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.
Tried To Love
Peter Frampton Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Just got myself free
Oh yeah
Baby what you want from me?
Only in a day
To change over night?
Oh I could see you
Tried to love
You'll love forever
You'd just a rich baby
How'd you let him get away from you?
I could be walkin'
Years ago
No one knew my name
Watch out now
How do I know?
Nothin' but what I am
This is the picture
I don't know why
I don't know why I bother
But you tried to love
I tried to find the one
You'll love forever
I don't know why you come
By you're wastin' your time
I don't know why you come
By nothing left
I can't see why you should lie
I don't know why you come by
I don't know why you come by
I can't see why you should lie
I don't know why you come by
In Peter Frampton's song Tried To Love, the singer is confronted by someone who wants something from him. Despite just getting himself free, the person persists and the singer questions their motives. He then sings about trying to love and find the one to love forever. The line "You'd just a rich baby" implies that the person he is addressing only wants material things, not true love.
The song takes a reflective tone as he thinks about the past and how things could have been had he made different choices. He acknowledges his own success now, but wonders about the road not taken. The line "No one knew my name" suggests that he was once unknown but now he has achieved success.
Throughout the song, the singer questions why this person is coming to him and what they want from him. He ends by saying "nothing left" which could imply that he has nothing to offer or that there is no more hope for their relationship. Overall, the song is about the complexities of love and relationships, and how sometimes we try to force them to work even when they are not meant to be.
Line by Line Meaning
What you want from me?
Asking the other person's motives, intentions, or desires for approaching him or spending time with him.
Just got myself free
Recently detached himself from a previous relationship or commitment, implying he might not be ready for another one right away.
Baby what you want from me?
Repeating the first line to emphasize the question and seek clarity.
Only in a day
Suggesting that the other person seemingly wants to develop a strong bond, relationship, or love interest in a very short and unrealistic timeframe.
To change over night?
Asking whether the other person is expecting him to undergo quick and significant alterations that he might not be willing or able to make.
Oh I could see you
Acknowledging that he was initially drawn to the person and had hopes for a potential connection or love affair.
Tried to love
Implying that he did his best to develop romantic feelings, enhance intimacy, and express affection, but it didn't work out as expected.
Tried to find the one
Repeating the previous line with a slight variation, to emphasize that he was seeking a fulfilling and long-lasting relationship, but couldn't find it with the other person.
You'll love forever
Assuming that the other person is also seeking a committed and enduring love partnership, but they couldn't achieve it together.
You'd just a rich baby
Noticing that the other person might have been motivated by external factors such as wealth, status, or material possessions, rather than genuine feelings and compatibility.
How'd you let him get away from you?
Asking the other person how they lost a previous lover, implying that it could be a warning or explanation for their current situation.
I could be walkin'
Reflecting on a hypothetical scenario where he could have been walking alone instead of getting involved with the other person.
Years ago
Recalling a time in the past when he might have made different choices or avoided certain mistakes.
No one knew my name
Feeling unidentified, unrecognized, or insignificant in the past, before his fame or success.
Watch out now
Breaking his introspection to warn or alert the other person about something.
How do I know?
Pondering about his own doubts, suspicions, or uncertainties regarding the other person's behavior or words.
Nothin' but what I am
Claiming that he is being honest, genuine, and transparent in all his actions and expressions, without pretending to be someone else or hiding his true self.
This is the picture
Asserting that the current situation or dynamic between the two of them is clear, apparent, or undeniable, and he won't pretend otherwise.
I don't know why
Expressing his confusion, frustration, or bewilderment about some aspects of the other person's behavior or feelings.
I don't know why I bother
Realizing that his efforts or attempts to connect with the other person may not be reciprocated, appreciated, or valued, and feeling discouraged or disheartened.
But you tried to love
Returning to the main theme of the song, pointing out that both of them attempted to develop a romantic connection, but it didn't work out as expected.
I tried to find the one
Repeating the first two lines of the chorus again, to reinforce the idea that he was seeking a genuine and long-lasting love relationship, but failed to achieve it with the other person.
You'll love forever
Repeating the last line of the chorus once again, to remind the other person of their shared desire and goal in their previous courtship or fling.
I don't know why you come
Returning to his confusion and bewilderment about the other person's motives or intentions to approach him, see him, or reconnect with him after their previous failed romantic attempt.
By you're wastin' your time
Advising or warning the other person that their current approach, attitude, or behavior might not be fruitful, beneficial, or positive for either of them.
Nothing left
Imagining a scenario where their bond or relationship has ended, and there's nothing left to hold them together or keep them close, implying that they might not have any lasting, meaningful connection or memory together.
I can't see why you should lie
Expressing his doubts or suspicions that the other person might not be telling the truth, either about their past, their feelings, or their intentions.
I don't know why you come by
Repeating the previous line to intensify his confusion, questioning, or irritation about the other person's consistent behavior of approaching or visiting him without any apparent reason.
I can't see why you should lie
Repeating the line once more, to accentuate his suspicion, mistrust, or skepticism towards the other person's words or actions.
I don't know why you come by
Closing the song with a repetition of the previous line, to convey his unresolved feelings of confusion, frustration, and bewilderment about the other person's behavior and motives throughout the entire song.
Lyrics © BMG Rights Management, 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