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Peter Frampton: Frampton Comes Alive!

 A l b u m   D e t a i l s


Label: A&M Records
Released: 1976
Time:
 51:12 / 43:50
Category: Pop/Rock
Producer(s): Peter Frampton
Rating: ******.... (6/10)
Media type: Double CD
Web address: www.frampton.com
Appears with:
Purchase date: 2008.07.19
Price in €: 13,99



 S o n g s ,   T r a c k s


Disc One:
[1] Introduction / Something's Happening (P.Frampton) - 5:56
[2] Doobie Wah (P.Frampton/J.Headley-Down/R.Wills) - 5:43
[3] Lines on My Face (P.Frampton) - 6:59
[4] Show Me the Way (P.Frampton) - 4:34
[5] It's a Plain Shame (P.Frampton) - 4:04
[6] Wind of Change (P.Frampton) - 2:57
[7] Just the Time of Year (P.Frampton) - 4:32 *
[8] Penny for Your Thoughts (P.Frampton) - 1:35
[9] All I Want to Be [Is by Your Side] (P.Frampton) - 3:08
[10] Baby, I Love Your Way (P.Frampton) - 4:41
[11] I Wanna Go to the Sun (P.Frampton) - 7:15

Disc Two:
[1] Nowhere's too Far for my Baby (P.Frampton) - 4:49 *
[2] [I'll Give You] Money (P.Frampton) - 5:47
[3] Do You Feel Like We Do (R.Wills/M.Gallangher/J.Siomons/P.Frampton) - 13:46
[4] Shine On (P.Frampton) - 3:30
[5] White Sugar (P.Frampton) - 4:44 *
[6] Jumpin' Jack Flash (M.Jagger/K.Richards) - 7:39
[7] Day's Drawning (P.Frampton) - 3:35 *

* - Previously unreleased.

 A r t i s t s ,   P e r s o n n e l


Peter Frampton - Bass, Guitar, Arranger, Keyboards, Vocals, Producer, Talk Box, Remixing

Bob Mayo - Organ, Synthesizer, Guitar, Piano, Keyboards, Vocals, Fender Rhodes
Stanley Sheldon - Bass, Bass Guitar, Vocals
John Siomos - Drums

Chris Kimsey - Engineer, Remixing
Eddie Kramer - Engineer
Ray Thompson - Engineer
Jay Messina - Assistant Engineer
Corky Stasiak - Assistant Engineer
Neal Teeman - Assistant Engineer
Dave Wittman - Assistant Engineer
Frankie d'Augusta - Assistant Engineer
Mike Reese - Mastering
Stan Evenson - Design
Roland Young - Artwork, Art Direction
Richard Aaron - Photography
Ian Dickson - Photography
David Redfern - Photography
Mike Zagaris - Photography
Cameron Crowe - Liner Notes
John McDermott - Liner Notes
 

 C o m m e n t s ,   N o t e s

1975 LP A&M 3703
1975 CS A&M 75021-6505-4
1990 LP A&M 6505
1993 CD A&M 164
1996 LP Mobile Fidelity 262
1996 CD Mobile Fidelity 678
1997 CD Universal 5407162
1998 CD A&M 75021-6505-2
1998 CS A&M 540930
2003 LP A&M 3965051
2008 LP A&M 216505

Decades after its 1976 release, FRAMPTON COMES ALIVE! seemslike an anomaly, with its unusual genesis almost impossibleto believe. Peter Frampton, guitarist for a modestly successful boogie band (Humble Pie), released several solo recordsthat were almost entirely ignored. However, he spent years crisscrossing the nation's sports arenas, opening for everyone under the sun, until so many people had seen him in America's hockey rinks that his double-LP live record became one of the most successful rock albums of all time. Listeningto the whole record - not just the three pop-rock gems that immediately became FM radio staples ("Show Me the Way", "Baby, I Love Your Way", and the talkbox-enhanced jam "Do You Feel Like We Do") - it's clear that its success is due to Frampton's road-tested mastery of the sweetly melodic material, which didn't rock this hard on the original studio recordings. Of course, FRAMPTON COMES ALIVE! also won over a legion of fans with its classic rock-god album cover. Any way you look at it, FRAMPTON COMES ALIVE! is a classic for a reason.

