1 00:00:15,436 --> 00:00:25,396 Speaker 1: Pushkin. Peter Frampton is a classic rock guitar god who 2 00:00:25,476 --> 00:00:28,236 Speaker 1: rose to international fame in the late seventies with his 3 00:00:28,356 --> 00:00:38,916 Speaker 1: chart topping double album Frampton Comes Alive. Frampton, who had 4 00:00:38,916 --> 00:00:42,116 Speaker 1: previously played in English rock bands The Herd and Humble Pie, 5 00:00:42,916 --> 00:00:46,276 Speaker 1: is known for making his guitar sing through his trademark 6 00:00:46,476 --> 00:00:50,716 Speaker 1: talk box. This month, Frampton is releasing an album of 7 00:00:50,756 --> 00:00:54,996 Speaker 1: instrumental covers that features some of his favorite songs, like 8 00:00:55,076 --> 00:00:59,476 Speaker 1: this version of Radioheads Reckoner. I caught up with Frampton 9 00:00:59,516 --> 00:01:02,436 Speaker 1: recently to talk about his new album, Frampton Forgets the 10 00:01:02,476 --> 00:01:05,876 Speaker 1: Words and how the songs he chose provide insight into 11 00:01:05,916 --> 00:01:10,316 Speaker 1: his expansive fifty year career. So it's like loving the Alien. 12 00:01:10,716 --> 00:01:13,396 Speaker 1: David Bowie song that Frampton says is a tribute to 13 00:01:13,436 --> 00:01:17,716 Speaker 1: his childhood friend who helped revitalize his career, and George 14 00:01:17,716 --> 00:01:21,196 Speaker 1: Harrison's Isn't It a Pity, which reminds Frampton the time 15 00:01:21,236 --> 00:01:24,156 Speaker 1: he jammed with George and Abbey Roads Studios while Phil 16 00:01:24,196 --> 00:01:27,316 Speaker 1: Spector looked on from the control room. And he also 17 00:01:27,356 --> 00:01:29,636 Speaker 1: talks about how becoming a pin up sex symbol in 18 00:01:29,676 --> 00:01:33,956 Speaker 1: the late seventies almost sidelined his career. Plus we chat 19 00:01:33,996 --> 00:01:37,476 Speaker 1: about how managing and an inflammatory muscle disease has impacted 20 00:01:37,516 --> 00:01:44,396 Speaker 1: his writing and playing. This is broken record liner notes 21 00:01:44,436 --> 00:01:52,916 Speaker 1: for the digital age. I'm justin Richmonton. Here's my conversation 22 00:01:52,956 --> 00:01:56,556 Speaker 1: with a great Peter Frampton. Congrats with a new record. 23 00:01:56,596 --> 00:01:59,396 Speaker 1: By the way, well, thank you. I appreciate that. I 24 00:01:59,436 --> 00:02:03,476 Speaker 1: was really surprised just by the decision to do an 25 00:02:03,516 --> 00:02:06,356 Speaker 1: instrumental so long after the first one which was really 26 00:02:06,396 --> 00:02:09,876 Speaker 1: well received, Fingerprints, and then to make it covers this. Yes, 27 00:02:10,076 --> 00:02:13,076 Speaker 1: what drew you to this idea? Well, first of all, 28 00:02:13,396 --> 00:02:16,716 Speaker 1: I grew up. My first guitar hero was Hank Marvin 29 00:02:16,756 --> 00:02:19,316 Speaker 1: of the Shadows and they were all instrumentals. They were 30 00:02:19,396 --> 00:02:22,436 Speaker 1: the backup band for Cliff Richard Our English Elvis. So 31 00:02:22,516 --> 00:02:25,916 Speaker 1: I started there and I've been through all my different 32 00:02:26,476 --> 00:02:30,676 Speaker 1: different guitar players. I've listened to and everything. But I 33 00:02:30,756 --> 00:02:33,836 Speaker 1: got to the point where I knew I wanted to 34 00:02:33,916 --> 00:02:38,076 Speaker 1: do the Blues album, which was the album before. But 35 00:02:38,196 --> 00:02:43,156 Speaker 1: I had been diagnosed with my IBM my muscle inclusion 36 00:02:43,196 --> 00:02:47,276 Speaker 1: by body my sitters, and there's a time limit on 37 00:02:47,676 --> 00:02:50,836 Speaker 1: how long the fingers work unfortunately with that disease, so 38 00:02:51,476 --> 00:02:55,596 Speaker 1: I got off the tour with we the band. So 39 00:02:55,796 --> 00:02:57,516 Speaker 1: we were on the bus on the way home, I 40 00:02:57,556 --> 00:03:00,716 Speaker 1: think to Nashville, and I said, we need to go 41 00:03:00,796 --> 00:03:03,876 Speaker 1: in and do a blues album because I'd been playing 42 00:03:03,876 --> 00:03:07,276 Speaker 1: all this blues with Steve in his show Steve Steve Miller. 43 00:03:07,716 --> 00:03:09,916 Speaker 1: So I said, yeah. I said, it's to be covers 44 00:03:10,356 --> 00:03:13,356 Speaker 1: because I want to get as much recorded as I 45 00:03:13,356 --> 00:03:16,876 Speaker 1: can in the shortest space of time. So once we'd 46 00:03:16,876 --> 00:03:19,956 Speaker 1: finished the blues album, I said to the guys, let's 47 00:03:19,996 --> 00:03:23,716 Speaker 1: do an instrumental record of again covers so I didn't 48 00:03:23,756 --> 00:03:26,756 Speaker 1: have to write, so that we could just launch right 49 00:03:26,836 --> 00:03:28,956 Speaker 1: into it right, And I said, I don't care, because 50 00:03:28,996 --> 00:03:33,516 Speaker 1: I love I've got so many favorite melodic and not 51 00:03:33,716 --> 00:03:36,956 Speaker 1: so melodic songs that I love that I would like to, 52 00:03:37,676 --> 00:03:40,676 Speaker 1: you know, play them anyway. And coming from the Hank 53 00:03:40,676 --> 00:03:43,436 Speaker 1: marv In school, I pretty much knew how to do that. Well. 54 00:03:43,436 --> 00:03:45,636 Speaker 1: It's funny, you know, I hadn't considered that. Of course, 55 00:03:45,676 --> 00:03:48,596 Speaker 1: I'd read a bit about your IBM and that limiting 56 00:03:48,596 --> 00:03:50,276 Speaker 1: your guitar playing, but I didn't think about how that 57 00:03:50,356 --> 00:03:53,756 Speaker 1: might affect your writing. Is it just that you can't 58 00:03:53,756 --> 00:03:56,476 Speaker 1: exert the energy writing when you want to when you 59 00:03:56,476 --> 00:04:00,596 Speaker 1: have to play. Yeah, it's it's you know, it's one 60 00:04:00,596 --> 00:04:03,676 Speaker 1: of those things where you can or you can't. You know, 61 00:04:03,756 --> 00:04:06,116 Speaker 1: it's you can't do both at the same time. So 62 00:04:06,276 --> 00:04:08,636 Speaker 1: it's But the thing was, while we were doing the 63 00:04:08,676 --> 00:04:11,796 Speaker 1: instrument und record it was so and the Blues record, 64 00:04:12,076 --> 00:04:15,316 Speaker 1: I was at home. Then on the time days off 65 00:04:15,396 --> 00:04:18,796 Speaker 1: or whatever, I started writing. And I've been writing ever since. 66 00:04:18,836 --> 00:04:22,276 Speaker 1: So you know, the next record that comes out after 67 00:04:22,316 --> 00:04:25,956 Speaker 1: this one will be a new solo record with all 68 00:04:26,036 --> 00:04:28,796 Speaker 1: new material. Great, so you still you can still write, 69 00:04:28,836 --> 00:04:31,116 Speaker 1: You still like to do it. And every day, you know, 70 00:04:31,196 --> 00:04:34,596 Speaker 1: I mean, I I've got to this point now in 71 00:04:34,716 --> 00:04:38,836 Speaker 1: this world. We live in the COVID world, and so 72 00:04:38,916 --> 00:04:43,556 Speaker 1: it's just me and you know, when I actually speak 73 00:04:43,556 --> 00:04:49,836 Speaker 1: out loud, it scares me, you know, and I'm looking 74 00:04:49,876 --> 00:04:51,996 Speaker 1: at the TV and I say something like, who the 75 00:04:52,116 --> 00:04:55,236 Speaker 1: hell was that? You know, and it's me, your boss. 76 00:04:55,636 --> 00:04:59,196 Speaker 1: So anyway, Yeah, so I go down make my coffee 77 00:04:59,236 --> 00:05:02,316 Speaker 1: before I walk out every day. And because of my 78 00:05:02,956 --> 00:05:06,796 Speaker 1: muscle thing, so while I'm waiting to work out, I 79 00:05:06,876 --> 00:05:09,436 Speaker 1: got my legal pad in on the kitchen count and 80 00:05:10,156 --> 00:05:13,636 Speaker 1: I write my dreams or I write what I'm thinking. 