Peter Frampton

Published Jul 16, 2012, 4:00 AM

This week on Here’s the Thing, Alec talks with Grammy-winning guitarist Peter Frampton. “Sound is very inspirational to me,” explains Frampton – and it always has been: he started playing guitar before he was 8 years old.

Frampton talks about his musical roots in England, playing in bands like The Preachers and The Herd. At age 14 he was playing at a recording session produced by Bill Wyman, who he says is “sort of like my mentor, my older brother.” Eleven years later, Frampton was on stage in San Francisco, recording "Frampton Comes Alive," one of the biggest selling live albums of all times.

Frampton also talks about the challenges of his extraordinary success: “I don’t think anybody can be ready for that kind of success,” explains Frampton.

Peter Frampton recently completed a 35th anniversary tour of Frampton Comes Alive – a DVD will be available later this year. 

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This is Alec Baldwin and you're listening to here's the thing. Come on, admit it. If you're my age, you remember exactly where you were when you first heard this. That's the sound of twenty year old Peter Frampton performing what would become one of the top selling live records of all time. It was five and Frampton Comes Alive would change his life. He was young, but hardly a newcomer. By then, he'd already made four solo records for her Albert and Jerry Moss of an M Records. Frampton, who recorded his first album when he was fourteen, started Humble Pie when he was eighteen. Frampton's signature sound is a mixture of virtuosic guitar a powerful voice in this electronic device called a talk box. As it turns out, the talk box wasn't his first successful foray into the world of musical gadgets. I realized that I was a techie when I was very young. I got my first reel to reel tape machine, and then I figured out that if I got another one, I could go sound on sound, you know, before any multi tracking sort of thing, you know, And I figured that out pretty early. I was like, you know, ten or eleven. So I've been an engineer as long as as long as I've been a music that's helped you as a musician. You know, you're talking to somebody who your music is like so important to me about me growing up when I was a kid and you were very young then, I mean humble kid, you know, yeah, yeah, you know when I was growing there was like the Beatles, the Stones, Zeppelin, the Who and Humble Pie. You don't want to know what I put in my body listening to I mean, you don't want to know. But anyway, So but my point is that do you think that that work has made you a better musician? Because you are such a virtuosic guitarist and such a great guitarist. Sound is very inspirational to me. I remember the reason that I wanted to learn guitar was because I heard the sounds of all these people on TV and on the radio electric guitar very young and something. I have a very acute sense of sound, and I've always had that if I don't have a good sound, I can't play very well. So I've always worked out what makes a good sound? How do you get a good sound technically technically and then one of the first sessions I ever did, Bill Wyman of The Stones produced it when I was fourteen, and the first engineer I worked with was Glynn Jones, who is if people don't know, he's one of the most famous engineers of all style Zeppelin Eagles that the band everybody Yeah, humble by and then being a gadget freak. Early on, I just was over like a little birdie on their shoulder and I was, what's that? What are you doing there? I just learned how to engineers, so I really enjoy that part of it as well immensely. How do you end up as a fourteen year old and Wyman wants to produce your I started playing guitar just before I was eight years old. And we're either your parents musical Yes, um in England, Yes, about twelve miles south of London and Bromley, Kent. And my mother was definitely would have been an entertainer. She was, but my parents wouldn't allow her to become an actress. She wanted to be an actress. Her father was a singer. Yes, we have a lot of musical jeans and dad my dad played his teacher artist. He played guitar in a college dance band before the war, before he was more into his art, but he did. He was the one that taught me how to sing Michael Rowe the boat, you know, with two chords basically and then hang down your head. Tom Dooley was another big eeform. Then it was Eddie Cochrane, Buddy Holly and our English the Shadows, cliff Ridgard and the Shadows. So that's how I started playing guitar because of American music. Obviously, that's what we all did, and we were all clamoring for American music before the Beatles and then so I was known in locally as this young, little upstart, good guitar player, very young. Ended up in a semipro band