Peter Frampton Biography, Age, Wife, Children, Sons, Albums and Songs

BIOGRAPHY OF PETER FRAMPTON

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

CAREER OF PETER FRAMPTON

At age 7, Peter Frampton began to take an interest in music. He found a Banjolele in his grandmother’s attic and taught himself to play it. He also learned to play guitar and piano. He started taking classical music lessons when he was 8 years old.

He first played in a band called ‘The Little Ravens’ when he was 12 years old. He started to rise to fame as his skills were still growing and more and more bands hoped for him to join their team and at 14 he played with The Trubeats and later joined The Preachers as a member of their band.

His skills grew and his professional life brightened as he became a successful child singer and in 1966 he became a member of The Herd. In The Herd he was the lead guitarist and vocalist having several of their songs becoming UK pop hits. According to teen magazine titled The Rave, he was named “The Face of 1968”. In 1968, he left the group.

He joined Steve Marriott in 1968 to form their own band called ‘Humble Pie’. Before leaving the band in 1971, they had recorded four studio albums and one live album.

He started his solo career in 1971. He released his first album ‘Wind of Change’ in 1972 which featured guest artists like Ringo Starr and Billy Preston. He later released his second album ‘Frampton’s Camel’ in 1973, in which Frampton worked as part of a band project.

He joined Ringo Starr and his All Star Band in 1997 until 1998 when he quit.

Frampton was involved in a near-fatal car accident in the Bahamas in 1978, where he suffered multiple broken bones, a concussion and muscle damage. The pain of the accident was a huge blow and a transforming factor in his life, which led to a brief period of drug addiction.

PETER FRAMPTON BAND MEMBERS

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

PETER FRAMPTON AWARD

• 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 found the Gibson electric guitar he played on ‘Frampton Comes Alive’, three decades after it was presumed destroyed in a plane crash.

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

Someone tore it from the burning wreckage and then sold it to a musician on the island of Curacao in the Netherlands Antilles. The guitar was returned to him in December 2011 after a two-year negotiation involving the local musician who had the guitar, a customs officer who repairs guitars in his spare time, a die-hard fan of Frampton in the Netherlands and the head of the island tourist office. .

PETER FRAMPTON AGE

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

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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 then divorced in 1993.

On January 13, 1996, he married his third wife Tina Elfers with whom they had one daughter, Mia Frampton. Frampton filed for divorce from Elfers in Los Angeles, California on June 22, 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, California.

PHOTO BY PETER FRAMPTON

Peter Frampton on stage

PETER FRAMPTON ALBUMS – PETER FRAMPTON DISCOGRAPHY

• 1976: Frampton comes to life!
• 1981: Breaking All the Rules
• 2016: Acoustic Classics
• 1973: Frampton’s Camel
• 1972: Winds of Change
• 2006: Fingerprints
• 1995: Frampton comes to life! 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: Show the Way
• 2003: Pacific Freight, EP
• 1980: Rise Up, EP
• 1974: Something’s Happening
• 1977: I’m Into 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: Complete on Frampton, EP
• 2008: All I Want To Be Is By Your Side, EP
• 2011: Peter Frampton and Friends, EP
• 1996: Greatest Hits
• 2016: Love Cup, EP
• 2008: Influential Blues Greats, Vol. 3, EP
• 2010: Love Talker, EP
• 2008: Love Taker, EP
• 2012: Going Home, EP

SONGS BY PETER FRAMPTON

• Do you feel like us
• show me the way
• I like what you do, honey
• I am in you
• Lines on my face
• Money
• While my guitar is softly crying
• It’s a shame
• doobie wah
• All I want to be acoustic
• I want to go to the sun
• Something is happening
• I can not stand it anymore
• Signed sealed delivered
• Jumping Jack Flash
• hummingbird in a box
• black hole sun
• nowhere is too far
• heart online
• penny for your thoughts
• day in the sun
• Shine on
• I saved a bird today
• I don’t need a doctor
• I think
• The crying clown
• White sugar
• Just the time of year
• Break all the rules
• It’s a sad affair
• The day of dawn
• Won’t you be my friend

PETER FRAMPTON ACOUSTIC CLASSICS

• fig tree berry
• wind of change
• All I wanna be (is by your side)
• show me the way
• Lines on my face
• Sail away
• Baby, I like your way (acoustic)
• all mine
• penny for your thoughts
• You feel like me
• I am in you

PETER FRAMPTON INTERVIEW WITH LAS VEGAS MAGAZINE

On the eve of his new tour with longtime pal and fellow guitar extraordinaire Steve Miller, Peter Frampton spoke with Epiphone about growing up in Bromley, Kent, playing Buddy Holly songs over lunch with his classmate David Bowie at Bromley Technical High School where Frampton’s father was a chef. from the Art Department, the amazing story of his legendary “Phoenix” Les Paul, and the purchase of his beloved Epiphone Texan.