81 00:05:13,836 --> 00:05:16,956 Speaker 1: I just you know, free my mind, and just whatever 82 00:05:17,036 --> 00:05:19,836 Speaker 1: comes out I write down, it looks like rubbish. But 83 00:05:20,076 --> 00:05:21,676 Speaker 1: then when you go back and you read it, and 84 00:05:21,676 --> 00:05:23,996 Speaker 1: you go, oh, I like that bit, you know, and 85 00:05:24,036 --> 00:05:27,156 Speaker 1: it's I do that every day now, so and then 86 00:05:27,596 --> 00:05:30,436 Speaker 1: you know I'm writing. I tend to write the music 87 00:05:31,276 --> 00:05:35,196 Speaker 1: more at night, you know, when everybody stopped working. I 88 00:05:35,316 --> 00:05:38,276 Speaker 1: start to enjoy myself. When it's dark. I like to 89 00:05:38,276 --> 00:05:40,876 Speaker 1: play guitar, right that it always seems to be. That's 90 00:05:40,876 --> 00:05:45,116 Speaker 1: when the muse comes. Yeah, is there a connection between 91 00:05:45,476 --> 00:05:48,516 Speaker 1: the dreams you write down in the morning and then 92 00:05:48,556 --> 00:05:50,596 Speaker 1: what comes at night? Is there is there a through 93 00:05:50,596 --> 00:05:53,596 Speaker 1: line that you can find between the two? Not always, 94 00:05:53,756 --> 00:05:57,876 Speaker 1: but sometimes Yeah, I'll pick a line from what I've 95 00:05:57,876 --> 00:06:01,876 Speaker 1: written in the morning, and you know, start, well, maybe 96 00:06:01,916 --> 00:06:04,236 Speaker 1: that's the first line of a verse, or maybe it's 97 00:06:04,836 --> 00:06:07,036 Speaker 1: it's the second line, or maybe it's the chorus. I 98 00:06:07,076 --> 00:06:09,796 Speaker 1: don't know. That's the beauty of it, that the enjoyable 99 00:06:09,876 --> 00:06:13,556 Speaker 1: part is trying to fix it it well, and the 100 00:06:13,716 --> 00:06:17,036 Speaker 1: laborious part sometimes it's trying to fix it all together, 101 00:06:17,196 --> 00:06:20,356 Speaker 1: you know. So yeah, I'm learning. I'm still learning so 102 00:06:20,476 --> 00:06:25,156 Speaker 1: much about writing and trying to write in a different way. 103 00:06:25,876 --> 00:06:28,796 Speaker 1: When I sit down to and I pick up an 104 00:06:28,836 --> 00:06:33,836 Speaker 1: acoustic say, and I've got a regular tuning or an 105 00:06:33,916 --> 00:06:37,876 Speaker 1: open tuning, and I usually go to my standard kind 106 00:06:37,916 --> 00:06:40,436 Speaker 1: of things that I do every day. Then I'll just go, 107 00:06:41,116 --> 00:06:43,756 Speaker 1: let's tune this one different. Yeah, and I'll just tune 108 00:06:43,756 --> 00:06:46,436 Speaker 1: that different there and tune this one different. I don't 109 00:06:46,436 --> 00:06:48,436 Speaker 1: know what the tuning is, well, it sounds good, and 110 00:06:48,476 --> 00:06:50,956 Speaker 1: then I have to find the chords, and all of 111 00:06:50,956 --> 00:06:54,236 Speaker 1: a sudden there's notes in there that become so inspiring. 112 00:06:54,516 --> 00:06:58,916 Speaker 1: It's like the Joni Mitchell one oh one of songwriting. 113 00:06:58,956 --> 00:07:01,796 Speaker 1: I think I did read somewhere. I'm not sure if 114 00:07:01,796 --> 00:07:04,516 Speaker 1: it's true, but oh, we love, we love Joni Mitchell, 115 00:07:04,636 --> 00:07:09,556 Speaker 1: Oh my God, and that she said this and songs 116 00:07:09,596 --> 00:07:12,676 Speaker 1: she can't play anymore because she can't remember the tunings, 117 00:07:13,156 --> 00:07:16,876 Speaker 1: so I can believe it. So what I do is 118 00:07:16,916 --> 00:07:19,836 Speaker 1: when I do change your tuning on my phone, You're 119 00:07:19,836 --> 00:07:22,116 Speaker 1: like we all record on the phone. I just put 120 00:07:22,156 --> 00:07:24,876 Speaker 1: the tuning down on that day, so I know when 121 00:07:24,916 --> 00:07:26,916 Speaker 1: I go back, I look at the date of the 122 00:07:27,116 --> 00:07:29,436 Speaker 1: bit and there's the tuning for it, you know, so 123 00:07:29,636 --> 00:07:31,396 Speaker 1: you can you can match it. You're never you're never 124 00:07:31,436 --> 00:07:36,516 Speaker 1: losing your way, No, no, I learned from Joni Mitchell's mistakes, 125 00:07:36,556 --> 00:07:39,516 Speaker 1: not that she makes mistakes well you know, no, no, 126 00:07:39,556 --> 00:07:43,356 Speaker 1: those are those are wonderful mistakes that she's So how 127 00:07:43,356 --> 00:07:45,916 Speaker 1: did the song selection happen for the new record? Like 128 00:07:45,996 --> 00:07:49,036 Speaker 1: the Blues album? I just said to the band, why 129 00:07:49,036 --> 00:07:52,556 Speaker 1: don't we all make lists of, you know, favorite songs, 130 00:07:53,156 --> 00:07:55,876 Speaker 1: you know, and so it was just basically we all 131 00:07:55,956 --> 00:07:59,876 Speaker 1: chose it, you know, I mean favorites of mine. Stevie 132 00:07:59,876 --> 00:08:03,076 Speaker 1: wonders I Don't Know Why, which is a very unknown track. 133 00:08:03,836 --> 00:08:09,596 Speaker 1: I had loved that for multiple years because he's obviously 134 00:08:10,356 --> 00:08:13,276 Speaker 1: majorly in love at that point, you know, I don't 135 00:08:13,316 --> 00:08:16,036 Speaker 1: know why I love you. But he starts off very plaintive, 136 00:08:16,516 --> 00:08:19,556 Speaker 1: and throughout the song is repetitive all the way through, 137 00:08:19,876 --> 00:08:24,036 Speaker 1: and then he just lets his emotion come out and 138 00:08:24,076 --> 00:08:26,996 Speaker 1: he's it's almost like Lennon doing Mother, you know, He's 139 00:08:27,076 --> 00:08:30,836 Speaker 1: screaming at the end, you know, And I just thought, 140 00:08:31,396 --> 00:08:34,036 Speaker 1: I want to do that with the guitar, so and 141 00:08:34,076 --> 00:08:38,556 Speaker 1: see if I can pay tribute to the wonderful Stevie 142 00:08:38,796 --> 00:08:43,436 Speaker 1: wonder There's also songs like on your Record record by Radiohead. Yes, 143 00:08:43,516 --> 00:08:45,516 Speaker 1: I'm curious why you chose a song like that very 144 00:08:45,516 --> 00:08:49,236 Speaker 1: interesting to hear Peter Frampton do Radiohead. And then how 145 00:08:49,236 --> 00:08:52,436 Speaker 1: did you think to approach it melodically? I mean, it 146 00:08:52,956 --> 00:08:56,756 Speaker 1: is very melodic, I mean, and the makeup of the 147 00:08:57,716 --> 00:09:01,916 Speaker 1: the chords for that song are just it's a classic. 