Peter Frampton Biography

Peter Frampton (Peter Kenneth Frampton) was born on 22nd April 1950 in Bromley, London, England. He is an English rock musician, singer, songwriter, producer, and guitarist.

Peter Frampton Career

Peter Frampton interest in music began when he was seven years old. He discovered his grandmother’s banjolele in the attic, he taught himself to play, and later taught himself to play guitar and piano as well. At age eight he started taking classical music lessons.

At the age of 12 years he played in a band called ‘The Little Ravens’. At the age of 14 he played with a band called ‘The Trubeats’ followed by a band called ‘The Preachers’.

He became a successful child singer and in 1966 he became a member of The Herd. He was the lead guitarist and singer, scoring several British pop hits. Frampton was named “The Face of 1968” by teen magazine Rave. He left the group in 1968.

In 1968 he joined Steve Marriott and they formed ‘Humble Pie’. They recorded four studio albums and one live album before he left the band in 1971.

In 1971 he ventured into solo career. He released his debut album ‘Wind of Change’ in 1972 with guest artists Ringo Starr and Billy Preston.In 1973 he released his second album ‘Frampton’s Camel’which featured Frampton working within a group project.

In 1997  he joined Ringo Starr and His All Star Band until  1998 when he left.

In June 1978, Frampton was involved in a near-fatal car accident in the Bahamas and suffered multiple broken bones, a concussion, and muscle damage. Dealing with the pain of the accident led to a brief period of drug abuse.

Peter Frampton Band Members

  • Rob Arthur – Keys, Guitar, Vocals
  • Dan Wojciechowski – Drums
  • Adam Lester – Guitar, Vocals
  • David Labruyere – Bass

Peter Frampton Awards

  • 2017: Grammy Award for Best Contemporary Instrumental Album, Fingerprints.
  • 1978: Juno Award for International Album of the Year, Frampton Comes Alive.
  • 1977: People’s Choice Award for Favorite Male Artist.

Peter Frampton Guitar

In 2011 Peter Frampton reunited with the Gibson electric guitar he played on “Frampton Comes Alive,” three decades after it was presumed destroyed in a plane crash.

The guitar was presumed to have been burnt in November 1980 when a cargo plane crashed on takeoff in Caracas, Venezuela, on its way to Panama, where Mr. Frampton was to perform.

Someone plucked it from the burning wreckage and later sold it to a musician on the Dutch Caribbean island of Curaçao. The guitar was returned to him in December 2011 after a two-year negotiation involving the local musician who had the guitar, a customs agent who repairs guitars in his spare time, a diehard Frampton fan in the Netherlands and the head of the island’s tourist board.

Peter Frampton Age

Peter Frampton was born on 22nd April 1950 in Bromley, London, England.

Peter Frampton Wife

Peter Frampton married his first wife Mary Lovett in 1972 but they divorced in 1976. He married his second wife in 1978 and they had two children named Jade and Julian. They later divorced in 1993.

In 13th January 1996, he married his third wife Tina Elfers with whom they had a daughter, Mia Frampton. Frampton filed for divorce from Elfers in Los Angeles, California on 22 June 2011, citing irreconcilable differences.

Peter Frampton Children

Peter Frampton has three children. Two children named Jade and Julian with his second wife, Barbara Gold and a daughter, Mia Frampton with his third wife Tina Elfers.

Peter Frampton Son

Peter Frampton has a son, Julian Frampton from his second marriage to Barbara Gold. Julian Frampton is a singer and songwriter from Los Angeles, CA.

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Peter Frampton
Peter Frampton

Peter Frampton Albums – Peter Frampton Discography

  • 1976: Frampton Comes Alive!
  • 1981: Breaking All the Rules
  • 2016: Acoustic Classics
  • 1973: Frampton’s Camel
  • 1972: Wind of Change
  • 2006: Fingerprints
  • 1995: Frampton Comes Alive! II
  • 1982: The Art of Control
  • 1975: Frampton
  • 1989: When All the Pieces Fit
  • 2010: Thank You Mr. Churchill
  • 2003: Now
  • 1979: Where I Should Be
  • 1986: Premonition
  • 2000: Live in Detroit
  • 1994: Peter Frampton
  • 1992: Shine On: A Collection
  • 1998: Shows the Way
  • 2003: Pacific Freight, EP
  • 1980: Rise Up, EP
  • 1974: Somethin’s Happening
  • 1977: I’m in You
  • 2014: Hummingbird in a Box
  • 2017: Off the Hook (Live in Chicago)
  • 2011: Pacific Fringe, EP
  • 2013: Show Me the Way – The Collection
  • 2001: Anthology
  • 2003: 20th Century Masters: The Millennium Collection: The Best of Peter Frampton
  • 2015: Full on Frampton, EP
  • 2008: All I Wanna Be Is By Your Side, EP
  • 2011: Peter Frampton & Friends, EP
  • 1996: Greatest Hits
  • 2016: Loving Cup, EP
  • 2008: Influential Blues Greats, Vol. 3, EP
  • 2010: Love Talker, EP
  • 2008: Love Taker, EP
  • 2012: Going Home, EP

