peter frampton tour 1978

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Peter Frampton

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Peter Kenneth Frampton is an English born songwriter, producer and multi-instrumentalist. He was previously associated with the bands Humble Pie and The Herd. Frampton's international breakthrough album was his live release, Frampton Comes Alive! .

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Peter Frampton: 'I was kept high. If I needed cocaine, he made sure I had it'

The singer-songwriter’s career of intense highs and devastating deceptions is explored in a revealing new memoir

P eter Frampton recalls with stinging clarity the moment in 1976 when he realized his career was about to take a perilous turn. “I realized that instead of the front row being a mixture of 50-50, male and female, in the audience, it was all females at the front and the guys are pissed off at the back,” he said. “The guys would jeer at me.”

In that moment, Frampton was downgraded from a respected musician to a disposable teen idol. His credibility was being questioned at a time when the standards for such things in music were set in stone, with particular scorn directed at any rock star who was swooned over by teenage girls. Worse, his sales of over 14m copies of the double album Frampton Comes Alive, a world record at the time, set expectations impossibly high for his future. “The success was just so enormous,” he said. “I’m sure it affected me mentally.”

In fact, it set in motion a perfect storm of factors that turned the commercial peak of Frampton’s career into a case-study in rock stardom gone wrong. Now, the musician, aided by writer Alan Light, has detailed all of those issues in a bracing new memoir titled for one of his best-known songs, Do You Feel Like I Do? It’s a question few are likely to answer in the affirmative given the series of rip-offs, sketchy management deals and unfortunate choices Frampton made back then. At the same time, the book highlights his many creative achievements, from his days as a guitar prodigy, to his time fronting the hit band the Herd, to his formation with Steve Marriott of one of the world’s first super groups, Humble Pie, to his promising early solo work. More, the book shows how Frampton eventually managed to re-figure his career, putting the focus back on his unique approach to the guitar. “I knew I would make it back,” Frampton said in his characteristically upbeat tone. “It just took a lot longer than I thought.”

He credits that belief in himself – a trait which is currently sustaining him through a highly publicized degenerative muscle disease diagnosis – to his stable and loving upbringing. It helped that he shared a flair for creativity with his father, who served as the head art teacher at the school he attended. It was there Frampton met one Dave Jones – the future David Bowie – who was taking a class taught by his father. “Everything my dad taught, Dave lapped up,” Frampton said. “Dad recognized his brilliance in art. And we became friends.”

His father’s taste even wound up affecting Frampton’s approach to the guitar. As a kid, he was drawn to the barreling instrumental work of the Shadows, but his dad introduced him to the fleet work of Django Reinhardt as well. “That led me to George Benson and Kenny Burrell and all these jazz guys,” he said.

The influence of such artists gave Frampton a different template to draw from than most of the British guitarists of his day who obsessed solely on the blues. “Every guitarist wanted to play like Eric Clapton,” said Frampton. “Of course, I love Clapton’s playing but I thought if I just do that, I’m going to be another copyist. I wanted a combination of jazz and blues and heavy rock.”

That combination inspired Frampton to create a unique style in which he often plays around the melody rather than hitting it straight on. Unfortunately, his first successful band, the pop-oriented the Herd, offered limited chances to develop his skills. Instead, the media focused on Frampton’s uncommonly pretty looks, setting off what became a lifetime issue for him. The music papers named him “The Face of 1968”. Still, his fellow musicians recognized the elevated power of his playing. Steve Marriott, of the hugely popular Small Faces, approached him about joining that band, though the other members felt they were fine as they were. It was during this time that Frampton got his first hint at how difficult and self-destructive Marriott could be. One time when he was hanging out with the Small Faces, their agent received a call asking if they would like to be the opening act for Jimi Hendrix’s first American tour. “Steve said, ‘Fuck that! We’re not opening for anybody,’” Frampton recalled. “I’ll never forget Ronnie [Lane’s] face. It was despair.”

