WEBVTT - Peter Frampton Forgets the Words 0:00:15.436 --> 0:00:25.396 Pushkin. Peter Frampton is a classic rock guitar god who 0:00:25.476 --> 0:00:28.236 rose to international fame in the late seventies with his 0:00:28.356 --> 0:00:38.916 chart topping double album Frampton Comes Alive. Frampton, who had 0:00:38.916 --> 0:00:42.116 previously played in English rock bands The Herd and Humble Pie, 0:00:42.916 --> 0:00:46.276 is known for making his guitar sing through his trademark 0:00:46.476 --> 0:00:50.716 talk box. This month, Frampton is releasing an album of 0:00:50.756 --> 0:00:54.996 instrumental covers that features some of his favorite songs, like 0:00:55.076 --> 0:00:59.476 this version of Radioheads Reckoner. I caught up with Frampton 0:00:59.516 --> 0:01:02.436 recently to talk about his new album, Frampton Forgets the 0:01:02.476 --> 0:01:05.876 Words and how the songs he chose provide insight into 0:01:05.916 --> 0:01:10.316 his expansive fifty year career. So it's like loving the Alien. 0:01:10.716 --> 0:01:13.396 David Bowie song that Frampton says is a tribute to 0:01:13.436 --> 0:01:17.716 his childhood friend who helped revitalize his career, and George 0:01:17.716 --> 0:01:21.196 Harrison's Isn't It a Pity, which reminds Frampton the time 0:01:21.236 --> 0:01:24.156 he jammed with George and Abbey Roads Studios while Phil 0:01:24.196 --> 0:01:27.316 Spector looked on from the control room. And he also 0:01:27.356 --> 0:01:29.636 talks about how becoming a pin up sex symbol in 0:01:29.676 --> 0:01:33.956 the late seventies almost sidelined his career. Plus we chat 0:01:33.996 --> 0:01:37.476 about how managing and an inflammatory muscle disease has impacted 0:01:37.516 --> 0:01:44.396 his writing and playing. This is broken record liner notes 0:01:44.436 --> 0:01:52.916 for the digital age. I'm justin Richmonton. Here's my conversation 0:01:52.956 --> 0:01:56.556 with a great Peter Frampton. Congrats with a new record. 0:01:56.596 --> 0:01:59.396 By the way, well, thank you. I appreciate that. I 0:01:59.436 --> 0:02:03.476 was really surprised just by the decision to do an 0:02:03.516 --> 0:02:06.356 instrumental so long after the first one which was really 0:02:06.396 --> 0:02:09.876 well received, Fingerprints, and then to make it covers this. Yes, 0:02:10.076 --> 0:02:13.076 what drew you to this idea? Well, first of all, 0:02:13.396 --> 0:02:16.716 I grew up. My first guitar hero was Hank Marvin 0:02:16.756 --> 0:02:19.316 of the Shadows and they were all instrumentals. They were 0:02:19.396 --> 0:02:22.436 the backup band for Cliff Richard Our English Elvis. So 0:02:22.516 --> 0:02:25.916 I started there and I've been through all my different 0:02:26.476 --> 0:02:30.676 different guitar players. I've listened to and everything. But I 0:02:30.756 --> 0:02:33.836 got to the point where I knew I wanted to 0:02:33.916 --> 0:02:38.076 do the Blues album, which was the album before. But 0:02:38.196 --> 0:02:43.156 I had been diagnosed with my IBM my muscle inclusion 0:02:43.196 --> 0:02:47.276 by body my sitters, and there's a time limit on 0:02:47.676 --> 0:02:50.836 how long the fingers work unfortunately with that disease, so 0:02:51.476 --> 0:02:55.596 I got off the tour with we the band. So 0:02:55.796 --> 0:02:57.516 we were on the bus on the way home, I 0:02:57.556 --> 0:03:00.716 think to Nashville, and I said, we need to go 0:03:00.796 --> 0:03:03.876 in and do a blues album because I'd been playing 0:03:03.876 --> 0:03:07.276 all this blues with Steve in his show Steve Steve Miller. 