Peter Frampton Songs

  • Do You Feel like We Do
  • Show Me the Way
  • Baby, I Love Your Way
  • I’m In You
  • Lines on My Face
  • Money
  • While My Guitar Gently Weeps
  • It’s a Plain Shame
  • Doobie Wah
  • All I Wanna Be Acoustic
  • I Wanna Go to the Sun
  • Something’s Happening
  • I Can’t Stand It No More
  • Signed, Sealed Delivered
  • Jumping Jack Flash
  • Hummingbird in a Box
  • Black Hole Sun
  • Nowhere’s Too Far
  • Heart On The Line
  • Penny for Your Thoughts
  • Day in the Sun
  • Shine On
  • I Saved a Bird Today
  • I Don’t Need No Doctor
  • I Believe
  • The Crying Clown
  • White Sugar
  • Just the Time of Year
  • Breaking All the Rules
  • It’s a Sad Affair
  • Day’s Dawning
  • Won’t You Be My Friend

Peter Frampton Acoustic Classics

  • Fig Tree Bay
  • Wind of Change
  • All I Want to Be (Is by Your Side)
  • Show Me the Way
  • Lines on My Face
  • Sail Away
  • Baby, I Love Your Way (Acoustic)
  • All Down to Me
  • Penny for Your Thoughts
  • Do You Feel Like I Do
  • I’m in You

Peter Frampton Interview with Las Vegas Magazine

You and Steve have known one another for more than 45 years, and now you’re out on this summer tour together. It’s not your first time sharing a stage, though, is it?

Peter Frampton: No, back in the ’70s, and even more recently, we’ve played together in stadiums, clubs, arenas—you name it, we’ve done it. A couple of years ago we did four shows in amphitheaters with Steve, and it worked out so well and we had so much fun that Steve said, “We’ve got to do a whole tour together.” This is the year we worked it out.

Has there always been a mutual admiration between the two of you?

Peter Frampton: Well, for me, yeah (laughs); I can’t speak for him! But I’ve been a huge fan of his ever since I first saw him in London in 1970 where he was putting vocals on one of his early Steve Miller Band songs. I was just about to leave Humble Pie, and he was just starting his Steve Miller Band career.

Are you and Steve collaborating onstage during this tour?

Peter Frampton: Yes! This is the most collaboration I’ve ever had with a touring act, which is great. He got me out (onstage) to play a couple of numbers on the last few dates we did together. This time, we’ve worked out ahead of time what numbers we’re going to do. He’ll bring me out and we’re going to do about two or three songs together, which is very nice of him. But he’s a nice guy—always has been.

Your stop in Las Vegas will be at The Colosseum at Caesars Palace. What do you recall about the first time you performed in Vegas?

Peter Frampton: Oh, gosh. I’m not sure if it was the very first time, but in the 1970s I remember playing the Aladdin (Theater for the Performing Arts). At that point, we were used to playing outdoors and in arenas, so that was change for me. But I remember there was great sound there.

Your latest album, Acoustic Classics, featured stripped-down versions of some of your biggest hits, and you followed that with a tour in which you left your electric guitar in its case. What prompted you to unplug, and how satisfying were those all-acoustic shows?

Peter Frampton: It took me a long time to unplug! (Laughs.) I just wasn’t that confident that I could pull it off, either a full acoustic album or a full acoustic show. But I always do like a challenge. I was nervous about doing the album until I got my M.O. down, which was like if you were to come over to my house one morning and we were having coffee and I just said to you, “I wrote a song last night, and I’d like to play it for you.” You would hopefully say yes, and I would play it, and that performance you would get would be just out of the egg, and it would be a very passion-filled but not (complete) version of what I would then do onstage later after I recorded it. So I envisioned it as a one-on-one performance, so what I needed to do was strip down (all the songs), take away 40-odd years of what I changed and take them back to square one. I basically did that and really enjoyed it. Then I was asked, “Do you want to try it out on the road?” And I said, “Not really!” (Laughs.) But eventually I bit the bullet and I’m so glad I did, because it’s a 180-degree different way of performing and (presenting) myself live. And it’s not just performing the music; it’s telling the stories about the inspirations, and that’s what people like. I interviewed the audiences after the shows and asked them, “So, which (versions) of the songs do you like better, the acoustic or the electric?” And they said, “Both,” which was very nice.

Last year marked the 40th anniversary of your iconic Frampton Comes Alive! double-live album. When you hear that number—40 years—is it hard to believe?