still at school that had the drummer that was the original drummer of the Rolling Stones called Tony Chapman, who introduced Bill to the Stones that he didn't end up staying in the Stones, and Bill felt he owed him a a favor. I would say said, look, put a band together and I'll produce it. And he comes into the music shop I'm working on the Saturdays when I'm about fourteen and restringing guitars for the guy there. He said, I want you to be in my band, you know. I said, well, I have to speak to dad, you know sort of thing. The first thing I know, we're in a van. We pick up Bill Wyman and Penge who sits in the front. The van goes very quiet. We've got a rolling stone in front seat. We go up to London and I meet Glenn John's and we make a record like everyone is talking about soul. Did you know what I mean? Record? It was called A Hole in My Soul and it was a cover of an American song and what was the name of the band, The Preachers. So that was it, and so music was your entire life. Yes, you're in the guitar shop and Kent, Yeah, fixing strings on guitars from people shining guitars. And the next thing you know, Bill Wyman's in the car and you're off to go and do Holding my Soul with the Preachers. Yes, I mean like he woked around us so much. FID what year is this? This is sixty four, So the Stones were and the Beatles were in full swing by then, Yes, we did that year. The Stones were given Ready steady go. They took over the show Ready Steady Go for one week, and each one of the Stones had their choice of act to be on, you know, and of course Bill chose us. So I'm on TV when I'm just before I'm i turned fifteen? Is there any foot that if anybody's got it, Bill's got it because he's he's the historian, you know. But that was pretty amazing. Do you miss living in England? You're such an American in so many ways. You lived here for years, haven't two years? Seventy seventy five, I came to New York. Actually I missed my family, my brother and his family. I miss friends and stuff, but my children are here. When I first came to America with Humble Pie and I turned on the radio, I said, I'm moving here, it just seemed like this was the place. It was all happening with the old and the Yeah. And I'd lived through the swinging sixties of London, you know, and that was exciting too. And I love England, don't get me wrong, I just don't think I would ever live there again. I was just I'd be too far from my kids. Yeah. So when you finish the hole in my soul on the show with Bill Wyman. He's your selection there on the show. What happens then? Then, um, I'm sixteen. It's school holidays in the summer of big local band The Herd come to me and say, we saw you in the breaches and we're having a change around. Would you come and help us out for the summer. So I said, okay. So it gets close to September when I'm going to go back to school and they said, here's an offer. We want you to be the lead guitarist and the lead guitarists going to play bass, and we want to be a four piece out of five piece, and would you join the Herd? I said, oh, I hear. I've got to go back to school, do my sixth form, get my A levels and go to Guildhall School in the music. That was my plan to go to music college. You know, a beard right at least? Yeah, I haven't even had a shandy yet, you know. So I went to dad and mom and I said, look, I really want to do this. It is a professional band. You know, they're great, they're big band. And my dad said well, and they knew that this was on the cards, you know, this was coming up that they knew by this time I was going to be a musician, and so he said, well, look, if you let tier and you've got a job at the post office, you get fifteen pounds a week. I want to get an assurance from this band that you're going to get fifteen pounds a week. I said, well, if he can do that deal, that that'll be great. I don't think they earn enough to pay themselves sifting both said, well that's what you I'm going minimum wage for you. So that was the last deal my dad did for me. Because we started to become a little better and earn more money. Beginning, they couldn't pay themselves fifty. Eventually it was a bargain, yeah, because they paid me fifteen. They got up style. So that was the end of him as a manager. Everything changed and The Herd became had like three big top ten hits and and I became very well known in Europe as a guitar player singer. Now by the time you leave the Herd, you leave them in what year? The Herd? After the the these three big hits and an album, we realized that we were losing money still and there was no reason because we saw the figures, what was coming in and what we were getting paid and all that. So we reached out and Steve Merritt and Ronnie Lane of the Small Faces said, look, we've been through this. We've been screwed, you know, by management or