0:03:07.716 --> 0:03:09.916 So I said, yeah. I said, it's to be covers 0:03:10.356 --> 0:03:13.356 because I want to get as much recorded as I 0:03:13.356 --> 0:03:16.876 can in the shortest space of time. So once we'd 0:03:16.876 --> 0:03:19.956 finished the blues album, I said to the guys, let's 0:03:19.996 --> 0:03:23.716 do an instrumental record of again covers so I didn't 0:03:23.756 --> 0:03:26.756 have to write, so that we could just launch right 0:03:26.836 --> 0:03:28.956 into it right, And I said, I don't care, because 0:03:28.996 --> 0:03:33.516 I love I've got so many favorite melodic and not 0:03:33.716 --> 0:03:36.956 so melodic songs that I love that I would like to, 0:03:37.676 --> 0:03:40.676 you know, play them anyway. And coming from the Hank 0:03:40.676 --> 0:03:43.436 marv In school, I pretty much knew how to do that. Well. 0:03:43.436 --> 0:03:45.636 It's funny, you know, I hadn't considered that. Of course, 0:03:45.676 --> 0:03:48.596 I'd read a bit about your IBM and that limiting 0:03:48.596 --> 0:03:50.276 your guitar playing, but I didn't think about how that 0:03:50.356 --> 0:03:53.756 might affect your writing. Is it just that you can't 0:03:53.756 --> 0:03:56.476 exert the energy writing when you want to when you 0:03:56.476 --> 0:04:00.596 have to play. Yeah, it's it's you know, it's one 0:04:00.596 --> 0:04:03.676 of those things where you can or you can't. You know, 0:04:03.756 --> 0:04:06.116 it's you can't do both at the same time. So 0:04:06.276 --> 0:04:08.636 it's But the thing was, while we were doing the 0:04:08.676 --> 0:04:11.796 instrument und record it was so and the Blues record, 0:04:12.076 --> 0:04:15.316 I was at home. Then on the time days off 0:04:15.396 --> 0:04:18.796 or whatever, I started writing. And I've been writing ever since. 0:04:18.836 --> 0:04:22.276 So you know, the next record that comes out after 0:04:22.316 --> 0:04:25.956 this one will be a new solo record with all 0:04:26.036 --> 0:04:28.796 new material. Great, so you still you can still write, 0:04:28.836 --> 0:04:31.116 You still like to do it. And every day, you know, 0:04:31.196 --> 0:04:34.596 I mean, I I've got to this point now in 0:04:34.716 --> 0:04:38.836 this world. We live in the COVID world, and so 0:04:38.916 --> 0:04:43.556 it's just me and you know, when I actually speak 0:04:43.556 --> 0:04:49.836 out loud, it scares me, you know, and I'm looking 0:04:49.876 --> 0:04:51.996 at the TV and I say something like, who the 0:04:52.116 --> 0:04:55.236 hell was that? You know, and it's me, your boss. 0:04:55.636 --> 0:04:59.196 So anyway, Yeah, so I go down make my coffee 0:04:59.236 --> 0:05:02.316 before I walk out every day. And because of my 0:05:02.956 --> 0:05:06.796 muscle thing, so while I'm waiting to work out, I 0:05:06.876 --> 0:05:09.436 got my legal pad in on the kitchen count and 0:05:10.156 --> 0:05:13.636 I write my dreams or I write what I'm thinking. 0:05:13.836 --> 0:05:16.956 I just you know, free my mind, and just whatever 0:05:17.036 --> 0:05:19.836 comes out I write down, it looks like rubbish. But 0:05:20.076 --> 0:05:21.676 then when you go back and you read it, and 0:05:21.676 --> 0:05:23.996 you go, oh, I like that bit, you know, and 0:05:24.036 --> 0:05:27.156 it's I do that every day now, so and then 0:05:27.596 --> 0:05:30.436 you know I'm writing. I tend to write the music 0:05:31.276 --> 0:05:35.196 more at night, you know, when everybody stopped working. I 0:05:35.316 --> 0:05:38.276 start to enjoy myself. When it's dark. I like to 0:05:38.276 --> 0:05:40.876 play guitar, right that it always seems to be. That's 0:05:40.876 --> 0:05:45.116 when the muse comes. Yeah, is there a connection between 0:05:45.476 --> 0:05:48.516 the dreams you write down in the morning and then 0:05:48.556 --> 0:05:50.596 what comes at night? Is there is there a through 0:05:50.596 --> 0:05:53.596 line that you can find between the two? Not always, 0:05:53.756 --> 0:05:57.876 but sometimes Yeah, I'll pick a line from what I've 0:05:57.876 --> 0:06:01.876 written in the morning, and you know, start, well, maybe 0:06:01.916 --> 0:06:04.236 that's the first line of a verse, or maybe it's 0:06:04.836 --> 0:06:07.036 it's the second line, or maybe it's the chorus. I 0:06:07.076 --> 0:06:09.796 don't know. That's the beauty of it, that the enjoyable 0:06:09.876 --> 0:06:13.556 part is trying to fix it it well, and the 0:06:13.716 --> 0:06:17.036 