After touring the US and Europe for two years, he left Humble Pie as the group was gaining popularity because of disdain for Marriott's hard living lifestyle and screaming boogie rock direction. Aside from his work with Humble Pie, other recordings of this era that feature Frampton include albums by Harry Nilsson, Jerry Lee Lewis, and George Harrison. His solo debut was 1972's Wind of Change, which did not fare well on the charts though receiving critical praise. It also featured appearances by musicians such as Ringo Starr and Mick Jones.
Two more efforts by Frampton also struggled commercially, one released under the moniker Frampton's Camel. Constant touring began to create awareness of his talents, however, and 1974's Frampton LP went gold. It also peaked #32 on the Billboard 200 chart in the U.S., showing his growing international appeal.
He finally gained lasting international fame by 1976 when his much-loved live album, Frampton Comes Alive! was released. Having built up his reputation on the road, the LP debuted at No. 1 on the charts in January 1976. It was long considered the best-selling live album of all time, moving over 16 million copies worldwide.
In 1978, Peter suffered a near fatal car crash in the Bahamas, which left him with a concussion, muscle damage and broken bones. But in 1979, he released the album 'Where I Should Be', which went gold and produced the hit 'I Can't Stand It No More'.
His extensive use of the Talk Box effect was and still is an integral part of the Peter Frampton experience.
His albums never regained the high chart placements of the 70's era but he has continued his musical career none the less. Among the gimmicks he's employed to maintain interest have been releasing Frampton Comes Alive II, as well as joining Ringo Starr's touring revue, recording two CDs with ex-Stone Bill Wyman and unsucessfully attempting to reunite with Steve Marriott before his death in 1991. Other notable occasions include starring with the Bee Gees in a film version of The Beatles Sgt Pepper's Lonely Hearts Club Band album and playing with David Bowie on his Never Let Me Down album and tour.
In 2006, Frampton released Fingerprints, a completely instrumental guitar showcase album.
In 2013, two of the ballet’s spring production segments were choreographed to Frampton and his band. A third section featured these new compositions. As Frampton says about the experience: “Writing for dance was a wonderfully freeing experience, There were no boundaries…Songwriters and musicians create music to move people. This was beautiful, graceful, and instantly gratifying!”
“The Promenade’s Retreat” features Frampton laying down some light picking. The verses are few, so we don’t get all that much singing, though Frampton’s voice is very distinctive. There is an easy backbeat provided by drummer Chad Cromwell and Frampton manages his trills, pulls-offs and clean intricate leading.
The title track is a poppy acoustic guitar number. Frampton sings at the high end of his range, we get very Beatlesque sing-able choruses, a tickle of Dobro guitar slide in the bridge, and harmony vocals from Gordon Kennedy. Erik Darken’s congas keep everything slipping along as Frampton leads on top of the concoction, showing his mastery on acoustic as much as he ever has on electric.
“The One in 901” is the first real rock mover and probably the heaviest. There is a chunky Chad Cromwell drumming and Frampton double octave riffing. Over the top, he delivers slightly distorted simple yet effective leads. We even hear some softly sung “ooh’s” before the break out at the end.
“Heart To My Chest” is a delicate tune. Frampton offers up his acoustic yet again for the main voicing and some poignant lyric, his voice breaking even slightly on top of it all. When Blair Master’s piano, Gordon Kennedy’s bass and Cromwell’s drums come in for the choruses, we are in latter-day John Lennon-sounding territory. This tune features guitar and piano descending lines at its end with Frampton offering up clean leads over it. This is the best tune here.
A shuffling mid-tempo beat pushes “Norman Wisdom.” Frampton leads all over the tune on acoustic, offering a fun lyric and Steely Dan-like backing vocals from Kennedy and Frampton. Hummingbird In A Box: Songs For A Ballet is clean, simple, not overly stylized playing from Peter Frampton. The songs are strong enough to stand on their own, ballet or not. We get another example of what Peter Frampton is capable of after five decades.
Peter now resides in Cincinnati, Ohio and can still be found playing concerts around the world.
Going To L.A
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I was in for one big surprise
Now I lay awake and count endless hours
Tears are dropping from my eyes
Here's a message for everyone
You must never let her go to far
Yesterday you called my name
Seems I've made the same mistake again
It's true, I was livin' on a razor's edge
You were leavin' for L.A.
Now you know me, I'll go to sleep out there
It's quite alright but I'm going to L.A.