Recorded at Winterland, San Francisco, California; Marin Civic Center, San Rafael, California; Island Music Center, Commack, Long Island; State University Of New York, Plattsburgh, New York and The Record Plant Studios, Sausalito, California. Originally released on A&M.



If you were challenged to name five rock albums that epitomized the '70s, Frampton Comes Alive! should probably top the list. Former Humble Pie guitarist Peter Frampton recorded a few perfectly fine albums with his band Frampton's Camel, but it wasn't until some of those tracks were recorded at a live performance in San Francisco and released as Frampton Comes Alive! that he became a household name. Buoyant pop, sentimental ballads, arena rock - this album has it all. The double-LP package set sales records and contained three bona fide radio hits - "Baby, I Love Your Way," "Show Me the Way," and "Do You Feel Like We Do?" This 25th-anniversary remastered package features three previously unreleased tracks from the source shows, plus an additional selection recorded at the time as a radio promo.

Lorry Fleming - Amazon.com



Frampton Comes Alive! jettisoned Peter Frampton out of relative commercial obscurity into the bankrolls of success. The album sold millions on the strength of two melodic singles - the rocking "Show Me the Way," and the slower, romantic "Baby I Love Your Way." In traditional 1970s form, the double album also had the prerequisite concert signature song. In Frampton's case it was the lengthy "Do You Feel Like We Do." Introducing Frampton's "talking guitar" - which was nothing but a primitive version of a voice modulator - the song became his calling card, complete with his marathon guitar solo and big rock ending. There's also an iffy version of the Stones' "Jumping Jack Flash," that is basically disposable. In terms of "sides," the double album manages to turn in at least one and a half sides essential to Frampton's rock and roll legacy. The rest is mediocre at best.

Steve Gdula - Amazon.com



In jungen Jahren war Peter Frampton um 1967 bei der britischen Pop-Band The Herd ("From The Underworld") ein Teenie-Schwarm, zuletzt tauchte der feine Gitarrist 1998 in Ringo Starrs All Star Band auf deutschen Bühnen auf. Dazwischen liegen als Stationen die fetzigen Blues-Rock-Abräumer Humble Pie, seine eigene, mäßig erfolgreiche Band Frampton's Camel, 1976 dann der gigantische Soloerfolg Frampton Comes Alive und fast zwei Jahrzehnte später der Versuch, 1995 mit Comes Alive II den einstigen Superstar-Glanz neu aufzu-polieren. Doch Geschichte läßt sich nicht wiederholen. Damals tourte Frampton ständig; von der Reputation als mitreißender Live-Act profitierte Frampton Comes Alive einst ebenso wie von den Single-Zugnummern "Show Me The Way", "Baby, I Love Your Way" und "Do You Feel Like We Do". Frampton Comes Alive II hat an artverwandten Ohrwürmern beispielsweise "Day In The Sun" aufzuweisen oder aus den alten Tagen "I'm In You", auch für eine Coverversion von Tim Hardins "Hang On To A Dream" ist zwischen eigenem Repertoire Platz. Geschickt verknüpfen Frampton und sein fittes Quartett dabei ihre gut geölten, schnittigen Stadionrock-Stilismen und eingängige Refrains, fühlen sich vor Publikum spürbar wohl und angespornt, lassen den typischen singenden Saiten-Sound der Vox-Effektbox als Reminis-zenz auftauchen. Mögen die Funken weniger sprühen als auf dem Vorbild-Album, live war und ist Peter Frampton allemal überzeugender als im Studio.

