I'm lucky that I enjoy playing live; it's my passion to do that. There's certain artists that never want to play live. They just want to be in the studio. Good luck, because there is no income.
— Peter Frampton
I was allowed a freedom as a baby boomer to do whatever I wanted to do. My parents were able to give their permission because they just felt, 'Why not?' I joined my first band and dropped out of school.
Some might say I didn't pay enough of my dues, and I think I've paid my dues.
I'm learning all the time. I've learned things like how to be a better person, better father, better husband.
People love to play 'Baby, I Love Your Way' at their weddings. They even play it for births and deaths - whatever the occasion, it seems to fit. Over the years, it's been used in lots of movies, and it's been covered by other artists more than any of my songs. I've written a standard... which is pretty incredible to me.
I didn't have huge expectations for 'Frampton Comes Alive!' My previous album, 'Frampton,' had sold about 300,000 copies - a decent amount but not mind-blowing. There was talk at the label that maybe the live record could go gold. I was hoping we could do it, but I wasn't sure.
I don't think I could ever be in a band if we just had to go out there and play the record note for note. I'd give up. I'd become a banker.
I think 'I'm in You' was lackluster and way too light.
When you don't have someone, you feel you want someone. Then when you do, it's nice to be single for one night.
People tell me they got married to 'Baby, I Love Your Way.' It's heart-warming - I've been part of so many people's lives.
The power of your audience is in the hand of the artist now via all the media - Facebook and Twitter and Instagram and all of them - all of the new available techniques to get to people. I think that you are your best publicist and record company and everything right now when starting out.
Music is now becoming 'free,' and it's very difficult for new artists to start.
I did more sessions than I remember doing. There were a lot of things in the Seventies that I played on that people keep reminding me about.
Somewhere along the way, things got confused, and the pop-star side of my career got in the way of my musician side.
A pop star's career lasts 18 months.
Peace, love, and truth trump hate every time.
I've had the honor of sitting in with the Allmans at their Beacon shows a couple of times, and it just doesn't get better than that.
I'm lucky. I've got my own studio. I can make my own music, but not many people can do that. I will always be making new music, because that's what I have to do; that's why I'm here. I will always do that.
I think that my parents wanted my brother and I to do what they couldn't have done and live a free life and not worry about war.
I'm sure that I am enjoying my sobriety. And respect it. If you've been through what I've been through, then you really do treasure it.
I'm not a good thinker of tomorrow, looking forward. I live day-to-day. It's much easier for me that way.
A year before 'Frampton Comes Alive!' we had released the studio version of 'Show Me The Way' as a single - it was on the 'Frampton' album - and it totally tanked. Nothing.
I had always been a jazz fan - Django Reinhardt, Kenny Burrell, Wes Montgomery, Joe Pass, the early George Benson. And I come from the Hank Marvin melodic upbringing. So blues, I loved, but I also liked jazz. Therefore, my style was more lyrical.
I often explain it to people that if you listen to a Who record and then go see the Who live, it's like two different bands. That's how Humble Pie worked. We were definitely a lot more ferocious live because of the energy that the entire population of us had.
Money never meant that much to me.
I was petrified about 'I'm in You.' I couldn't wait to get it done to know whether it was good or not.
I acted in 'Almost Famous.' My album 'Fingerprints' won a Grammy Award in 2007. Even more prestigious, as far as my kids were concerned, I appeared in episodes of 'The Simpsons' and 'Family Guy.'
Your own material is your identity, and I think that's what you need to stick to.
When you put the phone down at the concert, there's your 3-D, there's your HD.
A lot of other people have used the talk box but have used it as a sound as opposed to actually making the guitar enunciate words.
I was only a teenager when I played with the Herd and Humble Pie, and I was still in my early twenties when 'Frampton Comes Alive!' came out. That was an immense amount of work in a relatively short period of time. I needed to stop for a while and grow up, but I didn't do that.
You can't listen to 'Frampton Comes Alive!' without smiling.
Politeness and caring for each other cannot be a thing of the past.
I've been a huge Gregg Allman fan since first hearing the Brothers' live 'Fillmore' album.
I really wasn't into sports at an early age. I couldn't wait to get home from school and go straight to my bedroom and pick up the guitar and play it. It became an obsession with me. That's all I wanted to do was play guitar and learn every lick I heard on the radio.
Detroit has always been a rock and roll audience for me and picked up on me and my performances long before a lot of other places in the country. I will never forget that. It's a home away from home. I love it.
I used to say it was painful to write lyrics about myself and looking inward.
I love living without a net.
'Frampton Comes Alive!' is the album I'll always be remembered for. I'm very proud of the music that's on it. Why it exploded the way it did and continues to live on are things that can't fully be explained.
Everyone wanted to play like Eric Clapton in the early to mid-'60s.
I would like to be No. 2 but never No. 1. When I was No. 1, all eyes were on me. No. 2 slips out the door quietly and makes another great record.
I do live a simple existence.
I formed Humble Pie when I was only 18. We were one of the first 'supergroups,' with Steve Marriott of The Small Faces on guitar and Greg Ridley of Spooky Tooth on bass. With Humble Pie, I tasted American success for the first time.
In 1978, I had a near-fatal car accident in the Bahamas. There was a point when I could have lost my right arm - but it was good because it forced me to slow down and take a break.
My advice to new artists is to not follow a trend, but to start one. By that, I mean to not be tempted to do what business people might suggest to you, to jump on the bandwagon, but to be strong.
I'd often use a Leslie cabinet on its own in the studio because everyone in the late Sixties and Seventies was experimenting with them. We'd stick anything through a Leslie because it made everything sound so good.
The perception that I was just a pop star was pushed upon me by the public, and it's very hard to change the public's perception even though I never really pushed aside the musician aspect of my career. After I released 'Fingerprints,' my peers reassured me that I was on a level that I always hoped I would be on.
After 'Frampton Comes Alive!' became a huge success, I really needed to take time off to work out what the hell just happened. Instead, I just kept working.
I'll always be remembered for 'Frampton Comes Alive!,' but I've got so much other work that I've done since that, that I feel it's almost like after 'Frampton Comes Alive!' ran its course, my career - I'll say it - 'Petered' out.
Writing for dance was a wonderfully freeing experience.