148 00:09:01,996 --> 00:09:04,876 Speaker 1: It's it's just one of my all time favorite songs. 149 00:09:04,956 --> 00:09:10,516 Speaker 1: So I wanted to be as close to Tom Yawk's 150 00:09:10,596 --> 00:09:15,476 Speaker 1: vocal melodies as possible, at least at the very beginning. 151 00:09:15,676 --> 00:09:18,156 Speaker 1: And then, as I said, one has to make it 152 00:09:18,196 --> 00:09:21,036 Speaker 1: a little bit more interesting, not that you can understand 153 00:09:21,036 --> 00:09:25,556 Speaker 1: what he's singing about anyway, but it just had to 154 00:09:25,596 --> 00:09:29,196 Speaker 1: be get more interesting as it went on. And it 155 00:09:29,236 --> 00:09:33,196 Speaker 1: was one of those tracks that we didn't to be honest, 156 00:09:33,276 --> 00:09:35,356 Speaker 1: I didn't know whether we could do it, whether we 157 00:09:35,396 --> 00:09:37,796 Speaker 1: could do it justice or not. And then it turned 158 00:09:37,796 --> 00:09:41,036 Speaker 1: into my I think it's my favorite of the album, 159 00:09:41,196 --> 00:09:44,436 Speaker 1: so and that's why it became the first track we 160 00:09:44,476 --> 00:09:48,876 Speaker 1: released with a video and everything. So but Radiohead never 161 00:09:48,876 --> 00:09:52,876 Speaker 1: stands still. They're always painting a different picture from a 162 00:09:52,916 --> 00:09:57,476 Speaker 1: different angle. It's just I admired them so much. All 163 00:09:57,516 --> 00:10:01,556 Speaker 1: of them wrote they all right, you know, So it's 164 00:10:01,636 --> 00:10:04,996 Speaker 1: just one of those bands that you know, Wow, I'm 165 00:10:05,036 --> 00:10:09,196 Speaker 1: glad those guys got together. Yeah, well, how communit you 166 00:10:09,236 --> 00:10:12,756 Speaker 1: could do a justice at first? What was the hesitation? Well, 167 00:10:12,876 --> 00:10:15,436 Speaker 1: it's like with all of them. It becomes a challenge 168 00:10:16,356 --> 00:10:22,196 Speaker 1: because Radiohead fans are very protective of Radiohead, and I 169 00:10:22,676 --> 00:10:28,956 Speaker 1: understand why, you know, because their version is the definitive version, obviously, 170 00:10:29,676 --> 00:10:34,196 Speaker 1: And I've read a few reviews by fans that have said, 171 00:10:34,716 --> 00:10:37,116 Speaker 1: I wasn't sure whether to listen to you know what 172 00:10:37,556 --> 00:10:39,956 Speaker 1: I would think when I but he said, this is 173 00:10:39,956 --> 00:10:43,396 Speaker 1: the best version of you know, a reckoner or a 174 00:10:43,516 --> 00:10:48,796 Speaker 1: Radiohead song I've heard, so hopefully I think I got across. 175 00:10:49,276 --> 00:10:52,676 Speaker 1: I took great care, Like usually I come to the 176 00:10:52,716 --> 00:10:55,636 Speaker 1: studio with one of my babies, and I take care 177 00:10:55,676 --> 00:10:59,396 Speaker 1: with my baby. Well, I would take care with everybody 178 00:10:59,396 --> 00:11:02,476 Speaker 1: else's baby on this album and make sure that we 179 00:11:02,516 --> 00:11:05,796 Speaker 1: treated it with respect and didn't take it to a 180 00:11:05,876 --> 00:11:10,036 Speaker 1: place where it would be just abhorrent to anyone who 181 00:11:10,076 --> 00:11:14,156 Speaker 1: knew the original that Well, yeah, I mean, you guys 182 00:11:14,196 --> 00:11:16,916 Speaker 1: are not shy away from picking you know, just beloved 183 00:11:16,956 --> 00:11:21,756 Speaker 1: beloved artists, you know, Jacob Historius, Marvin Gay sly in 184 00:11:21,796 --> 00:11:24,516 Speaker 1: the family Stone, all of them are fantastic song not 185 00:11:24,516 --> 00:11:26,436 Speaker 1: all of them are classics necessarily in the catalog, like 186 00:11:26,476 --> 00:11:28,836 Speaker 1: it was not like Marvin Gay's Heartache is not like 187 00:11:28,876 --> 00:11:32,116 Speaker 1: A it's a It's not an obvious choice. No, Marvin 188 00:11:32,156 --> 00:11:37,916 Speaker 1: Gay's song was it was actually see Motown was almost bigger. 189 00:11:37,996 --> 00:11:42,396 Speaker 1: I believe it was bigger in Europe and especially England 190 00:11:43,076 --> 00:11:47,276 Speaker 1: before it was that big here in the US. And 191 00:11:47,356 --> 00:11:51,516 Speaker 1: so they released a lot more singles, so that one 192 00:11:51,556 --> 00:11:54,636 Speaker 1: by Marvin was released as a single and was a 193 00:11:54,756 --> 00:12:00,076 Speaker 1: hit in England. That guitar riff has always stayed with me. 194 00:12:00,556 --> 00:12:02,556 Speaker 1: I went a little bit crazy on that one. I 195 00:12:02,876 --> 00:12:06,516 Speaker 1: did that one, most of that one at home, whereas 196 00:12:06,556 --> 00:12:08,636 Speaker 1: all the other ones were done live with the band. 197 00:12:08,676 --> 00:12:11,356 Speaker 1: We put everybody else on that one, and I wrote 198 00:12:11,396 --> 00:12:14,396 Speaker 1: an extra little piece for it, so it doesn't really 199 00:12:14,436 --> 00:12:17,076 Speaker 1: sound like the song at points. I was just very 200 00:12:17,116 --> 00:12:23,516 Speaker 1: inspired by that track, especially, but the Motown songs that were, 201 00:12:23,556 --> 00:12:28,316 Speaker 1: you know, all our favorites were so uniquely written and played, 202 00:12:28,956 --> 00:12:33,716 Speaker 1: and it's the sounds and the arrangements that really get me. 203 00:12:34,116 --> 00:12:37,396 Speaker 1: And the quality, obviously at the very beginning, was not 204 00:12:37,556 --> 00:12:41,636 Speaker 1: It was very It was rough to start with, but 205 00:12:41,676 --> 00:12:44,676 Speaker 1: they I loved that about it. It was so great 206 00:12:44,996 --> 00:12:47,596 Speaker 1: even like some of the tom tom fills. If you 207 00:12:47,716 --> 00:12:51,476 Speaker 1: listen closely, the tom tom actually distorts the mic. But 208 00:12:51,596 --> 00:12:54,716 Speaker 1: that's part of the sound, you know, and they weren't 209 00:12:54,756 --> 00:12:58,636 Speaker 1: going for that, but it ended up being that way. 210 00:12:58,796 --> 00:13:03,716 Speaker 1: And there's something about harmonic distortion like that that when 211 00:13:03,756 --> 00:13:08,116 Speaker 1: it's good distortion, it just it's it makes everything sound better. 212 00:13:09,316 --> 00:13:11,836 Speaker 1: Part of the charm of those early as late as 213 00:13:11,996 --> 00:13:15,516 Speaker 1: you like sixty seven, you're still hearing some just you know, 214 00:13:15,636 --> 00:13:18,036 Speaker 1: some of those recordings sound a little bit rough in insight, 215 00:13:18,236 --> 00:13:22,196 Speaker 1: but yeah, just beautiful songs. Levi Stubbs. I read that 216 00:13:22,236 --> 00:13:25,516 Speaker 1: they would always write the song for him and put 217 00:13:25,556 --> 00:13:28,876 Speaker 1: it up a tone then he could actually sing, so 218 00:13:28,956 --> 00:13:31,996 Speaker 1: he would have to stretch out for those. But you 219 00:13:32,036 --> 00:13:36,836 Speaker 1: can actually hear his voice distorting on certain tracks. But 220 00:13:37,556 --> 00:13:40,316 Speaker 1: you know, what did we do later on in the 221 00:13:40,356 --> 00:13:45,556 Speaker 1: two thousands, We started distorting vocals, you know, so it's 222 00:13:45,556 --> 00:13:47,916 Speaker 1: all been done before, and there was a reason why 223 00:13:47,996 --> 00:13:51,196 Speaker 1: that had charm. We didn't realize we were listening to 224 00:13:51,276 --> 00:13:55,156 Speaker 1: a distorted vocal. We just knew that it sounded great. 