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.
Into View
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I could call you every single hour
When I stayed behind in my chevrolet
I can hear, no matter what you say
So all these things come into view
Stop me saying, "I love you"
Never enough of that precious time
Ready enough that you see my way
Oh, won't you give me just a one more day
And all these things come into view
Stop me saying, "I love you"
I got this feeling, won't go away
I got so much I can't hide
I'm feeling stranger, stranger than you
I have to sing it now
All these things come into view
Stop me saying, "I love you"
Hey talk about it
All these things come into view
Stop me saying, "I love you"
I got this feeling, won't go away
I got so much I can't hide
I'm feeling stranger, stranger than you
You were right there by my side
There's always another hill to climb
Never enough of that precious time
Ready enough that you see my way
Oh, won't you give me just a one more day
And all these things come into view
Stop me saying, "I love you"
All these things come into view
Stop me saying, "I love you"
The lyrics of Peter Frampton's song "Into View" seem to be a plea from the singer to a person they deeply care for to give them another chance. The singer starts by offering to take their love interest to the famous Eiffel Tower and calling them every hour to show their dedication. However, despite their efforts to win this person over, the singer is unable to express their love, and all these things "come into view" and stop them from saying "I love you."
The song's lyrics mention the fleeting nature of time, suggesting that there is never enough time to express one's love adequately. The singer also acknowledges that life is like "always another hill to climb," but they hope that this love interest can give them another chance with a "one more day." The lyrics end with the singer admitting that they are feeling like a stranger, but their love interest was always by their side.
The song's heartfelt lyrics, combined with the beautiful guitar riffs, make for a poignant listening experience. The repetition of the phrase "All these things come into view" emphasizes the overpowering nature of the internal conflict felt by the singer. Overall, the song seems to be about dealing with fear and self-doubt when it comes to expressing one's emotions and asking for a second chance.
Line by Line Meaning
I can take you to the Eiffel Tower
I am capable of taking you to Paris and showing you the iconic Eiffel Tower.
I could call you every single hour
I am willing to spend a lot of time communicating with you, even if it means calling you frequently.
When I stayed behind in my Chevrolet
During times when I was alone, I would sit in my car, and my thoughts would be all consuming and I would be feeling despondent.
I can hear, no matter what you say
I am attentive to you and always listening, even if your words may not be what I want to hear.
So all these things come into view
When we are together, all these thoughts and feelings become clearer and more distinct.
Stop me saying, "I love you"
Despite my feelings for you, I am trying to hold back from saying those three important words to you.
But there's always another hill to climb
There will always be new challenges and obstacles to overcome in our relationship and in life in general.
Never enough of that precious time
It always feels like there is not enough time to do everything we want to do together.
Ready enough that you see my way
I am willing to compromise and find common ground so that we can move forward together.
Oh, won't you give me just one more day
I am pleading for just a little more time to spend together before it may be too late.
I got this feeling, won't go away
I have this intense emotion for you that I can't shake, no matter how hard I try.
I got so much I can't hide
I have a lot of love and affection for you that I can't keep hidden away any longer.
I'm feeling stranger, stranger than you
My emotions are so strong and powerful that I fear they may alienate you or make you uncomfortable.
I have to sing it now
I can't hold back my feelings any longer, and I need to express them to you immediately.
Hey, talk about it
Let's have an open and honest conversation about our feelings and where we want to take our relationship.
You were right there by my side
You have always been there for me, supporting me and loving me, and I am grateful for your presence.
Lyrics © Universal Music Publishing Group
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