business manager or whatever. They clued us in, which was very nice to them, and said they helped us produce a track or two on on the next album we were going to do, which they did. Meanwhile, I'm sitting in with the Small Faces now at various functions and and wanted to join the Small Faces. That wasn't to be. Steve wanted me to join the Small Faces, but they weren't so thrilled with that. So in the end Steve called me up and said, look, I've left the Small Faces, Let's form a band. And that's how Humble Pie basically formed in right at the end of in sixty eight. So the two of those things closely overlapped at the end of the herd and forming the Humble Pie. Yes, And it was basically two x teeny bopus does Steve Marratt was like the face of sixty seven and I was the face of sixty eight sort of thing. And by sixty eight. How old are you now? You're eighteen years old and you've been doing this professionally since you were fourteen years old, and you're in the world of rock and roll, and especially as we go from the sixties from sixty and it gets a little more grainy, if you will, it gets a little more vivid in terms of drugs and sex of the culture. Was that difficult for you to be the underaged you know, man child? I mean, you're you're you're like Mozart, You're like this prodigy, but you're a kid and you're in this rule with some pretty I would imagine this pretty hard living people. Well, yeah, I was pretty much of a late bloomer. I had to really learn to drink, you know, people that expect you to. I think, so this is yeah, it doesn't matter your age, didn't really like you're in the army. Yeah, exact, you got to swear and drink, you know, and now do drugs. But I passed out so many times from anxiety attacks from part I'm trying to get please. But anyway, I managed it in the end, but not really. When I was with Humble Pie, what changed. I think it was my solo career and then getting to the point where it was surreal, we're gonna get that. But that was the time. So you with humble Pie and you're in England, Yes, and you perform with them for how many years? Seventy one? Four years? And well, how would you characterize that period for stuff? Did you enjoy it? Unbelievable? They were very popular Yes, in the States as well. Yes, that band brought me to America where that's where we started. I met I mean probably one of the first gigs I met Bill Graham. You know, you realized now when I look back, it was the beginning things of the creation of rock and roll shows. Truly. Bill Graham was the guy on how to do it live? Where would you record humble Pie in London? We recorded an Olympic in the famous Olympic where the Stones and Zeppelin recorded, and I did all my solo stuff there as well. Either there are Island Studios which Chris Black's place. You never recorded in the US? No, No, The first thing we ever did was record the live album of humble Pie at the film All and Why did humble Pie And a couple of reasons. I was feeling claustrophobic in the band because we started off very democratic and doing it all different types of music, and now our our stage act was narrowing and we were just doing more more of that heavy rock and roll, which I love. Don't get me wrong. That's my riff, I don't need no Doctor. That's me jamming the sound check in Madison Square Garden and Steve just jumped up on the stage and started singing, I Don't need no Doctor over that riff. He and I were very much singing, yeah, yeah, he's the one that says it's been a gas. Yeah, we go home on Monday. On Monday. But what I'm tell that he was probably a couple of years old, and when you feel claustrophobic white because we want I wasn't being able to do the music, all of this music that I wanted to do. Humble Pie started off really split between acoustic and electric. And also I was coming into my own and Steve and I fought like brothers. Yes, that's which we is why Humble Pie was so fiery, I think because musically it was phenomenal. You know, sometimes we degree and sometimes we just wouldn't agree. It was very sad for me because I knew it would upset them, but I just felt that I had to. It was time to go on. And did you know where you wanted to go? No idea, I knew that I was. I didn't want to form another band. I wanted to become a solo artist. Why because I wanted to make all the decisions, because I'm a complete control freak. Did you feel you wanted Yeah, you want to try things that. Yeah, I wanted to try things that maybe other people wouldn't want to try. You know, I wanted to do it. And I have to say that it wouldn't have been I wouldn't have had a solo career had it not been for Humble Pie. I learned so much from working with Steve Marriott. I have to hand him a lot of the credit for the sort of things that he introduced me to listen too as well, music blues and built black combo and stuff