laborious part sometimes it's trying to fix it all together, 0:06:17.196 --> 0:06:20.356 you know. So yeah, I'm learning. I'm still learning so 0:06:20.476 --> 0:06:25.156 much about writing and trying to write in a different way. 0:06:25.876 --> 0:06:28.796 When I sit down to and I pick up an 0:06:28.836 --> 0:06:33.836 acoustic say, and I've got a regular tuning or an 0:06:33.916 --> 0:06:37.876 open tuning, and I usually go to my standard kind 0:06:37.916 --> 0:06:40.436 of things that I do every day. Then I'll just go, 0:06:41.116 --> 0:06:43.756 let's tune this one different. Yeah, and I'll just tune 0:06:43.756 --> 0:06:46.436 that different there and tune this one different. I don't 0:06:46.436 --> 0:06:48.436 know what the tuning is, well, it sounds good, and 0:06:48.476 --> 0:06:50.956 then I have to find the chords, and all of 0:06:50.956 --> 0:06:54.236 a sudden there's notes in there that become so inspiring. 0:06:54.516 --> 0:06:58.916 It's like the Joni Mitchell one oh one of songwriting. 0:06:58.956 --> 0:07:01.796 I think I did read somewhere. I'm not sure if 0:07:01.796 --> 0:07:04.516 it's true, but oh, we love, we love Joni Mitchell, 0:07:04.636 --> 0:07:09.556 Oh my God, and that she said this and songs 0:07:09.596 --> 0:07:12.676 she can't play anymore because she can't remember the tunings, 0:07:13.156 --> 0:07:16.876 so I can believe it. So what I do is 0:07:16.916 --> 0:07:19.836 when I do change your tuning on my phone, You're 0:07:19.836 --> 0:07:22.116 like we all record on the phone. I just put 0:07:22.156 --> 0:07:24.876 the tuning down on that day, so I know when 0:07:24.916 --> 0:07:26.916 I go back, I look at the date of the 0:07:27.116 --> 0:07:29.436 bit and there's the tuning for it, you know, so 0:07:29.636 --> 0:07:31.396 you can you can match it. You're never you're never 0:07:31.436 --> 0:07:36.516 losing your way, No, no, I learned from Joni Mitchell's mistakes, 0:07:36.556 --> 0:07:39.516 not that she makes mistakes well you know, no, no, 0:07:39.556 --> 0:07:43.356 those are those are wonderful mistakes that she's So how 0:07:43.356 --> 0:07:45.916 did the song selection happen for the new record? Like 0:07:45.996 --> 0:07:49.036 the Blues album? I just said to the band, why 0:07:49.036 --> 0:07:52.556 don't we all make lists of, you know, favorite songs, 0:07:53.156 --> 0:07:55.876 you know, and so it was just basically we all 0:07:55.956 --> 0:07:59.876 chose it, you know, I mean favorites of mine. Stevie 0:07:59.876 --> 0:08:03.076 wonders I Don't Know Why, which is a very unknown track. 0:08:03.836 --> 0:08:09.596 I had loved that for multiple years because he's obviously 0:08:10.356 --> 0:08:13.276 majorly in love at that point, you know, I don't 0:08:13.316 --> 0:08:16.036 know why I love you. But he starts off very plaintive, 0:08:16.516 --> 0:08:19.556 and throughout the song is repetitive all the way through, 0:08:19.876 --> 0:08:24.036 and then he just lets his emotion come out and 0:08:24.076 --> 0:08:26.996 he's it's almost like Lennon doing Mother, you know, He's 0:08:27.076 --> 0:08:30.836 screaming at the end, you know, And I just thought, 0:08:31.396 --> 0:08:34.036 I want to do that with the guitar, so and 0:08:34.076 --> 0:08:38.556 see if I can pay tribute to the wonderful Stevie 0:08:38.796 --> 0:08:43.436 wonder There's also songs like on your Record record by Radiohead. Yes, 0:08:43.516 --> 0:08:45.516 I'm curious why you chose a song like that very 0:08:45.516 --> 0:08:49.236 interesting to hear Peter Frampton do Radiohead. And then how 0:08:49.236 --> 0:08:52.436 did you think to approach it melodically? I mean, it 0:08:52.956 --> 0:08:56.756 is very melodic, I mean, and the makeup of the 0:08:57.716 --> 0:09:01.916 the chords for that song are just it's a classic. 0:09:01.996 --> 0:09:04.876 It's it's just one of my all time favorite songs. 0:09:04.956 --> 0:09:10.516 So I wanted to be as close to Tom Yawk's 0:09:10.596 --> 0:09:15.476 vocal melodies as possible, at least at the very beginning. 