Claus Böhm - Amazon.de



At the time of its release, Frampton Comes Alive! was an anomaly, a multi-million-selling (mid-priced) double LP by an artist who had previously never burned up the charts with his long-players in any spectacular way. The biggest-selling live album of all time, it made Peter Frampton a household word and generated a monster hit single in "Show Me the Way." And the reason why is easy to hear: the Herd/Humble Pie graduate packed one hell of a punch on-stage - where he was obviously the most comfortable - and, in fact, the live versions of "Show Me the Way," "Do You Feel Like I Do," "Something's Happening," "Shine On," and other album rock staples are much more inspired, confident, and hard-hitting than the studio versions. [The 1999 reissue in A&M's "Remastered Classics" (31454-0930-2) series is a considerable improvement over the original double CD or double LP in terms of sound - the highs are significantly more lustrous, the guitars crunch and soar, and the bottom end really thunders, and so you get a genuine sense of the power of Frampton's live set, at least the heavier parts of his set, rather than the compressed and flat sonic profile of the old double-disc version. Frampton and the band sound significantly closer as well, even on the softer songs such as "Wind of Change," and the disc is impressive listening even a quarter century later. Of course, one must take this all with a grain of salt as a concert document - as was later revealed, there was considerable studio doctoring of the raw live tapes, a phenomenon that set the stage for such unofficial hybrid works as Bruce Springsteen's Live/1975-85 and countless others.]

Bruce Eder - All Music Guide



It's b-a-a-a-ck! The album that sustained album rock radio for most of the 1970s - and sent Bic lighter stock through the roof - has been remade, remodeled, and retooled for release in the new millennium. If you think you've heard it all before, you've got another thing coming. Yes, this version contains all the standards - "Show Me the Way," "Do You Feel Like I Do," and so on - but to commemorate the 25th anniversary of his rise from cult figure to arena-filler, Peter Frampton chose to retrofit the multi-platinum set with a passel of tunes dropped from the original release due to time constraints. These previously unreleased tracks run Frampton's stylistic gamut, from a breezy run through the hook-laden "Nowhere's Too Far for My Baby" to the boogie-down guitar choogle of "White Sugar." Three of the four additions stem from the same series of shows that produced the original double album, while the newly unearthed disc closer, "Days Dawning," was recorded live at the famed Record Plant as part of a 1975 radio promotion. Tinkering with a classic is always dangerous - remember "New Coke"? - but sometimes the results outweigh the risks.

David Sprague - Barnes & Noble



Why would Peter Frampton, so close to stardom after a decade, release a live, double-record set when he hasn't really established a large audience? He says, "I just wanted to do an album that summed up the first four solo records in the most effective way possible." This album also gives him a dynamic, highly charged context for both his dramatically phrased vocals and a new, rougher guitar style. And the move may not be as ill-conceived as it seems—his manager, Dee Anthony, used live albums to put J. Geils and Humble Pie over the top.

This album is a primer for those who've overlooked him in the past. In addition to shattering guitar leads on tracks like "Lines on My Face," "Show Me the Way" and "Do You Feel like We Do," the vocals are forceful, the harmonies balanced and the ensemble playing well-rehearsed.

Although Frampton has been stereotyped a hard rocker, the introspective side two is largely acoustic. This album also reveals other facets of Frampton's musicianship that his studio efforts have obscured. Second guitarist Bob Mayo provides a rich, dense middle texture, and working with him, Frampton demonstrates his excellence as a rhythm guitarist, a rare thing among lead players. Echo has always been a key factor in his sound and Frampton here manages to combine Leslie speakers, a compressor and augmented echo onstage without losing any presence. But what really makes his lead playing distinctive is his intuitive melodic sense, the economy of his solos and his elegant, quasi-jazz phrasing.

Although Frampton has included most of his best material, numbers like "I Wanna Go to the Sun" and "(I'll Give You) Money" run dangerously close to heavy-metal redundancy. The adapted "Jumping Jack Flash," like several other previously recorded songs, hasn't really evolved beyond the original Frampton version, and "Do You Feel like We Do," which invariably gets the live crowd crazy, runs on far too long here. Overall, however, this album is Frampton's most coherent, exciting and accessible. Frampton Comes Alive is more than a summation of his solo career; it's also a synthesis of the best third-generation British rock styles. As the genre's brightest light, it will be interesting to see where he takes it from here.

JEAN-CHARLES COSTA - Mar 11, 1976
Rolling stone
 

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