225 00:13:55,796 --> 00:13:59,276 Speaker 1: I'm fascinated that there were motown hits in England. Were 226 00:13:59,276 --> 00:14:01,516 Speaker 1: there other motown songs? You remember being hits there that 227 00:14:01,596 --> 00:14:06,396 Speaker 1: weren't quite as popular here. Yeah, like B sides. We'd 228 00:14:06,396 --> 00:14:10,716 Speaker 1: have a lot of double sided engles, you know, where 229 00:14:10,916 --> 00:14:13,756 Speaker 1: like the Beatles did and the Stones did, where both 230 00:14:13,796 --> 00:14:16,956 Speaker 1: songs would be hits. And Motown had that too, you know. 231 00:14:17,076 --> 00:14:21,396 Speaker 1: So Supremes, Levi and the Boys, the Four Tops and 232 00:14:21,796 --> 00:14:26,956 Speaker 1: Smoky and oh so many great It's that's my music. Boy. 233 00:14:27,036 --> 00:14:29,596 Speaker 1: Oh I love that stuff. We'll be right back with 234 00:14:29,636 --> 00:14:36,516 Speaker 1: more from Peter Frampton. After a quick break, we're back 235 00:14:36,516 --> 00:14:39,996 Speaker 1: with more of my conversation with Peter Frampton. What drew 236 00:14:39,996 --> 00:14:43,436 Speaker 1: you to moving to Nashville. I was in Los Angeles 237 00:14:43,516 --> 00:14:46,396 Speaker 1: with my family there up until ninety four, and then 238 00:14:46,996 --> 00:14:51,556 Speaker 1: the huge earthquake happened, and so we moved to Phoenix 239 00:14:51,676 --> 00:14:54,676 Speaker 1: because my two of my children were with their mother 240 00:14:54,796 --> 00:14:57,236 Speaker 1: in Los Angeles. We didn't want to be too far away. 241 00:14:57,476 --> 00:15:01,836 Speaker 1: So anyway, it's too hot there in the summer. Kids 242 00:15:01,876 --> 00:15:05,276 Speaker 1: fall over and they get third degree burns. So it's beautiful. 243 00:15:05,436 --> 00:15:07,916 Speaker 1: I love it, but it's nice to have a winter 244 00:15:07,996 --> 00:15:12,076 Speaker 1: home there. So I got this call to buy from 245 00:15:12,076 --> 00:15:14,836 Speaker 1: my publishers saying would you like to come and come 246 00:15:14,836 --> 00:15:17,636 Speaker 1: to Nashville right with some of the great writers there 247 00:15:17,756 --> 00:15:20,596 Speaker 1: do a week or ten days. I said, absolutely, I'd 248 00:15:20,596 --> 00:15:23,196 Speaker 1: love to do that. So I did. And as I 249 00:15:23,236 --> 00:15:28,196 Speaker 1: was leaving, my wife said, I hope you like it 250 00:15:28,356 --> 00:15:31,036 Speaker 1: in Nashville. So I called her after a few days. 251 00:15:31,076 --> 00:15:34,276 Speaker 1: I said, you know what, the community here for music 252 00:15:34,476 --> 00:15:39,356 Speaker 1: is incredible. I said, I've met so many great musicians 253 00:15:39,436 --> 00:15:43,276 Speaker 1: and writers. I think that this might be a good 254 00:15:43,276 --> 00:15:45,956 Speaker 1: place for us to move. It's a pretty collaborative town, 255 00:15:46,076 --> 00:15:49,996 Speaker 1: right Musically, yes, it is one of those towns where 256 00:15:50,036 --> 00:15:53,436 Speaker 1: you meet and well it was before COVID, but where 257 00:15:53,476 --> 00:15:56,516 Speaker 1: you actually meet up in a restaurant for lunch or somewhere. 258 00:15:56,636 --> 00:15:59,076 Speaker 1: Oh look, there's so and so, and they said, you 259 00:15:59,076 --> 00:16:01,876 Speaker 1: know what, I've got this idea. I would love you 260 00:16:01,916 --> 00:16:04,316 Speaker 1: to play on it. And I say, okay, well, you 261 00:16:04,356 --> 00:16:07,676 Speaker 1: know that would be great. Send me the MP three 262 00:16:07,716 --> 00:16:10,756 Speaker 1: and I'll I'll put some guitar on it for you. 263 00:16:11,076 --> 00:16:15,036 Speaker 1: Well that that doesn't always happen everywhere all the other 264 00:16:15,036 --> 00:16:18,196 Speaker 1: places I've lived. It's sort of like, yeah, that's sort 265 00:16:18,236 --> 00:16:23,716 Speaker 1: of like saying goodbye. Yeah. It is much more collaborative 266 00:16:23,956 --> 00:16:26,556 Speaker 1: on many levels. There's all sorts of music here. It's 267 00:16:26,596 --> 00:16:29,156 Speaker 1: not just country. Are you a fan of country music, 268 00:16:30,156 --> 00:16:34,716 Speaker 1: so the old type. Yes, I'm a fan of the 269 00:16:34,796 --> 00:16:38,996 Speaker 1: older country and you know, just good songs. Did you 270 00:16:39,036 --> 00:16:40,276 Speaker 1: grow up did you grow up here in a lot 271 00:16:40,276 --> 00:16:42,836 Speaker 1: of country? Well, the first song I ever learned was 272 00:16:42,916 --> 00:16:45,996 Speaker 1: She'll be coming around the mountain when she comes, so 273 00:16:46,676 --> 00:16:49,716 Speaker 1: my dad. And what was the other one? My dad 274 00:16:49,756 --> 00:16:53,516 Speaker 1: taught me hang down your head. Tom Dooley Michael wrote 275 00:16:53,556 --> 00:16:55,556 Speaker 1: the boat. So there you go. We've got We've got 276 00:16:55,556 --> 00:16:57,476 Speaker 1: a little bit of folk, a little bit of country, 277 00:16:57,556 --> 00:17:00,956 Speaker 1: and a trained song. So there you go. Yeah, that's 278 00:17:01,556 --> 00:17:05,236 Speaker 1: that about covers it. You were born to be in Nashville, Yes, exactly. 279 00:17:06,316 --> 00:17:09,516 Speaker 1: You've never pigeonholed yourself as a guitarist. You've played wide 280 00:17:09,596 --> 00:17:13,676 Speaker 1: array styles. You've played on Ben Siduran records and Johnny 281 00:17:13,716 --> 00:17:17,636 Speaker 1: Holiday records, a great French pop singer, all kinds of things. 282 00:17:17,916 --> 00:17:19,956 Speaker 1: Did that come from the music you loved growing up? 283 00:17:19,956 --> 00:17:22,916 Speaker 1: Were you listening to all sorts of different things? As 284 00:17:22,956 --> 00:17:26,676 Speaker 1: I've said, you know, Shadows were first Hank Marvin with 285 00:17:26,836 --> 00:17:29,956 Speaker 1: that lovely clean strat sound, and then but at the 286 00:17:29,996 --> 00:17:34,116 Speaker 1: same time my parents we got the record player and 287 00:17:34,356 --> 00:17:37,076 Speaker 1: it was in time to get the first Shadows album. 