0:09:15.676 --> 0:09:18.156 And then, as I said, one has to make it 0:09:18.196 --> 0:09:21.036 a little bit more interesting, not that you can understand 0:09:21.036 --> 0:09:25.556 what he's singing about anyway, but it just had to 0:09:25.596 --> 0:09:29.196 be get more interesting as it went on. And it 0:09:29.236 --> 0:09:33.196 was one of those tracks that we didn't to be honest, 0:09:33.276 --> 0:09:35.356 I didn't know whether we could do it, whether we 0:09:35.396 --> 0:09:37.796 could do it justice or not. And then it turned 0:09:37.796 --> 0:09:41.036 into my I think it's my favorite of the album, 0:09:41.196 --> 0:09:44.436 so and that's why it became the first track we 0:09:44.476 --> 0:09:48.876 released with a video and everything. So but Radiohead never 0:09:48.876 --> 0:09:52.876 stands still. They're always painting a different picture from a 0:09:52.916 --> 0:09:57.476 different angle. It's just I admired them so much. All 0:09:57.516 --> 0:10:01.556 of them wrote they all right, you know, So it's 0:10:01.636 --> 0:10:04.996 just one of those bands that you know, Wow, I'm 0:10:05.036 --> 0:10:09.196 glad those guys got together. Yeah, well, how communit you 0:10:09.236 --> 0:10:12.756 could do a justice at first? What was the hesitation? Well, 0:10:12.876 --> 0:10:15.436 it's like with all of them. It becomes a challenge 0:10:16.356 --> 0:10:22.196 because Radiohead fans are very protective of Radiohead, and I 0:10:22.676 --> 0:10:28.956 understand why, you know, because their version is the definitive version, obviously, 0:10:29.676 --> 0:10:34.196 And I've read a few reviews by fans that have said, 0:10:34.716 --> 0:10:37.116 I wasn't sure whether to listen to you know what 0:10:37.556 --> 0:10:39.956 I would think when I but he said, this is 0:10:39.956 --> 0:10:43.396 the best version of you know, a reckoner or a 0:10:43.516 --> 0:10:48.796 Radiohead song I've heard, so hopefully I think I got across. 0:10:49.276 --> 0:10:52.676 I took great care, Like usually I come to the 0:10:52.716 --> 0:10:55.636 studio with one of my babies, and I take care 0:10:55.676 --> 0:10:59.396 with my baby. Well, I would take care with everybody 0:10:59.396 --> 0:11:02.476 else's baby on this album and make sure that we 0:11:02.516 --> 0:11:05.796 treated it with respect and didn't take it to a 0:11:05.876 --> 0:11:10.036 place where it would be just abhorrent to anyone who 0:11:10.076 --> 0:11:14.156 knew the original that Well, yeah, I mean, you guys 0:11:14.196 --> 0:11:16.916 are not shy away from picking you know, just beloved 0:11:16.956 --> 0:11:21.756 beloved artists, you know, Jacob Historius, Marvin Gay sly in 0:11:21.796 --> 0:11:24.516 the family Stone, all of them are fantastic song not 0:11:24.516 --> 0:11:26.436 all of them are classics necessarily in the catalog, like 0:11:26.476 --> 0:11:28.836 it was not like Marvin Gay's Heartache is not like 0:11:28.876 --> 0:11:32.116 A it's a It's not an obvious choice. No, Marvin 0:11:32.156 --> 0:11:37.916 Gay's song was it was actually see Motown was almost bigger. 0:11:37.996 --> 0:11:42.396 I believe it was bigger in Europe and especially England 0:11:43.076 --> 0:11:47.276 before it was that big here in the US. And 0:11:47.356 --> 0:11:51.516 so they released a lot more singles, so that one 0:11:51.556 --> 0:11:54.636 by Marvin was released as a single and was a 0:11:54.756 --> 0:12:00.076 hit in England. That guitar riff has always stayed with me. 0:12:00.556 --> 0:12:02.556 I went a little bit crazy on that one. I 0:12:02.876 --> 0:12:06.516 did that one, most of that one at home, whereas 0:12:06.556 --> 0:12:08.636 all the other ones were done live with the band. 0:12:08.676 --> 0:12:11.356 We put everybody else on that one, and I wrote 0:12:11.396 --> 0:12:14.396 an extra little piece for it, so it doesn't really 0:12:14.436 --> 0:12:17.076 sound like the song at points. I was just very 0:12:17.116 --> 0:12:23.516 inspired by that track, especially, but