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.
The Lodger
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
All my records are on the floor
No time to myself it seems
People in my lounge hangin' from the beams
Enough time to think cause the phone isn't ringin'
Can't you see my guitar needs stringin'
Then I'll play the songs I should be singin'
One step two step, find the light
All too late, anyway it was too bright
Your beds too hard, well please use ours
I've always wanted to know how to sleep in cars
Don't be silly, it can get chilly
We'll take a drive around picadilly
All I need is time to put my clothes on
All I ask is time to put my clothes on
One step two step, who's your friend
Yes our car is the one at the end
'Cause it's gone to far, we've seen it all drawing lots
I feel like a platform dream, now the dog has been really shot
It'll all change for the midnight movie
Grab my hand, cause you might lose me
In the rush of those who try to use me
Now in the rush of those who try to use me
Yeah yeah yeah yeah yeah oh
Peter Frampton's "The Lodger" is a song about feeling overwhelmed and invaded by other people in one's space. The lyrics depict someone who is finding it difficult to have personal time and space to themselves because they have guests that are constantly in their living room, disrupting their peace. The opening lines "one step two step, close the door, all my records are on the floor" indicate the level of chaos in the singer's life, as they struggle to find their grounding amidst the clutter and the constant presence of others.
The lyrics also touch upon the theme of artistic expression, as the singer expresses their desire to play the songs they should be singing, but can't due to the constant interruptions. The line "Can't you see my guitar needs stringin', then I'll play the songs I should be singing" suggests that they can't truly express themselves until they have the time and space to do so. The constant interruptions and lack of privacy are a barrier to their creative expression.
The song ends on a note of desperation, as the singer feels used and overwhelmed by all those trying to get a piece of them. The line "now in the rush of those who try to use me" vividly captures the desperation and frustration of someone who is constantly being pulled in different directions. Overall, the song is a powerful reflection on the need for personal space and creative expression, and the ways in which others can infringe upon and invigilate our lives.
Line by Line Meaning
One step two step, close the door
Closing the door and taking a couple of steps is synonymous with leaving reality behind and immersing oneself into the world of music.
All my records are on the floor
Music is the most important thing in the singer's life and it's evident in the fact that he's surrounded by records.
No time to myself it seems
The singer's life is devoid of any personal time and his world solely revolves around music.
People in my lounge hangin' from the beams
The artist's music is so good that everyone is just hanging around in his lounge enjoying it.
Enough time to think cause the phone isn't ringin'
Without any outside interruptions, the artist is finally free to think and focus solely on his music.
Can't you see my guitar needs stringin'
The singer's guitar is his prized possession and he's eager to give it the attention it deserves.
Then I'll play the songs I should be singin'
Once he's done with the guitar, he can't wait to play the songs he's always wanted to play.
One step two step, find the light
The artist is ready to take the next step and push forward with his music, following the light at the end of the tunnel.
All too late, anyway it was too bright
The artist might have missed the bus and the train has already left the station, hence feeling that it is too late to make a comeback.
Your beds too hard, well please use ours
The artist invites a friend home, and offers him a bed, even though it might not be the most comfortable one.
I've always wanted to know how to sleep in cars
The singer has always been fascinated by the idea of sleeping in cars, which is probably an inspiration for some of his music.
Don't be silly, it can get chilly
The artist's friend is trying to talk him out of something, but he is determined to go through with it regardless of the consequences.
We'll take a drive around picadilly
The singer is always up for an adventure, and this time, he suggests taking a drive around Piccadilly.
All I need is time to put my clothes on
The singer values his personal space, even if it's just a little extra time to get dressed.
All I ask is time to put my clothes on
The singer reiterates the importance of having a little extra time for himself before heading out.
One step two step, who's your friend
Another day, another person, and the artist is eager to meet and make music with new people.
Yes our car is the one at the end
The artist knows his car is unique, possibly symbolic of his own creative spirit.
'Cause it's gone to far, we've seen it all drawing lots
The singer has been through so much, that he feels his experiences have left nothing else to be seen or experienced.
I feel like a platform dream, now the dog has been really shot
Something significant has happened to the singer, perhaps something devastating, leaving him feeling like he's in a dream, with his world upside down.
It'll all change for the midnight movie
The artist is hopeful for a change and believes that perhaps the midnight movie will bring about a positive turn of events.
Grab my hand, cause you might lose me
The artist is aware that he might be going through a rough patch, and requests for help from his friend to see through this phase.
In the rush of those who try to use me
The artist is constantly surrounded by people who try to use him for their own gains.
Now in the rush of those who try to use me
The singer repeats that he's constantly surrounded by people trying to use him.
Yeah yeah yeah yeah yeah oh
The artist concludes the song on an upbeat note, reaffirming his passion for music and his unwavering spirit.
Lyrics © Universal Music Publishing Group, Sony/ATV Music Publishing LLC
Written by: PETER FRAMPTON
Lyrics Licensed & Provided by LyricFind
Joey Benoit
Peter Frampton this was the greatest song I think you've ever done! I'm a 64 year old DJ Roxy Jay college! I remember when you came out with this! I loved you and humble pie! God bless Peter Frampton God bless George Harrison namaste!
PongStar69
Thank you! I have never heard this live before.
alec
According to setlist fm it has only been played 21 times!
Joey Benoit
Peter you're having so much fun! The lead at the end baby! Your lead eclipse is the sun!
Joey Benoit
I can't believe there's not that many people talking about this! Frampton's better now than he ever was! I mean he's always been great! Unbelievable! I just wish you would have had more Marshalls! I would love to see this in a big arena! Where the grey light show? Peter let's get this done! Peter! You have songs nobody's heard! Paul Rodgers can sing lead for you! At times! Mr. Peter Frampton we love you! Cheers!
Joey Benoit
I can't believe people are talking at 4 minutes 28 seconds! It's the best part of the song! It's the Genesis of the lead! Just listening from that point on!