Peter Frampton: Yes. You know, I have two feet and two hands, and they’ve been with me a long time, and that’s sort of how I’ve come to view Comes Alive! It’s just part of me—part of my life, part of my career. And it changed everything for me, obviously. It’s phenomenal that I’m still here talking about it and that it’s held up so long. I’m very proud of it, it’s a great record, it was a great band and it was a phenomenal night—the main night at Winterland (Ballroom in San Francisco).

You recently released a new song, “I Saved a Bird Today.” What was your inspiration for that track?

Peter Frampton: A bird—a large bird, actually—flew into the bathroom window of my condo one Sunday morning and fell onto my balcony sort of dazed. I looked out and nothing was moving but its eyes. So I quickly went to Google and I eventually was put in touch with this lady from a local wildlife preserve in Nashville, and she said, “If it’s that big of a bird and its eyes are moving, I’m sure it’s just stunned. Give it a couple of hours, and it’ll fly away.” So I left and did some stuff, came back a couple of hours later and it’s still there. But it’s well now; it’s like peacocking around my balcony, but it hasn’t flown away. So I called the lady back, and I said, “I think we have a problem here. He’s not flown away. He must like it here.” I explained the bird to her, and she said, “Hmm. I think I know what you have. It’s called an American Coot.” I said, “Great! Now how do I get rid of it.” She started to chuckle a little, and said, “The American Coot is one of a handful of birds that only takes off from water.” I said, “You’re kidding me. So I can’t just drop it off the balcony?” And she said, “Oh, no! Do you have any water near you?” I said, “Well, I have the river in downtown Nashville.” She said, “If you have a box big enough, box it up and take it down to the river, let it out and it should be fine.” It was (a struggle) getting the thing into a box; I had to throw a towel over it, all sorts of things. But I drove it down in my new car to the river, took out the box, held it about 18 inches above the water, took the top of the box off and nothing—it’s just sitting there looking at me. So I tipped the box on its side, and it saw the water, kicked the box, kicked me, jumped into the water and then did that National Geographic, slow-motion, bird-taking-off-from-the-water up in the sky, and I just said, “I saved a bird today.” I told the story to Gordon Kennedy, my co-writer, then I got some music happening and I said, “Let’s get together and write a song.” When he came over, of course he’d written the first verse all about the bird. So I knew where we were going. It was wonderful.

You were 16 years old when you fronted the British band the Herd, then came to prominence two years later when you co-founded the super group Humble Pie. At that point, just 18 years old, what was your career plan? What were your expectations?

Peter Frampton: I had no idea. I knew Humble Pie had been an incredibly successful band for me and probably one of the better rock bands ever, so it was a big decision to leave, obviously. I did start a few rungs up the ladder—I didn’t have to go back to the very beginning. And I had a lot of clout because of Humble Pie’s (success) in America, so I started touring and released my first solo album. I had no idea where I was going. I would just get off the road, write, record another album, go back on the road, and that was it: album, tour, album, tour—until of course the live album hit, and everything changed.

If 67-year-old Peter Frampton could’ve given 18-year-old Peter Frampton a bit of career advice, what would it have been?

Peter Frampton: Read the contract! And get yourself an independent lawyer and business manager—don’t go along with everybody else! My son is just starting out in his own band—the Julian Frampton Band—and I told him, “You can make your own mistakes, but don’t make the same ones I made.” He hasn’t signed a thing yet—and won’t until I see it! (Laughs.)

What motivates you to continue to tour and make new music? Have you given any thought to retiring?

Peter Frampton: No, I don’t really have any ideas of retirement. I would still like to do some different stuff within music. But the inspiration is basically, I wake up, see a guitar in my bedroom and I pick it up. I still have the same passion for it today that I had 50-odd years ago. And I’ve found that passion reinvents itself along the way, as well. A lot of artists of my ilk, from my era, have stopped creating new music, but that’s not something I can physically or mentally do. My motto is I want to wake up tomorrow and play something and write something and learn something that I couldn’t do today. That’s what’s always driven me. I’m still trying to be a better guitar player, a better writer and come up with something new, but it is harder and harder to come up with something that really turns me on. But I always do it for me; it’s very selfish being an artist, and that’s the way it should be.

You’ve worked with such legends as George Harrison, Ringo Starr, David Bowie and Jerry Lee Lewis—among countless others. I’m curious: Who is the one contemporary artist you with whom you’d love to collaborate?

Peter Frampton: Dan Auerbach from the Black Keys. Or Jack White. Either of those guys. I like the fact they continue to change it up and reinvent the way they do things. And that’s what it’s all about. The one thing I do know and tell new (artists) is, “Don’t follow a trend. Make your own.” If a label or a manager is interested in you, it’s because of the way you are now, not what they might want to change you into. So don’t ever let them change what you’re doing. They can advise you on how to make it better maybe, and I would listen to that, try it and if it doesn’t work for you, it doesn’t work. But always listen to your gut. And if it doesn’t feel good, don’t do it.

Peter Frampton Video

https://youtu.be/QStWK6AiEt4