the Motown songs that were, 0:12:23.556 --> 0:12:28.316 you know, all our favorites were so uniquely written and played, 0:12:28.956 --> 0:12:33.716 and it's the sounds and the arrangements that really get me. 0:12:34.116 --> 0:12:37.396 And the quality, obviously at the very beginning, was not 0:12:37.556 --> 0:12:41.636 It was very It was rough to start with, but 0:12:41.676 --> 0:12:44.676 they I loved that about it. It was so great 0:12:44.996 --> 0:12:47.596 even like some of the tom tom fills. If you 0:12:47.716 --> 0:12:51.476 listen closely, the tom tom actually distorts the mic. But 0:12:51.596 --> 0:12:54.716 that's part of the sound, you know, and they weren't 0:12:54.756 --> 0:12:58.636 going for that, but it ended up being that way. 0:12:58.796 --> 0:13:03.716 And there's something about harmonic distortion like that that when 0:13:03.756 --> 0:13:08.116 it's good distortion, it just it's it makes everything sound better. 0:13:09.316 --> 0:13:11.836 Part of the charm of those early as late as 0:13:11.996 --> 0:13:15.516 you like sixty seven, you're still hearing some just you know, 0:13:15.636 --> 0:13:18.036 some of those recordings sound a little bit rough in insight, 0:13:18.236 --> 0:13:22.196 but yeah, just beautiful songs. Levi Stubbs. I read that 0:13:22.236 --> 0:13:25.516 they would always write the song for him and put 0:13:25.556 --> 0:13:28.876 it up a tone then he could actually sing, so 0:13:28.956 --> 0:13:31.996 he would have to stretch out for those. But you 0:13:32.036 --> 0:13:36.836 can actually hear his voice distorting on certain tracks. But 0:13:37.556 --> 0:13:40.316 you know, what did we do later on in the 0:13:40.356 --> 0:13:45.556 two thousands, We started distorting vocals, you know, so it's 0:13:45.556 --> 0:13:47.916 all been done before, and there was a reason why 0:13:47.996 --> 0:13:51.196 that had charm. We didn't realize we were listening to 0:13:51.276 --> 0:13:55.156 a distorted vocal. We just knew that it sounded great. 0:13:55.796 --> 0:13:59.276 I'm fascinated that there were motown hits in England. Were 0:13:59.276 --> 0:14:01.516 there other motown songs? You remember being hits there that 0:14:01.596 --> 0:14:06.396 weren't quite as popular here. Yeah, like B sides. We'd 0:14:06.396 --> 0:14:10.716 have a lot of double sided engles, you know, where 0:14:10.916 --> 0:14:13.756 like the Beatles did and the Stones did, where both 0:14:13.796 --> 0:14:16.956 songs would be hits. And Motown had that too, you know. 0:14:17.076 --> 0:14:21.396 So Supremes, Levi and the Boys, the Four Tops and 0:14:21.796 --> 0:14:26.956 Smoky and oh so many great It's that's my music. Boy. 0:14:27.036 --> 0:14:29.596 Oh I love that stuff. We'll be right back with 0:14:29.636 --> 0:14:36.516 more from Peter Frampton. After a quick break, we're back 0:14:36.516 --> 0:14:39.996 with more of my conversation with Peter Frampton. What drew 0:14:39.996 --> 0:14:43.436 you to moving to Nashville. I was in Los Angeles 0:14:43.516 --> 0:14:46.396 with my family there up until ninety four, and then 0:14:46.996 --> 0:14:51.556 the huge earthquake happened, and so we moved to Phoenix 0:14:51.676 --> 0:14:54.676 because my two of my children were with their mother 0:14:54.796 --> 0:14:57.236 in Los Angeles. We didn't want to be too far away. 0:14:57.476 --> 0:15:01.836 So anyway, it's too hot there in the summer. Kids 0:15:01.876 --> 0:15:05.276 fall over and they get third degree burns. So it's beautiful. 