288 00:17:37,116 --> 00:17:40,556 Speaker 1: I remember that so I would play that. Then i'd 289 00:17:40,596 --> 00:17:43,276 Speaker 1: leave the room living room, and my dad would put 290 00:17:43,316 --> 00:17:47,636 Speaker 1: on Hot Club de France Jango Reinharts defran Crapelli, and 291 00:17:48,116 --> 00:17:50,436 Speaker 1: I couldn't get out of the room quick enough. It 292 00:17:50,476 --> 00:17:53,956 Speaker 1: was just awful music. And you know, I'm like eight 293 00:17:54,036 --> 00:17:56,956 Speaker 1: years old, nine years older, and as my kids call it, 294 00:17:57,076 --> 00:18:01,956 Speaker 1: Dad's listening to that silent movie music again. So gradually 295 00:18:02,156 --> 00:18:05,956 Speaker 1: I didn't leave the room because I was halfway up 296 00:18:05,956 --> 00:18:09,276 Speaker 1: the stairs and I went, oh, wow, how does he 297 00:18:09,356 --> 00:18:12,916 Speaker 1: played that? You know? It just the thing that turned 298 00:18:12,916 --> 00:18:16,236 Speaker 1: me off. It was an acoustic and it wasn't an electric, 299 00:18:16,756 --> 00:18:20,516 Speaker 1: and it just didn't have it wasn't a stratocaster through 300 00:18:20,556 --> 00:18:25,396 Speaker 1: a vox, you know. But then in the end it 301 00:18:25,476 --> 00:18:29,036 Speaker 1: was it was a two album day every weekend with 302 00:18:29,116 --> 00:18:31,596 Speaker 1: my dad. He'd listened with me with the Shadows, and 303 00:18:31,676 --> 00:18:35,436 Speaker 1: I'd listen with them for Django. So if you think 304 00:18:35,476 --> 00:18:38,676 Speaker 1: about that, then the next thing is, you know, listening 305 00:18:38,716 --> 00:18:42,916 Speaker 1: to every rock guitarist known to man, and the blues players, 306 00:18:42,956 --> 00:18:48,196 Speaker 1: you know, Eric and Peter Green, Mick Taylor all spent 307 00:18:48,316 --> 00:18:53,076 Speaker 1: time with John Males bluesbreakers who I went to see underage, 308 00:18:53,516 --> 00:18:56,796 Speaker 1: snuck in and was always in the front row looking 309 00:18:56,836 --> 00:18:58,956 Speaker 1: at all these trying to work out what all these 310 00:18:58,996 --> 00:19:01,836 Speaker 1: guys did, how they were doing it. So then I 311 00:19:01,876 --> 00:19:04,236 Speaker 1: got my fill of the blues. And then I was 312 00:19:04,276 --> 00:19:07,396 Speaker 1: still at school and I joined a band called the Preachers. 313 00:19:07,396 --> 00:19:10,316 Speaker 1: They were all working there were semipro they'd all been 314 00:19:10,356 --> 00:19:13,996 Speaker 1: in big bands, and they asked me to join, and 315 00:19:14,276 --> 00:19:18,196 Speaker 1: the druma gave me twelve or fifteen albums and it 316 00:19:18,836 --> 00:19:27,596 Speaker 1: ranged from Otis Blue, Roland Kirk, Jesus Stones, Uh, you know, 317 00:19:27,676 --> 00:19:31,356 Speaker 1: it just it just went through all these Watermelon Man 318 00:19:31,876 --> 00:19:35,396 Speaker 1: or these jazz albums and everything. Mose Allison. Oh, it 319 00:19:35,436 --> 00:19:38,756 Speaker 1: was the first time I'd heard Mose Allison. And the 320 00:19:38,916 --> 00:19:42,916 Speaker 1: breadth of the styles that I had to learn by 321 00:19:42,996 --> 00:19:47,316 Speaker 1: Tuesday was enormous. So I, you know, always up for 322 00:19:47,316 --> 00:19:50,996 Speaker 1: a challenge, So I learned all these songs that were 323 00:19:51,036 --> 00:19:53,956 Speaker 1: on the list, and so I think that's when I 324 00:19:54,116 --> 00:19:58,316 Speaker 1: first got this this love of different types of music 325 00:19:58,356 --> 00:20:01,996 Speaker 1: that you know, to be pigeonholed in one blues or 326 00:20:02,116 --> 00:20:05,116 Speaker 1: rock or jazz. I didn't want that. I wanted to 327 00:20:05,196 --> 00:20:08,156 Speaker 1: be have my own style. It was a mixture of everything, 328 00:20:08,756 --> 00:20:12,876 Speaker 1: and it finally happened after listening to so many different 329 00:20:12,916 --> 00:20:16,676 Speaker 1: styles of music. We were doing the Humble Pie record 330 00:20:16,756 --> 00:20:21,756 Speaker 1: with Glenn John's, you know, the Engineer's engineer in Olympic, 331 00:20:22,356 --> 00:20:26,196 Speaker 1: the famous Olympic studios in Barns in London, and i'd 332 00:20:26,236 --> 00:20:29,556 Speaker 1: just done the solo on Stone Cold Fever, which was 333 00:20:29,556 --> 00:20:32,636 Speaker 1: on the Rock On album, and I came in and 334 00:20:32,876 --> 00:20:36,916 Speaker 1: we listened and I didn't say anything. I just said 335 00:20:36,956 --> 00:20:41,716 Speaker 1: to myself, I think you've arrived. I think this is 336 00:20:41,796 --> 00:20:46,436 Speaker 1: you because I had found in one solo that I 337 00:20:46,516 --> 00:20:50,116 Speaker 1: had kind of put it all together rock, blues and 338 00:20:50,236 --> 00:20:55,196 Speaker 1: jazz tinged, you know, jazz tinged, but just note choice, 339 00:20:55,236 --> 00:20:58,276 Speaker 1: I think is what my style is all about. That 340 00:20:58,356 --> 00:21:00,716 Speaker 1: came out of nowhere, and you know, we had been 341 00:21:00,756 --> 00:21:05,196 Speaker 1: playing it in rehearsal and maybe live, but yeah, that 342 00:21:05,356 --> 00:21:08,436 Speaker 1: was just one of those moments where I just thought, 343 00:21:08,476 --> 00:21:11,276 Speaker 1: while I think I was very pleased with it, and 344 00:21:11,356 --> 00:21:16,556 Speaker 1: that was something that voted well for the future playing. 345 00:21:17,036 --> 00:21:20,876 Speaker 1: And I don't stay to the blues scale all the 346 00:21:20,916 --> 00:21:26,916 Speaker 1: time or hardly ever. Yeah, yeah, especially and on this record, 347 00:21:26,996 --> 00:21:29,436 Speaker 1: you you know, it's like you're all over the place. Yeah, 348 00:21:29,436 --> 00:21:32,996 Speaker 1: it's incredible, thank you. Yeah, it's just going places that 349 00:21:33,076 --> 00:21:36,556 Speaker 1: you've never been before you know. It's every day you 350 00:21:36,556 --> 00:21:40,276 Speaker 1: you hope that find a lick, make it up, hear 351 00:21:40,316 --> 00:21:43,836 Speaker 1: it and change it by somebody else, and all of 352 00:21:43,876 --> 00:21:48,076 Speaker 1: a sudden it becomes another one of your library of licks. Right, 353 00:21:48,636 --> 00:21:51,716 Speaker 1: So rock On is the last Humble Pie record aside 354 00:21:51,716 --> 00:21:54,436 Speaker 1: from the live one that you played on correct, Yes, yes, 355 00:21:54,516 --> 00:21:56,676 Speaker 1: And it wasn't until then that you felt you found 356 00:21:56,716 --> 00:22:01,156 Speaker 1: your style. Yes, that was I was going backwards and forwards, 357 00:22:01,196 --> 00:22:03,876 Speaker 1: playing blues and then a bit of jazz, and so 358 00:22:03,996 --> 00:22:07,116 Speaker 1: it wasn't until that album that because it is a 359 00:22:07,236 --> 00:22:12,876 Speaker 1: rock based band, the music was rock, blues, R and 360 00:22:12,916 --> 00:22:16,956 Speaker 1: B based actually, so you know, it was just a 361 00:22:17,036 --> 00:22:20,316 Speaker 1: case of putting together all the ideas that I had. 362 00:22:20,596 --> 00:22:25,276 Speaker 1: And the whole thing about soloing for me is that 363 00:22:25,756 --> 00:22:28,916 Speaker 1: live is the best place for a solo for me 364 00:22:29,076 --> 00:22:32,356 Speaker 1: because there's no take too, So you've got to whatever 365 00:22:32,396 --> 00:22:34,716 Speaker 1: it is, you've got to take it. That's it, buddy, 366 00:22:34,756 --> 00:22:36,916 Speaker 1: you don't get to do it again. And in the 367 00:22:36,996 --> 00:22:40,236 Speaker 1: studio I have, it's harder for me because I have 368 00:22:40,316 --> 00:22:43,996 Speaker 1: to get to that place where I'm not thinking like 369 00:22:44,156 --> 00:22:47,876 Speaker 1: you're not thinking on stage, I'm thinking about the audience. 