wet reverb. One of my favourite tracks.
Track two is Presti Changeo, which opens with a more modern sounding dotted arp layer, giving a platform for an excellent 80’s style electric guitar solo under counter melody midi horns. The only part of the drum kit heard is the top metallic ting of the bell’s ride and the sizzle of the crash. A driving bass line holds the song together, but again its all about the Ztar, which is beautifully played in an original composition that fuses classical structure with progressive chords, resolving briefly between sections. Fast chord changes sweep classically along a strong minor line. The composition uses the same Midi ending as the first track. A lighter, sweeping arrangement, but for the heavy drums.
Track three is a direct interpretation of a classical piece of work: Pachelbel’s Canon in D. Recognisable even for the most allergic to classical music, this piece is known by its frequent use in wedding ceremonies, and also its structural reimagining’s in 90’s pop music (Go West- Pet Stop Boys in 1993, or I Really Miss You – The Outhere Brothers 1995 to name a few!) This version does include all the counter melodies nicely panned so they come through clearly. And there is nice consideration or nod towards softer acoustic sounds to suit the vibe (strings, plucked, fluted sounds) which mirrors the pleasant, gentle progression intended in the composition and chord use. But this is heavily contrasted with the full jaunty drum kit pattern. At 2:14 one of the counter melodies feels a little unquantized (or maybe this ‘pull’ away from the beat is intentional?). There’s some nice shimmery layers build this to the end, which is a nice, classy ending.
Next is Sabre Dance. A high tempo, maximalist track with answering horns to the blistering electric guitar melody through a selection of key changes on a fast polka alternating drum pattern. The original Sabre Dance is a third movement in a Ballet, scored in the 20th century. This is a very sensitive reworking of the original, maintaining its frenetic energy and tempo, even without the vast orchestration intended. The guitar playing is starting to feel on the skill level of Joe Satriani of Van Halen, which suits this track. This is a piece written to propel dancers into a sword battle, and no one is left in any doubt after this version that they will be in a heap at the end of the track. Musically, this is hugely accomplished again.
5th in the running order is the infamous Summer (Vivaldi’s Four Seasons) with its high impact opening often used in commercials, TV dramas, adverts etc. Good attack is given to each of the notes ensuring that the skill of the playing here is admired. Again, swishing high pass filters lift, brighten and swell the sound under the incredibly fast bass line. The snare sounds a little too much like a gun shot for me. Vivaldi’s score offers a giddy cycling through of arpeggios at such speed that this could sound sampled when delivered using midi.
6th is Warp Drive, with an opening that sounds like a 90’s dance number, including a considerably different sounding drum loop. I like how often the melody is repeated the second time with the octave above. The break down at 01:26 is starting to feel like a proper dance number: something that could be pushed further. Another intense minor scale song with frequent baroque inspired melody changes. I do think the drums work particularly well in this track as being a little more balanced in EQ.
Bach Rocks is next. Here we have a longer solo introduction which shows fantastic skill and touch, easily admired, against its acapella backdrop. Full drama in woody string synths and sweeping filters. 2 minutes in, the full song lands with instrumentation very low in the mix, allowing full focus on the melody. Metal/Rock drum patterns normally dictate more volume, and the effect is somewhat lost amongst the melody. However, a favourite track for its boldness in acapella use and the nice electric guitar soaring at the end of the track.
Next is Ode to Joy: This is the familiar tune in Beethoven’s 9th Symphony. juicer, slightly fuller drums, with a punkier snare sound suits this well. This is a complex piece to arrange and produce: kudos for the meticulous attention to detail. Its bouncy, full, energetic, optimistic, with a wonderfully dirty distortion end to uniquely mark this as a guitar version.
The record ends withPresto Changeo (Reprise). Big timpano sounds accompany darker synth layers, opening this version of the track. The drum kick pedal is a bit small to match the depth of the timpani and the horns. I love the guitar coming in just around the 1 minute marker. This has drama, good space in the mix, and a more human sound to it. The cymbals are almost non existent in this track, compared with the kick and snare sounds, which could do with a balance.
Overall, this was a highly unique listen, but Les Fradkin makes the listener work hard to uncover much of the joy of this work. Many of these are original compositions, on par with some of the classical composer prodigies of the past 500 years. That needs to sink in. Les is also a hugely accomplished and dedicated multi-instrumentalist and producer. Many of the works are replicated with fevered accuracy, and consideration for the complexity that most composers cannot master. The depth of his understanding, knowledge and application of baroque music in particular is impressive. Whilst this is midi based, the tracks are intentionally styled, with full, lush textures provided by synth, keys, guitar, bass, mellotron and Ztar. It is no mean feat to balance so many complex sounds at once, but Les does an excellent job at mixing this.
To an average audience, this album also does something really worthwhile: it introduces complex, sometimes dense, ‘stuffy’ classical music and presents it to an audience in an accessible, modern format. The use of familiar rock inspired instrumentation means a connection is easily drawn in how relevant classical music still is for pop progression. This is offering the secret missing link that will connect in the brains of some between musical genres and eras.
It is difficult to comment on some (historical) choices of a record made over a decade ago. In a 2026 reproduction, choices could include re-EQing and mixing the instrumentation for more warmth and richness in the mid-lower frequencies. Fresher, or more experimental midi sounds could be substituted into the electronic score, adding narrative or comment on reimaginings of classical works (e.g create a unique synth from sampling a harpsichord played through speakers with feedback etc.).
Midi samples do often have that heavy compression element to ‘smooth’ out the volume, meaning that there is less dynamic range than the human touch would have in an acoustic instrument. Against a backdrop of AI generated music, listeners may start demanding more from their music, and it might be sensible to compliment the existing MIDI elements by offering the listener more contrast: in volume dynamics, swell, in quantisation use, or even sonic additions to inform how this music should be consumed.
Should a 2026 reissue for Mr. Midi Guitar lean more into the highly successful classical club scene (think Ministry of Sound Classical Club nights) and integrate more dance elements in? Could it collaborate with DJs? Could it bring back the late 80’s 90’s wanderlust of Neo-classical Metal Shred Guitar? Currently, it sits in its own pioneering category, but it needs a stronger light shining on it, so fans know how to find Mr MIDI Guitar. Whilst the Ztar offers a unique performance, the only contemporary parallel is in artists like Joe Satriani, Van Halen, Yngwie Malmsteen, Steve Vai. All of whom offer ostentatious, virtuoso in classical genres, but it’s the human touch (deep vibrato, finger tapping, bending the guitar neck etc.) that sets it apart.
SCORE/Good: This is worthy of an Excellent score, but Les needs to really boost the relevance of this older record to his audience so they can connect fully to his craftsmanship first. Clearly a virtuoso, Les Fradkin shows incredible skill in production, multi-instrumentalism, tackling some of the most complex, rich and iconic music of all time. But for this specific record, it needs to be given a good polish to help his talent really shine out in 2026.
[We rank singles, EP’s, and albums on a scale of Poor, Mediocre, Good, Excellent and Outstanding]
![Wong Diane Now Only Me [Single Review]](https://musicreviewworld.com/wp-content/uploads/2023/08/Wong-Diane-Now-Only-Me-Single-Review-1-356x220.png "Wong Diane – Now Only Me (Single Review)")