0:15:05.436 --> 0:15:07.916 I love it, but it's nice to have a winter 0:15:07.996 --> 0:15:12.076 home there. So I got this call to buy from 0:15:12.076 --> 0:15:14.836 my publishers saying would you like to come and come 0:15:14.836 --> 0:15:17.636 to Nashville right with some of the great writers there 0:15:17.756 --> 0:15:20.596 do a week or ten days. I said, absolutely, I'd 0:15:20.596 --> 0:15:23.196 love to do that. So I did. And as I 0:15:23.236 --> 0:15:28.196 was leaving, my wife said, I hope you like it 0:15:28.356 --> 0:15:31.036 in Nashville. So I called her after a few days. 0:15:31.076 --> 0:15:34.276 I said, you know what, the community here for music 0:15:34.476 --> 0:15:39.356 is incredible. I said, I've met so many great musicians 0:15:39.436 --> 0:15:43.276 and writers. I think that this might be a good 0:15:43.276 --> 0:15:45.956 place for us to move. It's a pretty collaborative town, 0:15:46.076 --> 0:15:49.996 right Musically, yes, it is one of those towns where 0:15:50.036 --> 0:15:53.436 you meet and well it was before COVID, but where 0:15:53.476 --> 0:15:56.516 you actually meet up in a restaurant for lunch or somewhere. 0:15:56.636 --> 0:15:59.076 Oh look, there's so and so, and they said, you 0:15:59.076 --> 0:16:01.876 know what, I've got this idea. I would love you 0:16:01.916 --> 0:16:04.316 to play on it. And I say, okay, well, you 0:16:04.356 --> 0:16:07.676 know that would be great. Send me the MP three 0:16:07.716 --> 0:16:10.756 and I'll I'll put some guitar on it for you. 0:16:11.076 --> 0:16:15.036 Well that that doesn't always happen everywhere all the other 0:16:15.036 --> 0:16:18.196 places I've lived. It's sort of like, yeah, that's sort 0:16:18.236 --> 0:16:23.716 of like saying goodbye. Yeah. It is much more collaborative 0:16:23.956 --> 0:16:26.556 on many levels. There's all sorts of music here. It's 0:16:26.596 --> 0:16:29.156 not just country. Are you a fan of country music, 0:16:30.156 --> 0:16:34.716 so the old type. Yes, I'm a fan of the 0:16:34.796 --> 0:16:38.996 older country and you know, just good songs. Did you 0:16:39.036 --> 0:16:40.276 grow up did you grow up here in a lot 0:16:40.276 --> 0:16:42.836 of country? Well, the first song I ever learned was 0:16:42.916 --> 0:16:45.996 She'll be coming around the mountain when she comes, so 0:16:46.676 --> 0:16:49.716 my dad. And what was the other one? My dad 0:16:49.756 --> 0:16:53.516 taught me hang down your head. Tom Dooley Michael wrote 0:16:53.556 --> 0:16:55.556 the boat. So there you go. We've got We've got 0:16:55.556 --> 0:16:57.476 a little bit of folk, a little bit of country, 0:16:57.556 --> 0:17:00.956 and a trained song. So there you go. Yeah, that's 0:17:01.556 --> 0:17:05.236 that about covers it. You were born to be in Nashville, Yes, exactly. 0:17:06.316 --> 0:17:09.516 You've never pigeonholed yourself as a guitarist. You've played wide 0:17:09.596 --> 0:17:13.676 array styles. You've played on Ben Siduran records and Johnny 0:17:13.716 --> 0:17:17.636 Holiday records, a great French pop singer, all kinds of things. 0:17:17.916 --> 0:17:19.956 Did that come from the music you loved growing up? 0:17:19.956 --> 0:17:22.916 Were you listening to all sorts of different things? As 0:17:22.956 --> 0:17:26.676 I've said, you know, Shadows were first Hank Marvin with 0:17:26.836 --> 0:17:29.956 that lovely clean strat sound, and then but at the 0:17:29.996 --> 0:17:34.116 same time my parents we got the record player and 0:17:34.356 --> 0:17:37.076 it was in time to get the first Shadows album. 0:17:37.116 --> 0:17:40.556 I remember that so I would play that. Then i'd 0:17:40.596 --> 0:17:43.276 leave the room living room, and my dad would put 0:17:43.316 --> 0:17:47.636 on Hot Club de France Jango Reinharts defran Crapelli, and 0:17:48.116 --> 0:17:50.436 I couldn't get out of the room quick enough. It 0:17:50.476 --> 0:17:53.956 was just awful music. And you know, I'm like eight 0:17:54.036 --> 0:17:56.956 years old, nine years older, and as my kids call it, 0:17:57.076 --> 0:18:01.956 Dad's listening to that silent movie music again. So gradually 0:18:02.156 --> 0:18:05.956 I didn't leave the room because I was halfway up 0:18:05.956 --> 0:18:09.276 the stairs and I went, oh, wow, how does he 0:18:09.356 --> 0:18:12.916 played that? You know? It just the thing that turned 0:18:12.916 --> 0:18:16.236 me off. It was an acoustic and it wasn't an electric, 0:18:16.756 --> 0:18:20.516 and it just didn't have it wasn't a stratocaster through 