Peter Frampton was born in 1950 and, like most young Englishmen, he was very young for the sounds of skiffle and American rock. He first tackled his grandmother’s banjolele before switching to guitar, and throughout his teenage years he played in various bands, including The Preachers, which were briefly managed and produced by the bassist of the Rolling Stones Bill Wyman. In 1968, the 18-year-old Frampton joined Humble Pie, the new band led by former Small Faces guitarist Steve Marriott, which not only helped solidify Frampton’s growing reputation as an exceptional player, but the also introduced future lifelong friends who were the biggest stars of the London rock scene, including Ringo Starr and a young Steve Miller with his producer,

Most music fans are very familiar with Frampton Comes Alive (1976), the phenomenally successful live album recorded at San Francisco’s Winterland Ballroom that launched Frampton into stardom. But despite all of his beautiful hit singles – which still sound as fresh today as they did 40 years ago – fans would do well to revisit Frampton’s work with an ear not just for his inspired guitar playing, but also with the energy that comes from his work. Mr. Frampton never lost his enthusiasm for his chosen profession. And like the best of his generation, he still approaches the making of an album as a kind of exercise in writing the great English novel.

He is an inspired craftsman and his fervor seems to be intact. He’s also a warm and funny conversationalist and still finds wonder in the old stories he’s told many times, including the tale worthy of his Les Paul trademark — The Phoenix — which is said to have been lost in an accident. plane and returned to him 30 years later. Frampton and Epiphone have some good news ahead, but for now this conversation has focused on Frampton’s new tour and the never-ending odyssey of honing his personal touch on the guitar.

Thanks for speaking with Epiphone.com, Peter. I understand you recently tried out a new Signature model.

That is true! I played the prototype on a UK TV show the day before yesterday and it looked amazing. I am so thrilled and honoured.

What are your memories of buying your Epiphone Texan?

When I was about to have our first recording session for Humble Pie in late 1968 I loved Steve Marriott’s guitar which was an Epiphone Frontier so I asked Dave, the tech of the guitar – even if he was the “all technological”. there was only one at the time (laughs). I asked if he could go get me one like this because I loved it. He came back to the studio and said, “I couldn’t get one but I got this Texan.” And I played and loved it. And if we fast forward to the first time I spoke to Dave Berryman, I showed it to him and said, can you get away with this for me? He said sure and said it was a 64 and that was 3 months away from Paul McCartney! So it’s the same year. His was blond and mine is a ray of sunshine, a very beautiful ray of sunshine. And so I didn’t know that until probably 10 or 15 years ago. He did ‘Yesterday’ on his and I wrote ‘Baby I Love Your Way’ on mine.

Not bad at all. That seems right!

I think so, don’t you? I also wrote all the others on this guitar. Because at that time you had an acoustic and an electric. It wasn’t like today. Well, I didn’t have the money! If I wanted another electric or acoustic, that one had to go – if you wanted to blame yourself. It needed a partial exchange, as we called it. It was a wonderful choice. It’s on all Humble Pie stuff. If I play acoustic, it’s guitar. And on all my solo stuff up to 1980.

What memories do you have of shopping for guitars in London when you turned professional in the late 60s?

I will come back later if you don’t mind from the first time I went to Selmer Shop in Charing Cross Road. Now it was a huge music store – sold out, the big daddy of all stores. My grandmother, once I started playing the banjolele – the banjo-shaped ukulele she gave me, all I wanted to do at the time was a Stratocaster…unfortunately (laughs). It was because of Buddy Holly and Hank Marvin.

Do you remember the Buddy Holly songs you played with David Bowie when you were kids?

Probably ‘Maybe baby’, ‘Peggy Sue.’ These two I remember. “Ting-A-Ling.” I mean all. I didn’t know Buddy like David Bowie and our friend George Underwood. My dad was the head of the art department so they both studied with my dad. And it was George who did the cover of Ziggy Stardust and also gave Dave two different colored eyes. Because he punched her.

My father also taught him how to box because my father was a boxer during the war. In addition to being head of the artistic department, he thought of creating a boxing club! So George went to class, but David didn’t. I believe David took George’s girlfriend for the weekend. I remember Monday afternoon when my dad came home to school and said, you’ll never believe what just happened today. I just went to the hospital with (David) Jones and he almost lost his eye. Underwood gave him a right hook and everything is terrible. ‘

So anyway, my grandmother took me to Selmer. And I remember all the Gibsons and all the Fenders were in those windows. You couldn’t touch them. And I remember just fogging up the glass, you know? Because I was probably about 4 feet tall, breathing heavily, drooling through the glass. And I will never forget that day. It was in 1959, 1960 when she did that. That was before I got my very first electric guitar. I remember a lot of Fenders but I don’t remember as many Gibson or Epiphones.

At some point did you decide that the Les Paul was the sound you were looking for?