Frampton believes that had the Small Faces toured the US at that time they “would have been a second Who”. Instead, Marriott ditched them and started jamming with Frampton, along with the ex-Spooky Tooth bassist Greg Ridley and drummer Jerry Shirley, the powerhouse foursome that became Humble Pie. In 1969, they issued a brilliant debut, As Safe as Yesterday Is, but the album and its follow-up had limited distribution. Humble Pie’s early music was wildly creative but it lacked focus until producer Glyn Johns whipped the band into shape for their impressive fourth album, Rock On. He pushed them towards harder sounds, an approach intensified by their fifth release, the live Rockin’ the Fillmore, released in the fall of 71. The power of that album set the band up for a huge breakthrough in America but, to everyone’s shock, Frampton chose that moment to split. “I thought, if I don’t leave now, I won’t be able to,” Frampton said. “I’ll get drawn into it.”

The other members thought he was crazy, but he considered the band’s harder direction too limiting. Another factor was Marriott’s difficult side. “We were like brothers,” Frampton said, “but he could really suck the oxygen out of a room. I didn’t need to deal with that any more.”

As big a leap as the move to a solo career was, Humble Pie’s label, A&M, supported the decision, as did their powerful manager, Dee Anthony. Still, going it alone meant Frampton would have to serve as sole lead singer, a role he knew wasn’t his forte. “I was nervous, especially after coming from a band with one of the all-time greatest rock singers, Steve Marriott,” Frampton said. “I was jumping off the high wire.”

Luckily for him, A&M provided him a wide enough net to float three solo albums that didn’t sell well. His fourth, Frampton, began to turn things around. But no one anticipated the blockbuster breakout of Comes Alive the next year. Thrilling as that was, Frampton’s looks once again upstaged his talent. This time the issue became so overwhelming, the guitarist found himself thinking often of a quote from Sir Laurence Olivier about his wife, the actor Vivien Leigh. “He once said in an interview, ‘it’s so upsetting that she is always told how beautiful she is. She’s a phenomenal actress,’” Frampton recalls. “I absolutely understand that.”

It didn’t help that Rolling Stone featured him as a shirtless object of teen fantasy on their cover. At the same time, he had to endure intense pressure to follow up a smash. The rushed result, I’m In You, was excoriated by critics. As the coup de grace, Frampton agreed to star on an epically awful film version of Sgt Pepper. Though wary about the project, he went along partly because his manager told him that Paul McCartney would be in it – a bald-faced lie. Of the film, Frampton writes, “there was barely a script. It just said, ‘Walk in here, someone will yell “playback” and then you lip-sync.’ Everyone thought we were too big to fail.”

When the film, in fact, failed spectacularly, Frampton was too doped up on morphine to notice. Doctors prescribed the drug to him to help him recover from a near fatal car accident he just suffered in the Bahamas. Then came a new horror: his manager had been ripping him off all along, resulting in his total bankruptcy. “I had less than nothing,” said Frampton. “I owed hundreds of thousands of dollars.”

While he now takes responsibility for putting his trust in people who didn’t deserve it, Frampton asserts that manager Dee Anthony (who died in 2009), had been telling people not to discuss finances with him. “I was kept away from those things,” he said. “I was kept high. If I needed weed, he made sure I had weed. If I needed cocaine, he made sure I had cocaine. He didn’t want me thinking about what was going on. It was criminal. I could have put him in jail.”

In fact, Frampton says Anthony did have criminal connections. Early in his solo career, the manager introduced him to his associate Joey Pagano, a known mafia don. “He was saying to me, ‘look how powerful I am,’” Frampton said.

Even after he fired Anthony, the guitarist struggled financially and creatively. At a low point, he got a puzzling call from Pete Townshend who told him he was leaving the Who and wanted to know if he would take his place. “It was the most bizarre thing I ever heard,” Frampton said, with a laugh. “Three men couldn’t fill his shoes!”

Consequently, he first turned the offer down. Some days later, however, Frampton’s sad financial state spurred him to call back, at which point Townshend acted like the whole thing never happened. Things kept going in a bad direction until 1987 when Frampton’s old pal Bowie called to ask if he would be a guest player on the hugely popular Glass Spider world tour. The result energized his spirit. As a result, Frampton’s next solo album, When All the Pieces Fit, in 1989, was the first work he was proud of in years. In the time since, the guitarist has continued to tour and put out albums up through 2018’s All Blues. Last year, he launched a highly successful “farewell” tour necessitated by the advance of his disease, known as inclusion-body myositis.