0:18:20.556 --> 0:18:25.396 a vox, you know. But then in the end it 0:18:25.476 --> 0:18:29.036 was it was a two album day every weekend with 0:18:29.116 --> 0:18:31.596 my dad. He'd listened with me with the Shadows, and 0:18:31.676 --> 0:18:35.436 I'd listen with them for Django. So if you think 0:18:35.476 --> 0:18:38.676 about that, then the next thing is, you know, listening 0:18:38.716 --> 0:18:42.916 to every rock guitarist known to man, and the blues players, 0:18:42.956 --> 0:18:48.196 you know, Eric and Peter Green, Mick Taylor all spent 0:18:48.316 --> 0:18:53.076 time with John Males bluesbreakers who I went to see underage, 0:18:53.516 --> 0:18:56.796 snuck in and was always in the front row looking 0:18:56.836 --> 0:18:58.956 at all these trying to work out what all these 0:18:58.996 --> 0:19:01.836 guys did, how they were doing it. So then I 0:19:01.876 --> 0:19:04.236 got my fill of the blues. And then I was 0:19:04.276 --> 0:19:07.396 still at school and I joined a band called the Preachers. 0:19:07.396 --> 0:19:10.316 They were all working there were semipro they'd all been 0:19:10.356 --> 0:19:13.996 in big bands, and they asked me to join, and 0:19:14.276 --> 0:19:18.196 the druma gave me twelve or fifteen albums and it 0:19:18.836 --> 0:19:27.596 ranged from Otis Blue, Roland Kirk, Jesus Stones, Uh, you know, 0:19:27.676 --> 0:19:31.356 it just it just went through all these Watermelon Man 0:19:31.876 --> 0:19:35.396 or these jazz albums and everything. Mose Allison. Oh, it 0:19:35.436 --> 0:19:38.756 was the first time I'd heard Mose Allison. And the 0:19:38.916 --> 0:19:42.916 breadth of the styles that I had to learn by 0:19:42.996 --> 0:19:47.316 Tuesday was enormous. So I, you know, always up for 0:19:47.316 --> 0:19:50.996 a challenge, So I learned all these songs that were 0:19:51.036 --> 0:19:53.956 on the list, and so I think that's when I 0:19:54.116 --> 0:19:58.316 first got this this love of different types of music 0:19:58.356 --> 0:20:01.996 that you know, to be pigeonholed in one blues or 0:20:02.116 --> 0:20:05.116 rock or jazz. I didn't want that. I wanted to 0:20:05.196 --> 0:20:08.156 be have my own style. It was a mixture of everything, 0:20:08.756 --> 0:20:12.876 and it finally happened after listening to so many different 0:20:12.916 --> 0:20:16.676 styles of music. We were doing the Humble Pie record 0:20:16.756 --> 0:20:21.756 with Glenn John's, you know, the Engineer's engineer in Olympic, 0:20:22.356 --> 0:20:26.196 the famous Olympic studios in Barns in London, and i'd 0:20:26.236 --> 0:20:29.556 just done the solo on Stone Cold Fever, which was 0:20:29.556 --> 0:20:32.636 on the Rock On album, and I came in and 0:20:32.876 --> 0:20:36.916 we listened and I didn't say anything. I just said 0:20:36.956 --> 0:20:41.716 to myself, I think you've arrived. I think this is 0:20:41.796 --> 0:20:46.436 you because I had found in one solo that I 0:20:46.516 --> 0:20:50.116 had kind of put it all together rock, blues and 0:20:50.236 --> 0:20:55.196 jazz tinged, you know, jazz tinged, but just note choice, 0:20:55.236 --> 0:20:58.276 I think is what my style is all about. That 0:20:58.356 --> 0:21:00.716 came out of nowhere, and you know, we had been 0:21:00.756 --> 0:21:05.196 playing it in rehearsal and maybe live, but yeah, that 0:21:05.356 --> 0:21:08.436 was just one of those moments where I just thought, 0:21:08.476 --> 0:21:11.276 while I think I was very pleased with it, and 0:21:11.356 --> 0:21:16.556 that was something that voted well for the future playing. 