like that. That was really influential to me. So that's why it was a bitter sweet thing leaving. I wanted to leave, but I didn't want to leave. And then, of course, as soon as I left, the live album that I had a big hand in mixing because I'm the Gadget Freak in the Engineer with Eddie Kramer rock in the film or comes Out. I've left right at that point, and it zooms up the charts. It's Humble Pie's first gold record, and I'm going, holy crap, that's it. It's the first big blooper of my career. You know, I've made a big mistake. Seems like Dad's back on the job in the office game. I frammed him at this time, Yes, absolutely so. Then it was four studio albums before we did Comes Alive, you know, and a lot of a lot of touring and where are you living then? You still I was still living in England until seventy five, when I finished the fourth solo record in England and then moved over. I actually moved to New York and stayed at the Mount Kisco Holiday Inn on New Year's Eve. Yeah, it was beautiful, and found Bob Mayo Bob Mayo on keyboards from the live record in the band at the holiday and it's it's a long story, but yeah. So basically the first day of seventy five was I was now living in America. When you do Comes Alive, how much of the music on that is new music on an album. How much of it was stuff you mind from the previous four solo albums. It was basically all stuff that came from the four studio albums, and rock On from shine On was a humble Pie track that I had written. It was actually from five albums, So it's like six years worth of work mining that went into that one live record. And for people who don't know that live performance was recorded in multiple locations, are in one. Most of it was one location, which was winter Land in Sanrancisco of Bill Graham gig where The Last Wolves was filmed two nights before we'd played the Marine Civic Center and we've done two shows there, so we recorded that. I think a couple of numbers came from there, do WI I think comes from there, maybe one of the acoustic songs. But winter Land was the first big headline show we'd ever done, I'd ever done with my name on the ticket people were coming to see me for because the album right prior to Comes Live Just Frampton was the biggest one so far, biggest sellery had done, sold like three hundred thousand copies, which was mega for me. That was better than all things in that four album run. Prior to the live album in winter Land, things were getting better than the same that they were, but that one was definitely I'm setting me up. It was setting me up for something. How many nights at winter Land on one show? Okay? Okay, so stop, so let's cut the bullshit. Let's cut the bullshit. You're in winter Land, and would you say, and the show goes on what time? Eight o'clock, nine o'clock, nine o'clock, yeah, probably probably somewhere, and so somewhere between you pull up to winter Land and you go out of quarter to nine, the devil came in your room and made a deal with you. Correct, you signed a deal with the devil, showed up, poured himself a drink, sat down, said Peter. Peter, Peter, Peter, let's cut, let's cut. It was Peter Cook. Actually it was Peter Cook, and he's and he said, let's make a deal. And the devil makes this deal with you. Because what happened, First of all, there's probably, if I'm not mistaken, there wasn't people out there then. I thought they were set, but it's it definitely sounds like it. It's a big room. They go nuts when we walk out and it just takes you to a different level. You know. It felt good. It was one of those shows when you come off and you look at the band and you just go, I wish we'd recorded that. That was like so good man. And then we went who we did? You know? We did record that? We forgot we were do you see? The event was so much more important than the recording. I don't even remember the truck being there. The recording is June of five Minutes, released when we're still mixing right up for Christmas, and then it comes out, I believe on like January seventeenth or something like that, January nine or what happens? Well, I knew we were going to tour the whole year, so right after Christmas, I went down to the Bahamas for ten days and relaxed. Before I left, we had put one show on at Cobo Hall in Detroit, which is a big rum and that's all I knew. And so I go away and I don't call anybody. I'm just on the beach and snorkeling or whatever. I come back. We've sold four shows out, and I said, what happened? You know? And the album has just started to be on the radio, you know, and that's when everything just went went through the roof, you know, after all this time. People think it is overnight, but it's not overnight in the scheme of things. But but it's a huge leap for you. Yes, but it's not overnight success, but it is. It's a heady experience. Is