It’s a special story. I had been playing an SG, which I picked up after all these years – a ’62 SG – with the Mahogany block behind the bridge. And I was playing that on Town & Country, Humble Pie’s second album. I played that on just about everything and live. We were on tour in 1970 somewhere between New York and Los Angeles as we made our way. I had this 335. So I traded in part of the SG and paid more money for this 335. I still only had one guitar! I was playing a soundcheck at the Fillmore West. I believe we were opening up to the Grateful Dead. And every time I turned up the guitar – we were so loud – that all my solos were just a big feedback. And it was very demoralizing. So, a new friend we had made in San Francisco before I think, Marc Mariana, came up to me after the first set (we did two shows a night there for three or four nights) and said, Peter, I don’t couldn’t help notice you were having a little trouble, I have a Les Paul that I just had Gibson redo. I just got it, do you want to try it tomorrow? I said I had never been a big Les Paul fan. I was more of an SG guy. But what the hell did I say? It’s wonderful, thank you very much. I have a Les Paul that I just had Gibson redo. I just got it, do you want to try it tomorrow? I said I had never been a big Les Paul fan. I was more of an SG guy. But what the hell did I say? It’s wonderful, thank you very much. I have a Les Paul that I just had Gibson redo. I just got it, do you want to try it tomorrow? I said I had never been a big Les Paul fan. I was more of an SG guy. But what the hell did I say? It’s wonderful, thank you very much.

So the next day, he comes to the hotel, we meet at the cafe. He pulls out the case and opens it and there is the “Phoenix” – what would become the Phoenix. It’s a 1954 Black Beauty that was routed for three humbuckers. Once he did that, he sent it to Gibson to be refurbished. And he just picked it up, so it looked brand new. It sounded like a 1957 Custom. It was very light for a Les Paul — Mahogany. I tried that night and I don’t think my feet touched the ground all night. It was one of those spectacular moments when I realized this guitar was just amazing. So he let me play for the three or four night stand at the Fillmore West and then I gave it back to him and I was like, look, I know that’s a dumb question, but do you think you would ever think of selling it? He said no’. I started to say, well, I knew that but thank you anyway. He said, ‘I’ll give it to you.’

So Marc Mariana! He is still one of my dearest friends as you can imagine. And I was just beside myself. When Gibson did their limited run, I gave him #1 because I think he gave me the real #1. I couldn’t thank him enough. He has the royal box every time we play in San Francisco!

You mentioned how difficult it was to hear yourself on stage in the late 60s and early 70s. Now that PA systems are much more sophisticated, does that give you the freedom to go out more instruments on tour rather than sticking to one or two?

For me, sound has always been incredibly important, so the sooner we could improve the audio and the technology, I championed all of that because I always wanted the sound to be as close to the record as possible. Plus, like the disc, but more so, because it’s live. As things evolved and I had the big rig and stuff, programmable switching and stuff—MIDI controlled effects and stuff—I was able to do a lot more and switch guitars. I probably carry about 12 guitars I think, but I probably use 3 or 4 during the show. My tech would probably say more (laughs). I go through phases – lots of Phoenixes, my Les Paul Standard, and I have a 335 – funny enough – that I love. These are probably the three electrics I play the most on stage and of course the Epiphone Texan. Then I also have a French Gypsy Jazz guitar called Dupont. It’s probably one of my favorite guitars of all time. Simply because I can look like Django even though I could never play like him. I really sound like him! I played it to my brother for the first time this weekend while I was in London and he just couldn’t believe how authentic the thing sounded. If Django was alive today, I’m sure he would be playing one. Simply because I can look like Django even though I could never play like him. I really sound like him! I played it to my brother for the first time this weekend while I was in London and he just couldn’t believe how authentic the thing sounded. If Django was alive today, I’m sure he would be playing one. Simply because I can look like Django even though I could never play like him. I really sound like him! I played it to my brother for the first time this weekend while I was in London and he just couldn’t believe how authentic the thing sounded. If Django was alive today, I’m sure he would be playing one.

What have you been listening to lately as inspiration for touring with Steve Miller?

I usually don’t change my listening habits. Of course, there are new guitarists coming in that I listen to. I was just talking this morning to Robert Randolph – obviously a pedal player. I listen to everyone. I always listen to Freddie King, BB King, Albert King. I had the great honor of playing with BB King for an entire tour when he opened for us on our Guitar Circus tour a few years ago. Maybe one of the last tours he ever did. And I sat with him. He always asked her to play ‘The Thrill Is Gone’ with him. I mean it was just fantastic. As for new players, I always have an open ear for anyone who plays it.

Will you be working together with Steve Miller on the tour?

We do about 3 or 4 – and sometimes more – numbers. He invites me on his stage for his set. We do blues numbers. I will sing as a couple this year with him. The strips mold into one. I think it’s so much more fun for the audience. Steve and I have known each other for about 71 years. Met in London. Presented by Glyn Johns, the engineer. We have such a great history as friends and musicians. It’s a wonderful show and it’s one of those tours where people come for both acts. That’s why we’re starting over. I’m eager to.