These days, Frampton says he feels largely well. He’s still able to play guitar at home. And he just cut a new song with members of the Doobie Brothers. Regarding his current ailment, Frampton takes a philosophical view. “It’s life-changing, not life-ending,” he said. “Is it sad? Yeah. But I have to put it in perspective. I’m here. And I’m very pleased with how everything in my life turned out.”

Do You Feel Like I Do? is released on 20 October

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Frampton Back, Plays to 91,000

By John Rockwell Special to The New York Times

• June 13, 1977

PHILADELPHIA, June 11 — A lack of suitable facilities has made the large‐scale outdoor summer concert a rarity in the New York area, although there is hope that the Meadowlands stadium in New Jersey may fill the void next year in the meantime the closest events of that sort take place here in Philadelphia, at John F. Kennedy Stadium.

This afternoon, Electric Factory Concerts presented the first of its 1977 offerings there (the second will be Aug. 13, with Led Zeppelin). The bill consisted of Peter Frampton, Lynyrd Skynyrd, the J. Geils Band and Dickey Betts and Great Southern. And if the crowd came to hear any one of these, it was surely the headliner, Mr. Frampton.

The concert marked Mr. Frampton's return to live performing after a seven‐month layoff, during which he recorded his new studio album, “I'm in You,” and otherwise whiled away the time at his home in Westchester County, Manhattan, and on his boat in the Bahamas.

While he's been “gone,” the sales of “Frampton Comes Alive” album have passed the 12 million mark, making the heretofore successful but otherwise unremarkable 27‐year‐old British rocker into a performer with what seems to be the most successful record album of all time.

Million‐Dollar Gross

The concert itself proceeded smoothly, with a refreshing minimum of violent incidents and physical collapses. Larry Magid, who runs the Electric Factory operation, seems an affable, well‐organized individual, and he had some 300 security guards of his own plus 200 to 250 Philadelphia policemen on hand to keep order.

He could afford it, with a $1 million gross. Mr. Magid reported that 89,700 tickets were sold in advance. When unruliness threatened early this morning from crowds outside the gate, another 1,300 tickets were sold to relieve the pressure.

John F. Kennedy Stadium is the former Municipal Stadium, built in 1926 for the American sesquicentennial, and the site of the Army‐Navy football games. it is a large, horseshoe‐shaped facility, which for concerts errables the stage to be at the mouth of the horseshoe and the crowd to spill down onto the playing field, “festival” fashion.

From the apex of the horseshoe this afternoon, Mr. Frampton looked like a tiny, gold, animated pin‐figure on the horizon of a curved sea of people. The sound at the back was loud, but gusts of wind (the weather was partly cloudy and decidedly pleasant, otherwise) tended to blow it away.

Backstage, as Lynyrd Skynyrd ended its set, Mr. Frampton was tangibly nervous; normally open and affable, he looked drawn and tense indeed. “I don't get quite to the point of throwing up before the first concert of a tour,” he said with small smile. “I become very, very quiet.”

By any objective criterion, though, Mr. Frampton's 90‐minute performance went smoothly enough, although we'll wait until he gets to Madison Square Garden Aug 21‐23 for a proper review. Essentially it was the same sort of program he was offering before his layoff. beginning with “All I Want to Be (Is by Your Side)” and continuing through many of his best‐known songs and several items from the new album to a final encore of his new single.

Mr. Frampton was clearly worried before, during and even after the show about how the fans would respond to him following his layoff. Sitting in his trailer afterward, he looked tired and warily content. “I feel like I've just been to the dentist,” he said. “I feel alleviated of a ton of pressure. It's nice to know they're still there after seven months.”

In fact, not all of them were there by the end of the set, because 20,000 or 30,000 people had left. But one should not be quick to presume dissatisfaction with Mr. Frampton from that exodus. Most people go to outdoor events for day in the sun with music, and by the end of the afternoon they have listened to a lot and are eager to avoid traffic jams.

In any concert of 10,000 or more, it is usually only the people in the front who respond with demonstrable, arm‐waving enthusiasm, and the people in front were clearly enjoying Mr. Frampton. They waved and screamed (espe•cially the girls, because Mr. Frampton is an innocently self‐aware sex symbol if there ever was one) and by the time he got to “I'm in You”—Mr. Frampton's “song about the audience” which he swears he wrote unaware of its “sexual implications — several were in tears.