it still the highest selling live album of all time? It's in dispute, yeah, but up there, yeah, because my record is only counted as one one album. Certain other artists had it made so that you could count um, if you released six CD live set, you can count it six times, while they didn't do that retroactively. So in my mind it's still the biggest selling and eventually how many albums did yourself? We're up in the seventeen million now seventeen million records of right, this is Alec Baldwin and you're listening to Here's the Thing back with more of Peter Frampton. When you come out of that experience and having this huge thing, I want to talk to you not about how it affected your career wise, because obviously that wasn't important. How did it affect you personally? Were you married at the time. I had a girlfriend at the time. I don't think anybody can be ready for that kind of success, and I'm pretty down to earth person. I take things as they come. As I said earlier to you, I was a late bloomer when it came to dulling anything. You know, it was almost unbelievable the amount of success. Get these phone calls in quick succession, your number one in in the charts, you know, and I'm going, wait a second, say that one more time, and who are you? And then within three or four weeks of that, I get the call saying it the biggest selling record of all time. You've just outsold Carol King's tapestry and it's um was that the time you thought of you had to start them in yourself? Yeah, it was crazy because people just wanted how to deal with that. No, it was very don't know how to deal with how people treat you differently exactly, and being always being respectful and and never really thinking of myself as anything special because I've never been That's just not my do you. I felt embarrassed that I was that this entity became it was me over here, you know. Yes, it was very hard to deal with. What were you proud of the record. Oh my god. Yeah, I'm still because it's one thing when people become famous and have, regardless of their of the ramp up, regardless of the whole timeline of their career, and then they have some sizemic event like that and they don't really deserve it. And me, in your case, you're great, I mean you really are phenomenal. But aside from your own gifts, who helped really really make the record roll out that way? Jerry Jerry deaf Well. I have to say Jerry and Hub for sticking with me as they stuck with Humble Pie too. They stuck with police. They stuck while police happen pretty quickly. But there's a lot of acts in those days that needed nurturing, needed nurturing, and it was like a club, you know, you come over here, and Jerry and Herb never told us what to write or what to record. They let us do our thing and find ourselves. And I have to say the Anthony the manager, was a great promoter. He wasn't terrific with finances, but especially mine. And then Frank Barcelona, the agent, who was if you want with Frank, you weren't anybody you know that was premier talent was the city handle everybody Springsteen, let's up, I mean everybody, the who, the lot? Everybody? Did that plague you with the I'm about finances? Did you find that that that you didn't get what you thought was fair? Well? I was ripped off, I mean. But but I would go back and talk to Bill Wyman, you know, because he's sort of like my mentor my my older brother. He said, we all get ripped off Stones the Beatles, we all got ripped off, you know, and then you learn and go and do it again. You know. I'll tell you why it happens. It's because I'm a musician. I'm a creative person. I've never done what I do for money. I'm stupid when it comes to money, you know. And you had a lot of money on the table, yes, so I trusted people to look after things for me, and they didn't. They took it. Did that change after you had the number one selling album in the world. But that's when it happened, That's when it started. And some people don't happen to over and over again. But I have a team now that I wish I had then, obviously, but and I become I actually treated myself in math a little bit after No, But it's you know what I mean, I have to blame myself as much as I blame everybody else. I mean, you most want to believe as I do, that that I couldn't do. You might not have been able to do the work you did on the level you did if your mind was on something else. Yeah, when something really big hits in the entertainment business, it's like feast or famine. It's either it's not a hit movie, record, whatever, and nothing comes in, or it's like a blockbuster and all this money comes in and it all comes into one place. And when you see a pile of money like this, it brings out thoughts that people didn't normally have before, you know what I mean. It's the the availability of all that cash all at once. You know