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.
I Don't Want Our Loving To Die
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
So try not to mislead her
You've done many foolish things
But deep inside you need her
Ooooh!
You've got to believe me, just open your mind
'Cause baby, though you know I'll never leave you
Never wanted to deceive you, although I do
But I don't want our lovin' to die
And I'm so tired of livin' a lie
Though I know I've been weak I can try
Yeah, I'll try
You've got to believe me, I mean what I say
I try not to wander when you go away
But, baby, though I never make advances
Seems there are no end of chances to go astray
But I don't want our lovin' to die
And I'm so tired of livin' a lie
Though I know I've been weak I can try
Yeah, I'll try
Only you can help yourself
So try not to mislead her
You've done many foolish things
But deep inside you need her
'Cause baby, don't you know I'll never leave you
Never wanted to deceive you, although I do
But I don't want our lovin' to die
And I'm so tired of livin' a lie
Though I know I've been weak I can try
Yeah, I'll try (I'll try)
No, I don't want our lovin' to die (Why, oh, why)
And I'm so tired of livin' a lie (No, no)
Though I know I've been weak I can try
Yeah, I'll try
Baa-um-ba-ba-ba-ba
Baa-um-ba-ba-ba-ba
Baa-um-ba-ba-ba-ba
Baa-um-ba-ba..........
The lyrics of Peter Frampton's "I Don't Want Our Loving To Die" express a sense of guilt and remorse, as the singer admits to having made mistakes and being weak, but also pleads with his lover to believe in him and give their relationship a chance. The repeated line "But I don't want our lovin' to die" drives home the singer's desire to salvage their love, even as he acknowledges the challenges and temptations that have made it difficult.
The verse "Only you can help yourself, so try not to mislead her" might suggest that the singer recognizes that his partner cannot solely be responsible for their relationship's success or failure, but that he must take responsibility for his actions and not lead her astray. The line "You've done many foolish things, but deep inside you need her" could be interpreted as an acknowledgment of his lover's own flaws and mistakes, yet recognizing the importance of their bond.
Overall, the song seems to express a sense of vulnerability and honesty, as the singer admits to his own weaknesses and faults yet still strives to keep their love alive. The repeated refrain of "I'll try" suggests a willingness to make amends and work on the relationship.
Line by Line Meaning
Only you can help yourself
You are responsible for your own actions
So try not to mislead her
Be honest with your partner
You've done many foolish things
You have made mistakes
But deep inside you need her
You have feelings for your partner
You've got to believe me, just open your mind
Trust what I am saying to you
My tangled emotions I need to unwind
I need to sort out my feelings
'Cause baby, though you know I'll never leave you
I will always be with you, but...
Never wanted to deceive you, although I do
Even though I don't want to, I have lied to you
But I don't want our lovin' to die
I still care about our relationship
And I'm so tired of livin' a lie
I am exhausted from keeping secrets
Though I know I've been weak I can try
I can make an effort to do better
You've got to believe me, I mean what I say
I am being sincere
I try not to wander when you go away
I am trying to be faithful
Seems there are no end of chances to go astray
There are many temptations
No, I don't want our lovin' to die (Why, oh, why)
I am pleading with you to stay with me
Baa-um-ba-ba-ba-ba
Instrumental
Baa-um-ba-ba-ba-ba
Instrumental
Baa-um-ba-ba-ba-ba
Instrumental
Baa-um-ba-ba..........
Instrumental
Lyrics © O/B/O APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
Michael McCrory
What a band, genuine, brilliant talent, so thankful for the 1960's music and of course YouTube and the Beat Club for sharing.
JeffGR4
I love British "Mods & Rockers" culture of the 1960s — The Herd produced the archetype music of that era. Regarding his subsequent band Humble Pie , Frampton's music evolved from British pop to bluesy hard-rock.
Christine Minikin
Peter Frampton.....icon....what a voice.
That was the time when music was real....and not backed up with tapes etc....
High Path
this performance is actually to the recorded disc track, alas, and not 'live' Some Beat club is live but basically live music for telly was a hassle, as you need the performance right and intime ready to finish for the next group or programme up.
Suzanne Gaskell
Gary Taylor has an amazing voice to x
William Mahoney
He had a great Scott Walker/Bill Medley key voice. Is brilliant singing the beautiful song "Sad" on their first album which I bought new & still have, 53 years later!
Raymond Bonington
He was the voice that says zabadak on Dave Dee dozy mick and Tich s hit in 1968 as well ,
Javier Bermúdez Méndez
Excellent song from this fantastic and underrated band.
Alan Caunce
An Absolutely Cracking Classic From These Great Artists.
Remember Like It Was Only Yesterday.
Thank You For This Amazing Memory.
Steven Burns
It's just a great tune, played with style and gusto.