“I'm still learning, and today was another great lesson,” said Mr. Frampton. “What I learned was not to take seven months off again. I love to feel well‐oiled. I didn't feel that way today, but the audience helped me. There was one girl up front who sang every word of the songs from the new album.”

Mr. Frampton is managed by a man named Dee Anthony. Mr. Anthony and Mr. Frampton wear diamond earrings in their right ear. lobes, and the manager watches over his star like a protective uncle. Mr. Anthony is nothing if not grandiosely confident.

Mr. Frampton's plans include an American tour through Labor Day, then a recording of the sound track for the new “Sgt. Pepper's Lonely Hearts Club Band” film, of which Mr. Frampton is the star, followed by the actual filming, more touring worldwide, a new studio album and finally an invitational concert for Frampton fans, chosen by lottery, that will be televised internationally. Mr. Anthony, his fingers glittering with diamonds, is a man who likes to speak of “master plans.” He does all that,” smiles Mr. Frampton. “I think about today.”

It's not quite as simple as that, though. Mr. Frampton is naturally just a little concerned about living up to the expectations established by the success of the last album. “I didn't try to compete with when we went into the studio. It's a huge goal. I have always been an ambitious person, since I was years old. I won't be disappointed if we don't sell more than five or six million. But maybe... ”

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Peter Frampton concert review Soldier Field in Chicago, US Sat, 13 Aug 1977

Tour: I'm In You

• rating: 75% (3)

Fans' concert reviews write a review 

I was there! Everybody was rushed with adrenaline after Bob, & Frampton came out with his crazy slow crap! Frampton played half a song and got run off the stage!!!

I was there. Very hot temp but a great show.

It was the first live concert I ever went to.

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Peter Frampton, JFK Stadium Philadelphia, Philadelphia (US) - Jun 11, 1977

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35 Years Ago: Peter Frampton Almost Killed in Car Wreck

You know that old adage about bad things always happen in threes? Well you could say it victimized rocker Peter Frampton  35 years ago today, when the platinum-selling '70s superstar was nearly killed in a car crash while in the Bahamas.

So, what were "bad things" one and two?

Just a couple of years earlier, Frampton had released what was then the biggest-selling live album of all time, 1976's 'Frampton Comes Alive,' duly reaping some belated recognition for a relatively unheralded solo career following his departure from Humble Pie .

But even before the deafening roar of acclaim for the singer and guitarist's underrated talents had started to abate, critics and all-purpose haters were already tearing down Frampton. The first major assault involved a shirtless photo on the cover of Rolling Stone, which, crazy as it may seem now, stoked many cynics to label Frampton a shallow teen idol, even though he had been earning his rock rep onstage almost every single night for the past several years.

It's far more difficult to defend the second assault, which virtually cemented the perception that he was no more than an empty pop star: Frampton's ill-fated alignment with disco ambassadors the Bee Gees  in the justifiably maligned movie version of 'Sgt. Pepper's Lonely Hearts Club Band.'

And while the subsequent commercial disappointment of Frampton's next album, 'I’m in You' (which still went platinum, by the way), accelerated his fall from grace, it had nothing on the car accident as Frampton's third unlucky strike. Reports of the day claim that he could have been killed, so perhaps he was fortunate to survive with the broken arm, cracked ribs and multiple bruises he walked away with.

After a lengthy recovery period, Frampton resumed his career and released 'Where I Should Be' in 1979. He never again enjoyed the massive success that 'Frampton Comes Alive' brought him, but he's no doubt grateful to still be alive and kicking.

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Peter Frampton Setlist at Brisbane Festival Hall, Brisbane, Australia

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Steve Marriott’s Children and Bandmates Fight to Stop AI-Generated Recordings of Small Faces/ Humble Pie Singer’s Vocals (EXCLUSIVE)

By Jem Aswad

Executive Editor, Music

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A long list of artists including Robert Plant, Pink Floyd’s David Gilmour, Peter Frampton, Bryan Adams and more have joined the late British singer Steve Marriott ’s children and bandmates in opposing the release of “new” recordings featuring AI-generated versions of his vocals. The former frontman of the Small Faces and Humble Pie (and Rock and Roll Hall of Fame inductee) was one of the most influential rock singers of the 1960s, renowned for songs like “All or Nothing,” “Tin Soldier,” “Itchycoo Park,” “I Don’t Need No Doctor” and more. He died in a fire in 1991 at the age of 44.