that. Well, especially in the music business, because it's nothing like the music business for making money except for the fact that music is free. Now well, it's it is different now, yeah. I mean, you used to tour to promote the record, and now you make the record to promote the tour. The record is a giveaway, the c D is a giveaway. The dollars are in the live performing. Yes, that's how it is for you. Well, yeah, that's that's start. Yeah, And luckily my reputation is as a live performer, so it's been phenomenal for me. But it's hard work touring, but I love it, so that's not hard work for me. You came into New York recently and you did that at the Beacon here in New York. Yes, And how many shows did you do? For most of thirteen months, we were doing five shows a week, and it's a three hour show, so we were doing Comes Alive first, which is an hour and forty and then we were doing excerpts from everything else in my career as well for another hour and fifteen or you know, so it was we were killing ourselves. How did it feel? Well? It felt great. The first show we did was in New Jersey, the first time you did Comes to Live, first time we played it since seventy six, you know. And then the second show was the Beacon, the place one nuts. You know, they just went berserve. You know you're gonna do it again. I don't know whether I'll do the entire thing again, Comes Alive again, Not for a while anyway, damn it. No, No, you. We filmed it and the film it Yeah, at the Beacon and in what are youna do with that? Where is that going? It's gonna be a DVD. In fact, that's where I'm going on Sunday to go back home to my studio to mix the audio. What are you gonna do when you're gonna release it as a dis is a DVD? Now? Probably just be a DVD. And I don't want to do this on TV. Oh i'd love to. Yeah, have you got an in there? Maybe? Oh? I can't believe if it's a doctor. Are there any backstage footage? I've got the story and it's filmed of when my guitar was returned. What happened to that guitar? What's the story? Well, Um, first of all, we're talking about the guitar that's on the front cover of Comes Alive, which I got given to me by Mark Marian in seventy when I was playing the film or West with Humble Pie, and I was having a terrible time with the guitar that I had at that that night and Mark said to me, you know, I could see you having problems with that. You want to try my less Paul tomorrow. I said, well, I'm not really big on less pause, but okay, all right, anything is better than this. So he brought it to me. I played it. I don't think my feet touched the ground the entire That's the best guitar I've ever played. Fifty So then I played that guitar on Rock On and also of Humble Pie and also Rock in the film or that's the guitar I use on there. Basically I used that exclusively. It's the only guitar I play all the way through all my solo records and including Frampton Comes Alive. And you were never attempted to put that down. And that was it. That was married that. Yes, yes, it was just this one. I had a fifty five strat that I would always use for Show Me the Way because I needed a cleaner sound, you know. So that was that was on Show Me the Way. So then we get to touring South America. We just finished playing Caracas, Venezuela, and we had a day off, and so we flew commercially to a Panama waiting for the gear to arrive on a cargo plane. While it never got off the runway in Caracas, it crashed on take off, my road manager came to me. I'm having this huge meal on my day off with my wife at the time, and he said, I got some bad news and he says, the plane crashed on takeoff. I said, my guitar, he said, and like six people loading people, the pilot, co pilot, loading, inspector, all that. So I mean, yeah, people died. So that took precedent over everything. Then it put it in perspect div you know, and there's the pilot's wife sitting at the bar who doesn't know yet. It was horrendous. So anyway, we limped through the end of that tour basically with borrowed equipment. Sent someone down my guitar tech at the time a week later to see what was left. Nothing was left, supposedly, and what had happened. The tailor had broken off. Guitars were actually in a trunk in cases, and the way the story goes is they had a guard to guard the crash site the debris sid until the insurance people came down and he decided that the guitars would be much safer at his house. Yes, and then Caracas. Yes, in Caracas two years ago, which is thirty years thirty years later, I opened my info at Frampton dot com email because anybody can email me and I see them all. I opened up this one and there's a picture, a photograph of my guitar slightly singed, but but it's my laly sing right at the top, you know, slightly singed, but but there it is. There's a picture, and I thought could picture where in