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.
Invisible Man
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
You know you really got a hold on me
I need your love, wear jaded gold
For once in my life, do you love me?
All this time you let me spin
(You let me spin)
But you don't know who I am
I am the one who did it for you
(Did it for you)
I'm the invisible man
All this love, got to give it up
But you keep me hanging on
Tell me, girl, what's going on?
Don't you know it's the same old song?
All this time you let me spin
(You let me spin)
But you don't know who I am
(Know who I am)
I am the one who did it for you
(Did it for you)
I'm the invisible man
I'm pulling the strings
In the shadows, behind the scenes
I'm keeping the beat
Before you know it, you'll be on your feet
Dancing in the street
All this time you let me spin
(You let me spin)
But you don't know who I am
Can't you see?
(Know who I am)
I am the one who did it for you
(Did it for you)
I'm the invisible man
All this time you watched me spin
(You let me spin)
But you don't know who I am
(Know who I am)
(I'm the one)
I am the one who did it for you
I'm the invisible man
The lyrics of Peter Frampton's "Invisible Man" reflect a person's state of feeling invisible and underappreciated while being in love. The lyrics convey a message that the singer is passionately in love and wants to be seen by their partner. The chorus is particularly compelling with the repeated refrain, "all this time you let me spin, but you don't know who I am, I am the one who did it for you, I'm the invisible man." The singer feels like they have been dancing around their lover, doing everything they can to get their attention, but to no avail. The singer feels like an invisible force, taking the lead and unnoticed by the antagonist who is too entranced in all the things that the singer is doing for them.
The song's verses delve deeper into the singer's emotional state, with lyrics like "can't you see I can't help myself?" and "you know you really got a hold on me." These lyrics try to express the singer's anguish at trying to get someone's attention and affection, but failing continuously, and yet being utterly helpless in their love for them. The lyrics "I'm pulling the strings, in the shadows, behind the scenes, I'm keeping the beat, before you know it, you'll be on your feet, dancing in the street," express the singer's determination to make their lover understand their love and be wooed entirely by their mere presence.
Line by Line Meaning
Can't you see I can't help myself?
I am helpless and unable to control my actions, don't you see?
You know you really got a hold on me
You have a powerful grip on me and I am under your influence
I need your love, wear jaded gold
I crave your affection, even if it has lost its luster
For once in my life, do you love me?
I am asking if you have ever truly loved me, even just once
All this time you let me spin
You have allowed me to continue in my misguided actions
(You let me spin)
You have let me continue moving forward
But you don't know who I am
Even though I am present, you do not truly know me as a person
(Know who I am)
You lack a deep understanding of my identity and character
I am the one who did it for you
I am the person who has acted on your behalf
(Did it for you)
I have performed actions with the intention of helping you
I'm the invisible man
I am present, but unnoticed and unrecognized
All this love, got to give it up
I have so much love to give, but it is time for me to let go
But you keep me hanging on
Even though I need to move on, you are keeping me attached and unwilling to let go
Tell me, girl, what's going on?
I am asking for clarity and understanding of the current situation
Don't you know it's the same old song?
This is a repetitive cycle that is going nowhere
I'm pulling the strings
I am in control and manipulating events
In the shadows, behind the scenes
I am working behind the scenes, in secret
I'm keeping the beat
I am setting the tempo and rhythm
Before you know it, you'll be on your feet
You will become so immersed in the music, that you can't help but dance
Dancing in the street
We will all be dancing and celebrating together
Can't you see?
Don't you understand?
I'm the one
I am the person responsible
All this time you watched me spin
You have been observing me this entire time, without intervening
(I'm the one)
I am the person responsible for the current situation
I am the invisible man
I am present, but unnoticed and unrecognized
Lyrics © Universal Music Publishing Group
Written by: GORDON SCOTT KENNEDY, PETER KENNETH FRAMPTON
Lyrics Licensed & Provided by LyricFind
Mark Schember
Excellent song, you guys have got the groove! With great lyrics too. YAH!!!
toni lynn
Before you know it, you'll be on your feet, dancin' in the street!
Peter Frampton Fandom
"Can't you see I can't help myself... you know you really got a hold on me" ;^)