370 00:22:47,916 --> 00:22:50,956 Speaker 1: I'm thinking about my band, I'm thinking about what we're 371 00:22:50,956 --> 00:22:54,076 Speaker 1: going to do next, and so I am in a 372 00:22:54,196 --> 00:22:59,636 Speaker 1: very free form, uninhibited place. And that's what I always 373 00:22:59,676 --> 00:23:03,916 Speaker 1: look for in the studio, and it usually happens with 374 00:23:03,956 --> 00:23:08,036 Speaker 1: the first take of the solo, or after I've taken 375 00:23:08,076 --> 00:23:10,556 Speaker 1: a break and I come back twenty minutes later and 376 00:23:10,596 --> 00:23:13,156 Speaker 1: I've done like half a dozen solos, I don't like 377 00:23:13,276 --> 00:23:15,836 Speaker 1: any of them, and I come back and all of 378 00:23:15,916 --> 00:23:18,836 Speaker 1: a sudden, it'll be the first or the second take again. 379 00:23:19,556 --> 00:23:22,076 Speaker 1: Otherwise you start thinking, I don't want to think when 380 00:23:22,116 --> 00:23:24,476 Speaker 1: I play, you know, I just want it to happen. 381 00:23:25,156 --> 00:23:28,316 Speaker 1: We'll hear more of my conversation with Peter Frampton after 382 00:23:28,356 --> 00:23:34,076 Speaker 1: a quick break. We're back with the rest of my 383 00:23:34,116 --> 00:23:38,196 Speaker 1: conversation with Peter Frampton. Another song on your new record, 384 00:23:38,316 --> 00:23:40,596 Speaker 1: Isn't It a Pity? Did you play on the original? 385 00:23:41,156 --> 00:23:45,236 Speaker 1: That's one that the first day I came into Abbey Road, 386 00:23:45,516 --> 00:23:47,356 Speaker 1: when George had asked me to come down and do 387 00:23:47,436 --> 00:23:50,956 Speaker 1: some acoustic We all went into the control room and 388 00:23:51,036 --> 00:23:54,076 Speaker 1: they done it the day before and they played it. 389 00:23:54,316 --> 00:23:57,156 Speaker 1: You know, Phil spect Us there and or you know, 390 00:23:57,276 --> 00:24:00,716 Speaker 1: Klaus and Ringo and everybody was there, and I just 391 00:24:00,876 --> 00:24:03,276 Speaker 1: my jaw dropped when I heard the sound, because it's 392 00:24:03,276 --> 00:24:05,916 Speaker 1: not that many people on that track, but it sounds 393 00:24:05,956 --> 00:24:09,036 Speaker 1: like there's a thousand people. And that's that wall of 394 00:24:09,276 --> 00:24:14,316 Speaker 1: sound with Phil Spector. Obviously, when we started I did 395 00:24:14,316 --> 00:24:18,516 Speaker 1: the more country ones with acoustic. It was me sitting 396 00:24:18,556 --> 00:24:22,076 Speaker 1: next to George, and then three of the guys from 397 00:24:22,116 --> 00:24:25,036 Speaker 1: Bad Finger were playing, so there was five of us 398 00:24:25,076 --> 00:24:28,596 Speaker 1: playing acoustics. The Phil specter more is better, you know, 399 00:24:28,876 --> 00:24:31,356 Speaker 1: and in this case it was, so I did. I 400 00:24:31,396 --> 00:24:36,796 Speaker 1: think I did five or six of the tracks, tracking tracks, 401 00:24:37,036 --> 00:24:41,636 Speaker 1: tracking sessions, and then about I don't know two three 402 00:24:41,716 --> 00:24:46,236 Speaker 1: weeks later if that, George called me back up and said, 403 00:24:46,756 --> 00:24:52,436 Speaker 1: Phil Warm's more acoustics. So I said, oh, okay, I'll 404 00:24:52,436 --> 00:24:54,996 Speaker 1: bring my acoustic down, and but this time it was 405 00:24:55,036 --> 00:24:59,676 Speaker 1: just me and George sitting on two stools in the 406 00:24:59,796 --> 00:25:02,396 Speaker 1: Sergeant Pepper room and in Abbey Road, I think it 407 00:25:02,516 --> 00:25:07,516 Speaker 1: was anyway looking through the glass at Phil Spector. So 408 00:25:08,356 --> 00:25:13,916 Speaker 1: we double tracked what we'd already done on the five 409 00:25:14,036 --> 00:25:19,156 Speaker 1: or six that I played on, and then George said, well, 410 00:25:19,396 --> 00:25:21,676 Speaker 1: let's do some more on some of the other tracks, 411 00:25:21,836 --> 00:25:26,076 Speaker 1: you know. So that's when they would change reels and 412 00:25:26,276 --> 00:25:31,836 Speaker 1: find another place for us to to overdub, and that's 413 00:25:31,836 --> 00:25:36,396 Speaker 1: when George and I started just jamming between reels being changed, 414 00:25:36,436 --> 00:25:38,676 Speaker 1: which was a moment I will never forget, you know. 415 00:25:39,196 --> 00:25:41,556 Speaker 1: And then he kept on putting up songs I hadn't 416 00:25:41,556 --> 00:25:43,956 Speaker 1: played on, and he just quickly showed me the chords, 417 00:25:44,516 --> 00:25:47,556 Speaker 1: and I think I played on about three four five more, 418 00:25:48,316 --> 00:25:50,796 Speaker 1: but it's so long ago now I can't remember which 419 00:25:50,796 --> 00:25:54,636 Speaker 1: ones I could have been on My Sweet Lord, it's 420 00:25:54,996 --> 00:25:57,716 Speaker 1: it's most likely, I am, but because there's so many 421 00:25:57,756 --> 00:26:00,996 Speaker 1: acoustics on that, each new song they put up that 422 00:26:01,036 --> 00:26:03,396 Speaker 1: I didn't know, George would quickly show me the chords 423 00:26:03,396 --> 00:26:07,156 Speaker 1: and off we went, you know. And that was that 424 00:26:07,236 --> 00:26:10,556 Speaker 1: was my experience on that on that on What made 425 00:26:10,596 --> 00:26:13,276 Speaker 1: you want to revisit it for this record, Well, it's 426 00:26:13,276 --> 00:26:17,036 Speaker 1: always been one of my favorite songs of George's ever 427 00:26:17,116 --> 00:26:20,236 Speaker 1: since I walked in that morning and listened to it 428 00:26:20,556 --> 00:26:23,356 Speaker 1: what they've done the day before. I don't believe there 429 00:26:23,396 --> 00:26:26,556 Speaker 1: were either any vocals on it. It was just you know, 430 00:26:26,596 --> 00:26:30,716 Speaker 1: the trap, and it was so haunting the chords and 431 00:26:30,756 --> 00:26:33,836 Speaker 1: you could almost feel what the melody would be, you know. 432 00:26:34,676 --> 00:26:37,836 Speaker 1: So I thought, rather than do one that I played 433 00:26:37,876 --> 00:26:41,956 Speaker 1: on let's try one that I didn't, and each one 434 00:26:41,996 --> 00:26:46,716 Speaker 1: of these wonderful tracks, legendary tracks that I picked, I 435 00:26:46,796 --> 00:26:50,556 Speaker 1: had to be very careful because I wanted it to 436 00:26:50,596 --> 00:26:54,516 Speaker 1: be a tribute and do the very best with George's tune, obviously, 437 00:26:54,556 --> 00:26:59,036 Speaker 1: it was incredibly important that it be a good version, 438 00:26:59,596 --> 00:27:01,196 Speaker 1: Like with all of them, you know, I would get 439 00:27:01,196 --> 00:27:04,276 Speaker 1: nervous before all of them, but I think that's what 440 00:27:04,476 --> 00:27:07,356 Speaker 1: drove