"Peter left Humble Pie, and we supported him as a solo artist for four albums. He was writing some nice songs, but was pretty much staying a mid-level artist, selling around 200,000-300,000 records. But Peter was a huge live star in markets like Detroit and San Francisco, so we made a suggestion that he make a live record. What he was doing onstage wasn't like the records – it was outrageously better. I remember being at the mix of 'Frampton Comes Alive!' at Electric Lady studios, and I was so blown away I asked to make it a double album. We put it out at a special promo price, and it just kept selling and selling…"--Jerry Moss
"I didn't want to play normal rock and roll solos. I didn't want to play like anybody else. I want to play like me. I invented me by listening to the world."--Peter Frampton
"Most tremendous players don't think they are. They keep getting better because they're always striving to go somewhere new musically."--Peter Frampton
"I do not have a clue as to why Frampton Comes Alive! was so big, but it was...I didn't quite realize what was happening to me. I'd become the flavor of the month. People thought of me differently, not as a human being, which can be very disconcerting to deal with, especially when it happens so quickly and so big."
"Somewhere along the way, my credibility as a musician got lost. I was over marketed. The live album didn't need hyping, and yet it got hyped with me on the cover of Rolling Stone with my shirt off, which instantly turned off a lot of my musical fans."
"So it just got to the point where the image had totally over-ridden everything else. Suddenly, I was appealing just to teenage girls. Everyone forgot that I could play the guitar."
"There's no way anybody could like Frampton Comes Alive! and hate my guitar playing...I've always wanted to be the best guitarist in the world, ever since I was eight years old. Ever since I saw Buddy Holly and the Everly Brothers and.... But between you and me, I'll settle for just being listened to."
"In recording you have to think about the audience and how it'll pick up on certain things, With records it's like building a house, each stage is ready for the next stage. Coming to the decision about whether you have the proper take for that track is probably the hardest decision one has to make."
On performing he said, "You've got to be up in stages. You can't go bang, bang, bang. The audience will get tired before your finale. The audience can get worn out before your best number."
Peter Frampton began his solo career in 1971.
Until Frampton Comes Alive! none of Peter Frampton's four solo albums had sold more than 200,000 copies. Originally, Alive! was to be a single album. It had the tracks, "Lines on My Face" and "Do You Feel Like We Do" (the first track using the talk box) on one side and "All I Want to Be," "Somethin's Happening," "It's a Plain Shame" and "Jumping Jack Flash" on the other side. When the album was played for Jerry Moss, he asked to hear the second album. The album was the most played album on FM radio in the U.S in the first six months of 1976. Record World also reported that Alive was the was the "strongest since '71's 'Tapestry' and ultimately beat "Tapestry's" 14 weeks at #1 with 16 weeks in the top slot in three separate runs.
A&M re-signed Peter Frampton to a long-term contract in November 1975.
Frampton Comes Alive! was the best selling live album in history when it was released in 1976. It sold over 7 million copies in the U.S. by June 1977. The album spent 17 weeks at #1 on the Record World chart.
On June 6, 1977, A&M raised the price of Frampton Comes Alive from $7.98 to $8.98.
Frampton wrote the song "I'm in You" in 20 minutes and finished recording it in 70 minutes--one and one-half hours total.
Peter Frampton's I'm in You album had advance orders for three million copies before he ever recorded a note of it.
The first promotional picture disc ever issued was I'm in You by Peter Frampton.
In the fall 1978, Frampton toured Japan, Australia and New Zealand. In 1980, Frampton did his first tour of Central and South America.
Peter Frampton recorded his Breaking All the Rules album on the Chaplin Soundstage at A&M with six mics positioned around the stage. The recording was completed in a little over one week. There were three versions of the album: Frampton Especial in Brazil, Rise Up in Argentina and Breaking All the Rules in the rest of the world.
"My last album for A&M, Breaking All the Rules, was a valiant attempt to sort of get it back, but it wasn't in my heart. I'd lost the drive, the energy, and the excitement."
The Art Of Control was Frampton's last album for A&M Records.
Frampton's original music publishing deal with Almo/Irving gave him songwriting money and Almo got the publishing money. When Frampton's manager Dee Anthony changed the deal to FramDee, Frampton lost all publishing money.
Frampton New Music On A&M Records
Frampton Comes Alive! New Music On A&M Records
I'm In You New Music On A&M Records
Frampton Albums Released on CD press release
20th Century Masters press release
20th Century Masters liner notes
Anthology: The History of Peter Frampton press release
Frampton Comes Alive 25th Anniversary Special Edition 2001 press release
Frampton Comes Alive 25th Anniversary Special Edition 2004 press release
- Peter Frampton the Year of the Face. Cameron Crowe. Rolling Stone, April 22, 1976.
- Peter Frampton: Rock's 'One-Man' Band. Eliot Tiegel. Billboard, December 17, 1977.
- Off the Record: An Oral History of Popular Music. Joe Smith. New York: Warner Books. 1988.
- A&M Records' Greatest Hits. Matt Diehl. Rolling Stone, September 7, 2012.
- Do You Feel Like I Do? A Memoir, Peter Frampton. Hachette Books, 2020.
Official autobiography: Do You Feel Like I Do?: A Memoir