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“We, along with his bandmates of Humble Pie and Small Faces, are looking to stop this album from happening as it would be a stain on my father’s name. Someone who was known as one of the greatest vocalists of our generation, with such a live and raw vocal, it would absolutely break his heart if he were alive to know this. This is only for money, not art nor appreciation.

“It is the start of a campaign I wish to lead against this sort of thing, where deceased artists have no rights and that everything natural in this world is truly dying, including creativity and the arts, as AI comes into play.”

Contacted by Variety, Chris France, who has been managing director of Marriott’s estate since 1997, said: “At present there are no confirmed plans to use Steve Marriott’s voice on AI recordings,” adding, “That does not mean a deal will not be done with one of several suitors who have made offers… I am afraid that [Mollie Marriott’s] opinions are of no consequence to me or his estate.”

The estates of most major musicians are often — in fact, usually — plagued with disputes between family members, bandmates, business associates and others, especially when the artist dies without leaving a valid will . Yet the emergence of AI has brought a whole new wrinkle into an already-complex situation.

Because Marriott died without a will, British law rules that his estate would go entirely to Toni Marriott rather than his children (each of whom have different mothers, none of whom are Toni Marriott). The two parties reportedly have had a contentious relationship over the years, although ex-Humble Pie drummer Jerry Shirley tells Variety that he generally has had a positive and productive relationship with France when working with him on archival releases.

Marriott’s business affairs were in an unruly state at the time of his death, due in no small part to the often-unorthodox business dealings of the main managers in his three-decade-plus career: Don Arden, Andrew Loog Oldham and Dee Anthony. Shirley credits France with bringing Marriott’s estate to financial health and ensuring that it generates money, largely via archival releases and streaming, but notes that France works at the direction of Toni Marriott.

Unlike his former bandmates — including Marriott — Shirley retained the rights to his royalties from the band and says he now solely owns the rights to the Humble Pie name. While any dealings involving the group’s name or recordings must be approved by him as well as Marriott’s estate, he has no control over the singer’s recordings outside of Humble Pie.

Shirley tells Variety that late last year, he received an email from Los Angeles-based independent label Cleopatra Records, which had issued some of those Humble Pie releases, mostly to his satisfaction, about renewing their agreement. “Buried in the renewal contract,” he says, was a new paragraph addressing AI.

At first, “I had no idea what it was, to be honest with you,” he says. “But eventually I realized what it meant, [France] confirmed it, and I said, ‘I want nothing to do with it.’”

The AI recording was “horrible,” Shirley says. “It sounded like someone trying to sound like someone trying to sound like Steve Marriott.” The company sent him another attempt, which “sounded like a not-bad soul singer,” he says, “but it didn’t sound like Steve. And the backing track was just laughable.” (Shirley shared MP3s of the recordings with Variety : The first version is very mediocre and sounds like an uninspired run-through; the second is better, but neither are revelatory.)

The terms of the proposed deal would have brought Shirley “around $20,000” upon signing, he says, along with other future royalties due to him. But he said, “I’m not interested.”

Contacted by Variety, a rep for Cleopatra Records said in an email: “Regarding the Steve Marriott AI project, we engaged in discussions with his estate about completing some of his unfinished demos with the aid of AI technology. However, we ultimately chose to release these recordings in their original form for now: ‘Steve Marriott – Get Down to It 1973-1977’; ‘Steve Marriott – Poor Man’s Rich Man 1978-1987’; ‘Steve Marriott – Out of the Blue 1987-1991.’” France said that although a deal for the AI recordings does not currently exist, “That does not mean a deal will not be done with [Cleopatra] or one of several suitors who have made offers.”

News of the planned demo releases was met with chagrin by Mollie Marriott. However, Shirley says he believes at least one of those sets is actually a Humble Pie recording that would have to be approved by him.

Of the situation, Mollie Marriott says, “It’s a sad world to behold.”

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