0:21:17.036 --> 0:21:20.876 And I don't stay to the blues scale all the 0:21:20.916 --> 0:21:26.916 time or hardly ever. Yeah, yeah, especially and on this record, 0:21:26.996 --> 0:21:29.436 you you know, it's like you're all over the place. Yeah, 0:21:29.436 --> 0:21:32.996 it's incredible, thank you. Yeah, it's just going places that 0:21:33.076 --> 0:21:36.556 you've never been before you know. It's every day you 0:21:36.556 --> 0:21:40.276 you hope that find a lick, make it up, hear 0:21:40.316 --> 0:21:43.836 it and change it by somebody else, and all of 0:21:43.876 --> 0:21:48.076 a sudden it becomes another one of your library of licks. Right, 0:21:48.636 --> 0:21:51.716 So rock On is the last Humble Pie record aside 0:21:51.716 --> 0:21:54.436 from the live one that you played on correct, Yes, yes, 0:21:54.516 --> 0:21:56.676 And it wasn't until then that you felt you found 0:21:56.716 --> 0:22:01.156 your style. Yes, that was I was going backwards and forwards, 0:22:01.196 --> 0:22:03.876 playing blues and then a bit of jazz, and so 0:22:03.996 --> 0:22:07.116 it wasn't until that album that because it is a 0:22:07.236 --> 0:22:12.876 rock based band, the music was rock, blues, R and 0:22:12.916 --> 0:22:16.956 B based actually, so you know, it was just a 0:22:17.036 --> 0:22:20.316 case of putting together all the ideas that I had. 0:22:20.596 --> 0:22:25.276 And the whole thing about soloing for me is that 0:22:25.756 --> 0:22:28.916 live is the best place for a solo for me 0:22:29.076 --> 0:22:32.356 because there's no take too, So you've got to whatever 0:22:32.396 --> 0:22:34.716 it is, you've got to take it. That's it, buddy, 0:22:34.756 --> 0:22:36.916 you don't get to do it again. And in the 0:22:36.996 --> 0:22:40.236 studio I have, it's harder for me because I have 0:22:40.316 --> 0:22:43.996 to get to that place where I'm not thinking like 0:22:44.156 --> 0:22:47.876 you're not thinking on stage, I'm thinking about the audience. 0:22:47.916 --> 0:22:50.956 I'm thinking about my band, I'm thinking about what we're 0:22:50.956 --> 0:22:54.076 going to do next, and so I am in a 0:22:54.196 --> 0:22:59.636 very free form, uninhibited place. And that's what I always 0:22:59.676 --> 0:23:03.916 look for in the studio, and it usually happens with 0:23:03.956 --> 0:23:08.036 the first take of the solo, or after I've taken 0:23:08.076 --> 0:23:10.556 a break and I come back twenty minutes later and 0:23:10.596 --> 0:23:13.156 I've done like half a dozen solos, I don't like 0:23:13.276 --> 0:23:15.836 any of them, and I come back and all of 0:23:15.916 --> 0:23:18.836 a sudden, it'll be the first or the second take again. 0:23:19.556 --> 0:23:22.076 Otherwise you start thinking, I don't want to think when 0:23:22.116 --> 0:23:24.476 I play, you know, I just want it to happen. 0:23:25.156 --> 0:23:28.316 We'll hear more of my conversation with Peter Frampton after 0:23:28.356 --> 0:23:34.076 a quick break. We're back with the rest of my 0:23:34.116 --> 0:23:38.196 conversation with Peter Frampton. Another song on your new record, 0:23:38.316 --> 0:23:40.596 Isn't It a Pity? Did you play on the original? 0:23:41.156 --> 0:23:45.236 That's one that the first day I came into Abbey Road, 0:23:45.516 --> 0:23:47.356 when George had asked me to come down and do 0:23:47.436 --> 0:23:50.956 some acoustic We all went into the control room and 0:23:51.036 --> 0:23:54.076 they done it the day before and they played it. 0:23:54.316 --> 0:23:57.156 You know, Phil spect Us there and or you know, 0:23:57.276 --> 0:24:00.716 Klaus and Ringo and everybody was there, and I just 0:24:00.876 --> 0:24:03.276 my jaw dropped when I heard the sound, because it's 0:24:03.276 --> 0:24:05.916 not that many people on that track, but it sounds 0:24:05.956 --> 0:24:09.036 like there's a thousand people. And that's that wall of 0:24:09.276 --> 0:24:14.316 sound with Phil Spector. Obviously, when we started I did 0:24:14.316 --> 0:24:18.516 the more country ones with acoustic. It was me sitting 0:24:18.556 --> 0:24:22.076 next to George, and then three of the guys from 0:24:22.116 --> 0:24:25.036 Bad Finger were playing, so there was five of us 0:24:25.076 --> 0:24:28.596 playing acoustics. The Phil specter more is better, you know, 0:24:28.876 --> 0:24:31.356 and in this case it was, so I did. I 0:24:31.396 --> 0:24:36.796 think I did five or six of the tracks, tracking tracks, 0:24:37.036 --> 0:24:41.636