me to make them as good as they came out, 441 00:27:07,436 --> 00:27:10,396 Speaker 1: and I really am proud of Isn't It a Pity? 442 00:27:10,476 --> 00:27:13,756 Speaker 1: I think that's it's turned out really good, kept the 443 00:27:13,756 --> 00:27:19,036 Speaker 1: original vibe even maybe even a little bit more relaxed, 444 00:27:19,236 --> 00:27:23,516 Speaker 1: you know. Yeah, with George and Bowie, considering that you 445 00:27:23,556 --> 00:27:25,916 Speaker 1: were friends with them, that must have been just an 446 00:27:25,916 --> 00:27:29,716 Speaker 1: extra added bit of you know, I hope I do 447 00:27:29,796 --> 00:27:32,076 Speaker 1: this good, you know, first of all with is It 448 00:27:32,156 --> 00:27:34,676 Speaker 1: a Pity? Yes, But then when it came to Loving 449 00:27:34,716 --> 00:27:39,036 Speaker 1: the Alien David's song, that is the song that I 450 00:27:39,156 --> 00:27:43,276 Speaker 1: was given the stage to do my elongated solo at 451 00:27:43,276 --> 00:27:46,076 Speaker 1: the end of that number on the Glass Spider tour 452 00:27:46,476 --> 00:27:50,196 Speaker 1: with David in eighty seven. So it was obvious that 453 00:27:50,276 --> 00:27:53,156 Speaker 1: was the one I wanted to do because he gave 454 00:27:53,196 --> 00:27:55,756 Speaker 1: me the spotlight right there for and it was an 455 00:27:55,796 --> 00:28:00,276 Speaker 1: extended solo for sure. So David had given me a 456 00:28:00,556 --> 00:28:05,076 Speaker 1: huge gift by having me as one of his guitar 457 00:28:05,116 --> 00:28:08,316 Speaker 1: players on featured guitar players on the Glass Spider tour 458 00:28:08,356 --> 00:28:11,076 Speaker 1: as well as Never Let Me Down record, because David 459 00:28:11,276 --> 00:28:13,836 Speaker 1: and I went to school together and he always knew 460 00:28:13,836 --> 00:28:17,356 Speaker 1: me as the musician, the guy behind the singer, you know, 461 00:28:17,436 --> 00:28:21,316 Speaker 1: the guitar player, the lead player, and he saw what 462 00:28:21,396 --> 00:28:25,516 Speaker 1: had happened with the comes of live stuff came out. 463 00:28:26,196 --> 00:28:29,036 Speaker 1: The music is great on that, the playing is great, 464 00:28:29,516 --> 00:28:31,716 Speaker 1: you know. But all of a sudden, my face gets 465 00:28:31,756 --> 00:28:34,796 Speaker 1: being put on the front cover of every magazine known 466 00:28:34,796 --> 00:28:39,156 Speaker 1: to man and woman, and I got turned back into 467 00:28:39,236 --> 00:28:41,876 Speaker 1: It happened once before with the Herd in England Europe. 468 00:28:42,396 --> 00:28:46,956 Speaker 1: The cuteness takes over unfortunately, thank god, I don't look 469 00:28:46,956 --> 00:28:52,036 Speaker 1: cute now, and became this teeny bopper kind of adulation, 470 00:28:52,436 --> 00:28:55,436 Speaker 1: which was very confusing for me and for the guys 471 00:28:55,476 --> 00:28:58,756 Speaker 1: I think in the audience. So what David did was 472 00:28:58,836 --> 00:29:02,076 Speaker 1: he could have picked anybody, obviously, but he called me 473 00:29:02,156 --> 00:29:05,076 Speaker 1: up and asked me to do it, and I had 474 00:29:05,116 --> 00:29:08,356 Speaker 1: no idea what he actually had in mind, and it 475 00:29:08,436 --> 00:29:11,676 Speaker 1: was a gift. He was reintroducing me around the world 476 00:29:11,756 --> 00:29:15,396 Speaker 1: in stadiums and then arenas as the guitar player, and 477 00:29:16,036 --> 00:29:18,316 Speaker 1: I thank him every day. Really, you think of it 478 00:29:18,436 --> 00:29:20,996 Speaker 1: more as a gift than that you were like a 479 00:29:21,036 --> 00:29:24,196 Speaker 1: really amazing guitar player that he happened to grow up with. Well, 480 00:29:24,236 --> 00:29:27,916 Speaker 1: I mean twofold. I mean I'm glad that he thought 481 00:29:28,036 --> 00:29:30,836 Speaker 1: of me in that vein of being Obviously I knew 482 00:29:30,876 --> 00:29:34,476 Speaker 1: he liked my guitar playing, yes, but I think more 483 00:29:34,916 --> 00:29:39,796 Speaker 1: there was an underlying reason. It was twofold. Yes, Pete's 484 00:29:39,796 --> 00:29:43,836 Speaker 1: always been a great player, but he's in trouble. Let's 485 00:29:43,876 --> 00:29:46,676 Speaker 1: help him out here, And that's what he did. It's 486 00:29:46,716 --> 00:29:48,956 Speaker 1: funny you kind of shot away from the attention you 487 00:29:49,036 --> 00:29:53,876 Speaker 1: got from Frampton Comes Alive rather than leaning into it. Well, 488 00:29:53,916 --> 00:29:58,156 Speaker 1: I think that initially the majority of people that were 489 00:29:58,196 --> 00:30:01,676 Speaker 1: buying the album didn't know what I looked like until 490 00:30:01,756 --> 00:30:04,996 Speaker 1: they hadn't seen me until they bought the album and 491 00:30:05,036 --> 00:30:07,436 Speaker 1: they saw the cover, which is a great live shot. 492 00:30:07,636 --> 00:30:11,076 Speaker 1: You know. Yeah, but I that the girls at that 493 00:30:11,196 --> 00:30:15,356 Speaker 1: point I look pretty good, and all of a sudden, 494 00:30:15,916 --> 00:30:18,996 Speaker 1: my poster is up on every girl's ceiling or wall 495 00:30:19,116 --> 00:30:23,076 Speaker 1: or whatever, and the credibility that I had with my music. 496 00:30:23,316 --> 00:30:27,396 Speaker 1: Musical audience don't like that. They don't like the girls 497 00:30:27,476 --> 00:30:31,316 Speaker 1: screaming or whatever. And the guys get jealous because their 498 00:30:31,356 --> 00:30:33,516 Speaker 1: girlfriend has got a poster of me on their wall, 499 00:30:33,956 --> 00:30:37,756 Speaker 1: you know. So and then the guys go, well, I 500 00:30:37,756 --> 00:30:41,036 Speaker 1: don't like him anymore. And that's that's exactly what happened, 501 00:30:41,516 --> 00:30:44,076 Speaker 1: you know, And I don't blame them, you know, I 502 00:30:44,116 --> 00:30:46,636 Speaker 1: could have got rid of the satin pants a little earlier. 503 00:30:48,196 --> 00:30:50,956 Speaker 1: I don't know. That is a classic shot man that 504 00:30:51,076 --> 00:30:53,996 Speaker 1: is an all time classic. The cover of that is 505 00:30:54,036 --> 00:30:57,236 Speaker 1: as about as iconic as he gets. Oh thanks, Oh 506 00:30:57,276 --> 00:31:00,516 Speaker 1: that's funny. So I guess you. Essentially, you didn't want 507 00:31:00,516 --> 00:31:04,716 Speaker 1: to be turned into Bige's, right. The unfortunate thing was that, 508 00:31:05,076 --> 00:31:08,596 Speaker 1: let's say, well, let's look at David Bowie. He he 509 00:31:08,636 --> 00:31:13,356 Speaker 1: would reinvent himself for every album, and Madonna copied David, 510 00:31:13,556 --> 00:31:17,836 Speaker 1: you know, by reinventing herself the same way. And it 511 00:31:17,916 --> 00:31:22,396 Speaker 1: was more of the entire picture. Because David's an actor, 512 00:31:22,676 --> 00:31:25,876 Speaker 1: was an actor, very very good actor, and so he 513 00:31:25,876 --> 00:31:30,076 Speaker 1: would invent a character for every album basically, and he'd 