Yesterday you called my name
Now you're gone and I'm insane
Seems I've made the same mistake again
Keep it alive, keep it alive
Keep it alive, keep it alive
When I told you it was fine to come
I was in for one surprise
Now I lay awake and count these endless hours
Tears are dropping from my eyes
Here's a message I made for everyone
You must never let her go to far
Cause yesterday you called my name
Now you're gone and I'm insane
I think I made the same mistake again
Keep it alive, keep it alive
Keep it alive, keep it alive
Keep it alive, keep it alive
We gotta keep, keep it alive
Yeah keep it alive, keep it alive
Keep it alive, keep it alive, keep it alive
The lyrics of Peter Frampton's song "Going to L.A." tell the story of a man who has made a mistake in letting a woman go too far away from him. At first, he thought it was fine for her to go to L.A., but he soon realizes the toll it takes on him as he lays awake counting endless hours and shedding tears. He warns others not to let their loved ones go too far away. Despite the pain, he ultimately decides to follow her to L.A. because he cannot bear to be without her.
The repeated refrain of "keep it alive" adds to the sense of urgency and desperation in the song. The singer knows that he must fight to keep his relationship alive, but he also acknowledges that he has failed in the past and may make the same mistake again. The razor's edge mentioned in the lyrics emphasizes the precariousness of the situation, as the singer's relationship could go either way if he does not act quickly.
Overall, "Going to L.A." is a poignant and relatable song about the difficulties of maintaining a long-distance relationship, and the lengths one will go to keep love alive.
Line by Line Meaning
When I told you it was fine to come
When I gave you permission to leave
I was in for one big surprise
I didn't expect the feelings of heartbreak and sadness
Now I lay awake and count endless hours
I can't sleep because I'm consumed with grief
Tears are dropping from my eyes
I'm crying because I'm so upset
Here's a message for everyone
My advice to anyone is
You must never let her go too far
Don't let your loved ones get too far from you
Yesterday you called my name
When you were with me, you cared about me
Now you're gone and I'm insane
Now that you're gone, I'm losing my mind
Seems I've made the same mistake again
I keep repeating the same bad decision
It's true, I was livin' on a razor's edge
I was taking a big risk in our relationship
You were leavin' for L.A.
You were leaving me to go to Los Angeles
Now you know me, I'll go to sleep out there
I'll follow you to LA even if it means sleeping on the street
It's quite alright but I'm going to L.A.
I'm okay with it, but I'm still going to LA
Keep it alive, keep it alive
Don't let our love die
When I told you it was fine to come
When I gave you permission to leave
I was in for one surprise
I didn't expect the pain of your absence
Now I lay awake and count these endless hours
I am tormented by my own thoughts and the hours seem to never end
Tears are dropping from my eyes
I can't stop crying
Here's a message I made for everyone
This is what I want to tell everyone
You must never let her go too far
You should never let your partner get too distant
Cause yesterday you called my name
I remember when we were happy together
Now you're gone and I'm insane
Now that you've left, I feel like I'm losing my mind
I think I made the same mistake again
I keep making the same wrong choices
Keep it alive, keep it alive
Don't give up on our love
Keep it alive, keep it alive
Keep our love alive
Keep it alive, keep it alive
Don't let it die
We gotta keep, keep it alive
It's up to us to keep our love strong
Yeah keep it alive, keep it alive
Yes, we need to keep our love alive
Keep it alive, keep it alive, keep it alive
Our love needs to survive
Lyrics © Universal Music Publishing Group
Written by: PETER KENNETH FRAMPTON
Lyrics Licensed & Provided by LyricFind
vanshipman
Yeah what a great song...actually one of my favorites. I have always wanted to hear Peter cover this one live. It seems like such a heartfelt personal song. Everytime I hear this one it really gets to me, brings back some really nice memories. Thanks Peter.
Luiz Carlos Telles
Maravilha! Um bálsamo!
tigershoot
Scandalous that such a perfect song has a pitiful 3500 views after ten years. This song is forty years old now. Always been one of my Frampton favourites
David de Barros
Uma das músicas mais bonitas feitas pelo guitarrista britânico Peter Frampton ( ex - The Herds e Humble Pie ) .
Captain Roastbeefheart
Grande!!! Conosco Frampton da "Comes Alive"...ha fatto cose buone ed altre meno ma questo brano è stupendo!!Uno dei miei preferiti dopo "Do you feel like we do"...Secondo me tutto "Breaking all the rules" è da rivalutare.
Golia Grigio
yeah......great song......i love this album.....
ceasar springwood
absolutely. Dig what i say, you kill me, this one.
charlie50201
such an uderrated album
ceasar springwood
I like the 80's peter better than the 70's
Ελλάδος πνεύμα
thumbs up if you are listening this on vinyl..