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 Got My Eyes On You
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
It's quiet insane
Knowin' that I came
In from the cold, one track mind
I can't leave behind I don't feel tired 'cause I'm really wild
I'm keeping my eyes on you you,baby
Sticking to me,like glue
While you do what you have to do
Sudden moon can't you play my tune
I walked right in to another room - they let me in
I believe I got you up my sleeve - nothing's wrong
You're just another weave
I'm keeping my eyes on you you,baby
Sticking to me,like glue
'Cause I got my eyes on you, yeaa
Do what you have to do
You must only understand the part of me you see
We can start again baby I can let you be
Don't want you leavin' before we have a chance
I don't wannna set you free, yea yeaaa
Well I'll catch a plane
Or better take a train
Don't give up when ya brake the cup
Let you be above the sea without a phone
Got to live I'm on my own
Keeping my eyes on you you,baby
Sticking to me, like glue yeaaa yeaa
I got my eyes on you, baby
While you do what you have to do
The lyrics of Peter Frampton's song "I Got My Eyes On You" detail the singer's desire to keep an eye on someone that they are interested in, both for the sake of keeping them from escaping and for their own personal enjoyment. There is a sense of urgency to the lyrics, highlighted by lines such as "Step this way, for a better day" and "Don't give up when ya brake the cup," indicating that the singer is actively pursuing this individual and wants to ensure they don't slip away.
The lyrics also suggest a certain level of possessiveness, as the singer refers to the object of their desire as "baby" and describes this person as being "sticking to me, like glue." There is a sense that the singer feels that they have some sort of claim to this person, and that they are unwilling to let them go.
Other interesting aspects of "I Got My Eyes On You" include the fact that it was included on Peter Frampton's 1980 album "Where I Should Be," which reached #19 on the US charts, and that it was co-written by Eddie Holland Jr., who was part of the songwriting and production team Holland-Dozier-Holland that created many of the biggest hits for Motown Records in the 1960s. Additionally, the song has been covered by several other artists over the years, including The Blues Project and The Shadows.
Chords (as played by Peter Frampton):
Intro: G (x4), D (x4), G (x4), D (x4)
Verse: G, D, G, D
Chorus: C, G, D, G (x2)
Line by Line Meaning
Step this way, for a better day
Come with me and things will improve
It's quiet insane
It's crazy, but that's okay
Knowin' that I came
I arrived, and I'm here now
In from the cold, one track mind
I'm focused, and I'm not distracted
I can't leave behind I don't feel tired 'cause I'm really wild
I'm energetic and I can't stop now
I'm keeping my eyes on you you,baby
I'm paying close attention to you
Sticking to me,like glue
You're close to me, and we're connected
I got my eyes on you, yeaa
I'm watching you closely
While you do what you have to do
Even though you're busy
Sudden moon can't you play my tune
I wish things were going my way
I walked right in to another room - they let me in
I found myself in a new situation
I believe I got you up my sleeve - nothing's wrong
I think I have a good plan, and there are no issues
You're just another weave
You're just another part of my life
You must only understand the part of me you see
You only know a small part of who I am
We can start again baby I can let you be
We can start fresh, and I won't hold you back
Don't want you leavin' before we have a chance
I don't want you to go before we give it a shot
I don't wannna set you free, yea yeaaa
I don't want to lose you
Well I'll catch a plane
I'm willing to travel for you
Or better take a train
I'll do whatever it takes
Don't give up when ya brake the cup
Don't quit when you encounter obstacles
Let you be above the sea without a phone
I'll let you experience new things on your own
Got to live I'm on my own
I have to live my life on my own terms
Lyrics © BMG Rights Management
Written by: PETER KENNETH FRAMPTON
Lyrics Licensed & Provided by LyricFind
Beverly Esparaguera
on Apple Of Your Eye
Good Day Heritage Singers!!!
I am an avid of your singing group. I always listen to your songs because i feel more happy everytime i play your music everyday. I want to ask a lyrics of your song "The Apple of your Eye". I really love this music. Looking forward to receive a response from you, Thanks a lot. More Power and God Bless. Kindly send the lyrics to bhevscasida@gmail.com