an email to me from someone who would got ahold of the guitar. As it happens in Kurasau, which is a little island off the coast of Caracas. Someone had sold it to this gentleman and he took it to someone who fixed guitars, and they knew what it was. And it took two years of a very gray area and was he's saying like, I don't want to get proceed. I want to get this guitary, but I want to go to jail. That was the thing. No one wanted to actually come money. It wasn't he wanted to. There was money involved, but he would have appreciated a gratuity. There was a reward talked about, but every time it would get close to someone coming in, they'd find something reason why they couldn't come in so that's why it took two years. And then in the end the guy actually checked to see if we had booked him a hotel because he just saw himself in handcuffs at Miami Airport. You know. He knew who had it, and the person who hadn't needed some money, and so he went to the tourist Bureau of Curasao and said, look, if you lend me the money or give me the money to go by this, I can find this. This is really great tourism story for Curasao. And and they did, and they came and the two of them, the tourism president of the tourism board from the government, and the gentleman who found the guitar, knew where it was, brought it to Nashville. We had three cameras as soon as he waited in waiting, and what happens while the two gentlemen walk in and he's got it in this probably one of the worst looking gig bags I've ever seen in my life, cheap, old plastic. He puts it beside him, you know, and he tells the story in broken English of how this person had it and the whole thing. He hands it to me and he goes Philip to Peter Philip so and I know that he knows because it was the lightest les Paul I'd ever played. So I just felt it in the case and who this could be it? You know, opened it up. I just looked at it and I just feel it like that. I go, it's my guitar. How badly was it cinched? Where just round the very top it lost the binding around the head stock? You get that replaced? No, I didn't. I left it. I've left it with its battle scars. Gibson made it playable, so we refreshed the caracas kiss and there is this sound the same. Does it feel the same. Yeah, And when I first played it at rehearsals with the band, everybody had this like cheshire cat grin on their face because it has the sound and it sounds like Frampton comes alive. You know, you don't have to try too hard. And you got that back when I got it back. Just before we started touring in February and March for the last American leg, I used it a little bit at rehearsals, and then I brought it out for the first night at the Beacon. I think the guitar is more famous than I am now, So you were meant to play that music with that guitar. Yeah, And I remember saying someone that before I went out that night. I just hope emotionally I'm going to be able to play it. And I brought it out for Do You Feel? And I messed up the first leg because I couldn't believe I was playing how can you fumble dead? Or me? I did? It was like meant to be, you know I And once I got it was saying to me, come on, get it together, you know, And yes, it's I'm now get over it, you know. Peter Frampton has just completed his thirty fifth anniversary tour of Frampton Comes Alive, and says he plans to release the DVD this fall. In addition to celebrating his past, he's also busy with new projects, including a collaboration with the Cincinnati Ballet, which will debut next spring. What music do you listen to? Now? Who do you like? Um? Right now? This week? Band of Skulls. My son telled me onto and daughter tell me onto them. And I went to Coach Ella I saw Radiohead. I still I'm a Radiohead fanatic. I just loved them. I think they're so not mainstream, but they became mainstream because they're just so unique. It was an eye opener for me to go to Coach Allen with my daughter who's sixteen, and just have fun. MH, this is Alec Baldwin. And if you haven't figured this out by now, I'm one of Peter Frampton's biggest fans. H. You know, I haven't said this too many people who come and down this show, but I can't thank you enough because your music is so important to me. Thank you, and I have listened to you and I have loved your music, and you're playing for so long. I mean, it's like it's such a part of my life. You are great, great, welcome. Thanks. Here's the Thing is produced by Emily Boutine and Kathy Russo, with support from Jim Briggs, Brian Cosgrove, Wendy Door, ed Herbstman, Melanie Hoops, Monica Hopkins and Arianna Pacari. This is Alec Baldwin and you're listening to Here's the Thing.

Here's The Thing with Alec Baldwin

Award-winning actor Alec Baldwin takes listeners into the lives of artists, policy makers and perfor 
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