514 00:31:30,076 --> 00:31:32,236 Speaker 1: stay in that character for as long as he was 515 00:31:32,236 --> 00:31:36,236 Speaker 1: promoting it, whereas me, I was kind of a jeans 516 00:31:36,236 --> 00:31:39,236 Speaker 1: and T shirt kind of guy, maybe with the you know, 517 00:31:39,316 --> 00:31:43,396 Speaker 1: the jean jacket or the jean shirt whatever, and then 518 00:31:43,876 --> 00:31:48,836 Speaker 1: just started to everyone was wearing satin pants and sort 519 00:31:48,876 --> 00:31:52,756 Speaker 1: of kimonos and stuff like that, and I guess I 520 00:31:52,836 --> 00:31:56,556 Speaker 1: just slipped into it. But instead of, you know, getting 521 00:31:56,556 --> 00:32:01,796 Speaker 1: out of that, I kind of furthered that by doing 522 00:32:01,836 --> 00:32:05,836 Speaker 1: the cover of the follow up to There's so much 523 00:32:05,876 --> 00:32:08,356 Speaker 1: I hate about the I'm In EU record. I don't 524 00:32:08,396 --> 00:32:10,916 Speaker 1: know where to start. But it wasn't so much the 525 00:32:10,956 --> 00:32:14,916 Speaker 1: albums as the period mentally where I was at at 526 00:32:14,916 --> 00:32:19,836 Speaker 1: that point. I have this incredible photographer was taking the 527 00:32:19,876 --> 00:32:24,356 Speaker 1: I'm In New cover and I arrived and put on 528 00:32:24,436 --> 00:32:27,836 Speaker 1: satin pants and my little Lord fauntroy little sort of 529 00:32:27,996 --> 00:32:32,116 Speaker 1: blouse kind of thing. And I should have worn jeans 530 00:32:32,116 --> 00:32:34,316 Speaker 1: and a T shirt, which is what I wore during 531 00:32:34,356 --> 00:32:37,236 Speaker 1: the day. I wasn't. I wasn't that guy in the 532 00:32:37,276 --> 00:32:39,316 Speaker 1: satin pants. I was the guy in the T shirt. 533 00:32:39,876 --> 00:32:42,996 Speaker 1: And he came in, I'm sitting on the floor. He goes, 534 00:32:43,116 --> 00:32:46,236 Speaker 1: click click, thank you, that's it. And I could have 535 00:32:46,356 --> 00:32:50,676 Speaker 1: changed everything right there by doing something completely different image wise. 536 00:32:51,036 --> 00:32:55,036 Speaker 1: But I've never been involved. I've never really the image 537 00:32:55,156 --> 00:32:58,636 Speaker 1: that I create is kind of there, and it's never 538 00:32:58,676 --> 00:33:01,436 Speaker 1: been that important to me, you know. And that's where 539 00:33:01,476 --> 00:33:05,076 Speaker 1: I made my mistake. After Comes ALIVEE came out. But 540 00:33:05,356 --> 00:33:07,876 Speaker 1: you know, if you look at led Zeppelin at the time, 541 00:33:08,436 --> 00:33:10,836 Speaker 1: we're all where the same kind of stuff, you know, 542 00:33:11,356 --> 00:33:16,956 Speaker 1: And but they they changed I didn't, you know, for 543 00:33:17,236 --> 00:33:20,596 Speaker 1: too long and got it so so that that was 544 00:33:20,716 --> 00:33:22,956 Speaker 1: the situation. I thought, well, this is what I wear 545 00:33:23,036 --> 00:33:25,716 Speaker 1: on stage now, as if that's it for the rest 546 00:33:25,716 --> 00:33:28,356 Speaker 1: of my life, you know. But no, no, Pete, you 547 00:33:28,396 --> 00:33:31,956 Speaker 1: should change it up. You found your luck, you found 548 00:33:31,956 --> 00:33:35,996 Speaker 1: your n then yeah, that's it. Okay, good, great, let's 549 00:33:36,036 --> 00:33:39,476 Speaker 1: move on. I do want to ask you one one 550 00:33:39,556 --> 00:33:43,516 Speaker 1: last thing. Yes, one of my favorite sides just in general, 551 00:33:43,796 --> 00:33:45,596 Speaker 1: the first side of Town and Country, Humble past Town 552 00:33:45,596 --> 00:33:49,316 Speaker 1: of Country, Yeah, and kicking off with take Me Back, 553 00:33:49,356 --> 00:33:51,076 Speaker 1: which is one of my that's just I love that 554 00:33:51,156 --> 00:33:55,356 Speaker 1: song today. Oh thank you. That's an open tuning, right, No, 555 00:33:55,556 --> 00:34:01,356 Speaker 1: it's not, it's not. No, it's not, it's it's uh, 556 00:34:01,476 --> 00:34:05,356 Speaker 1: hold on, let me get a guitar. This is the 557 00:34:05,436 --> 00:34:08,836 Speaker 1: guitar that I wrote it on. This is my my epiphone. Yeah, 558 00:34:08,836 --> 00:34:32,156 Speaker 1: hold on where I come from. See, it's it's all it's. 559 00:34:32,596 --> 00:34:36,076 Speaker 1: If it weren't for Paul McCartney, I wouldn't have written 560 00:34:36,116 --> 00:34:39,156 Speaker 1: this or Baby I Love Your Way because it's I'm 561 00:34:39,236 --> 00:34:46,116 Speaker 1: doing a uh so. It's it's regular tuning, but I'm 562 00:34:46,156 --> 00:34:50,076 Speaker 1: doing on the fifth string right up the top there 563 00:34:51,396 --> 00:34:57,236 Speaker 1: on a G and then on the B string, I'm 564 00:34:57,316 --> 00:35:02,476 Speaker 1: doing a B so, but I mute some of the strings. 565 00:35:02,836 --> 00:35:05,836 Speaker 1: It doesn't sound like you're muting though, it's I'm only playing. 566 00:35:14,636 --> 00:35:17,436 Speaker 1: And it was just me on acoustic. Andy Jones was 567 00:35:17,476 --> 00:35:20,876 Speaker 1: the engineer, and they Humble Pie the rest of them 568 00:35:20,876 --> 00:35:25,636 Speaker 1: were all sitting around me playing tablas and percussion, sitting 569 00:35:25,636 --> 00:35:28,316 Speaker 1: on the floor all around me like hippies we were, 570 00:35:29,156 --> 00:35:33,396 Speaker 1: and they were playing that and I was so it 571 00:35:33,436 --> 00:35:35,516 Speaker 1: was all picking up on my acoustic mic as well. 572 00:35:35,636 --> 00:35:42,276 Speaker 1: So it's a great, great vibe, I agree, Yeah, amazing vibe. Amazing. Yeah, Well, 573 00:35:42,276 --> 00:35:49,156 Speaker 1: thank you, Thanks Peter. Thanks to Peter Frampton for taking 574 00:35:49,236 --> 00:35:52,276 Speaker 1: us through his new album, Frampton Forgets the Words. To 575 00:35:52,356 --> 00:35:55,036 Speaker 1: Hear It. Along with the playlist of our favorite Frampton songs, 576 00:35:55,316 --> 00:35:58,356 Speaker 1: head to broken Record podcast dot com. Be sure to 577 00:35:58,396 --> 00:36:01,276 Speaker 1: subscribe to our YouTube channel at YouTube dot com slash 578 00:36:01,356 --> 00:36:04,316 Speaker 1: broken Record Podcast, where we can find extended cuts of 579 00:36:04,436 --> 00:36:07,596 Speaker 1: new and old episodes. You can follow us on Twitter 580 00:36:07,636 --> 00:36:11,076 Speaker 1: at broken Record. Broken Records produced it Helpful Lea Rose, 581 00:36:11,396 --> 00:36:16,756 Speaker 1: Jason Gambrel, Martin Gonzalez, Eric Sandler, and Jennifer Sanchez with 582 00:36:16,916 --> 00:36:20,516 Speaker 1: engineering help from Nick Chafee. Our executive producer is Mia LaBelle. 583 00:36:20,996 --> 00:36:23,876 Speaker 1: Broken Record is a production of Pushkin Industries and if 584 00:36:23,916 --> 00:36:26,516 Speaker 1: you like the show, please remember to share, rate, and 585 00:36:26,636 --> 00:36:29,836 Speaker 1: review us on your podcast app. The theme musics by 586 00:36:29,916 --> 00:36:32,356 Speaker 1: Kenny Beats. I'm Justin Bischman. Peace