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Peter Frampton has still got it!


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Frampton personally enforces "No Camera" policy

http://www.onstagemagazine.com/frampton-personally-enforces-camera-policy1/

https://music.yahoo.com/blogs/music-news/what-made-peter-frampton-confiscate-a-concertgoers-camera-phone-and-throw-it-002452952.html

Peter Frampton doesn't need security to enforce his no flash photography or videotaping during shows policy. He is capable of handling it himself, as he proved earlier this week during a concert at the Palladium in Carmel, Indiana.

A couple who reportedly arrived late to the event, missing the pre-show announcement forbidding flash photography and videotaping, upset the legendary rocker as they repeatedly broke the house rules, even after being asked to stop, Onstage Magazine reports.

According to OnStage, Frampton not only gestured for the couple to stop, he also objected to the male in the party taking a selfie as he played in the background. "The male from the front row was even stupid enough to back up to the stage and get the girl to take a 'selfie' of him with Peter," OnStage reports. "Peter quickly turned around and turned his back to the audience and played that way for several moments, 'But still, the offenders did not get the message.

As the behavior continued, Frampton eventually smiled and gestured for the male to approach the stage, according to the report. When the concertgoer obliged, Frampton leaned over and asked, "Hey can I see that? Can I see the photos you've been taking?" OnStage reports. "The guy hands him his phone and Peter stands up, spins, and flings for the rafters. Yes! The phone went flying to the back of the stage and we all erupted in cheers! With years of experience playing guitar, we just knew he had a great arm."

Edited by luvlz2
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People taking pictures at his gigs might annoy him and all that, but really, it sounds he his just a wee bit sensitive about his art. I hope if people start crowdsurfing that he has a similar reaction because they piss me off a lot more compared to an excited dude or his chick taking a selfie

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People taking pictures at his gigs might annoy him and all that, but really, it sounds he his just a wee bit sensitive about his art. I hope if people start crowdsurfing that he has a similar reaction because they piss me off a lot more compared to an excited dude or his chick taking a selfie

I understand people wanting to take a picture, and film a song or two, but people need to learn to just enjoy the moment. I am convinced these relentless Iphone people don't really enjoy the events they go to but just want to brag about them to their friends. I think it's great that, after the excited "chick" and *her* dude wouldn't stop after being asked politely, he did what he had to do. A concert at a venue is a private event; in the US anyway it is not considered a public space, and there is no right to film or photograph it.

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People taking pictures at his gigs might annoy him and all that, but really, it sounds he his just a wee bit sensitive about his art. I hope if people start crowdsurfing that he has a similar reaction because they piss me off a lot more compared to an excited dude or his chick taking a selfie

I doubt you have to worry about crowdsurfing or moshing breaking out at a Peter Frampton concert.

Funny this thread popped back up again, for I have been considering whether to go to the Buddy Guy/Peter Frampton concert at the Hollywood Bowl on August 27. I always enjoy Buddy Guy's shows and I haven't seen Peter Frampton live in years. He ain't getting any younger...this might be the right time to see him for the last time.

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People taking pictures at his gigs might annoy him and all that, but really, it sounds he his just a wee bit sensitive about his art. I hope if people start crowdsurfing that he has a similar reaction because they piss me off a lot more compared to an excited dude or his chick taking a selfie

I don't blame him. It's very arrogant for them to act as if the rules don't apply to them; they're not that special. Too many concert goers act as if the price of their ticket entitles them to be inconsiderate of the artists and other concert goers.

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Peter Frampton's First-Ever Acoustic Tour To Hit Phoenix

peter-frampton-acoustic-gregg-roth.thumb

 

The Phoenix.

 

A symbol of revival, of taking something that once was an all-powerful force and giving it new life. Phoenix, like the name of legendary guitarist/songwriter Peter Frampton's favorite guitar (lost, reunited with Frampton 30 years later, and actually spelled "Phenix"). Also the name of one of the cities where Frampton chose to kick off his first-ever acoustic tour. But the British great isn't trying to reinvent himself -- no. He just wants to remind you how to "feel like I do."

 

Frampton's career started when he was still a kid. By 15, he was in the Preachers, managed by the Rolling Stones' Bill Wyman. By 16, he was in the Herd, a London act with countless hits. By 18, he had helped form Humble Pie, one of pop music's first supergroups. And by 21, it was clear he even had an ear for refreshing solo material. He solidified his stature in rock music with his 1976 breakout live release, Frampton Comes Alive!, which sold more than 6 million copies in the U.S. alone.

 

Frampton has accomplished much in quest to appeal to multiple generations of fans, regularly releasing new albums and dabbling in collaborations (from David Bowie to Pearl Jam's Mike McCready) and appearing throughout pop culture (The SImpsons, the Oprah Winfrey  Show,  and Geico commercials). He even served as technical advisor on Cameron Crowe's Almost Famous and taught guitar to the film's star, Billy Crudup. Look closely; Remember that scene with the road managers' annual poker game, where Penny Lane (played by Kate Hudson) is sold for case of beer? Frampton appears as "Reg," Humble Pie's fictitious road manager.

 

 

Now, fresh off a co-headlining tour with Cheap Trick (where he undoubtedly put his electric guitar skills to good use), Frampton's embarking on a new venture: a tour and album tailored completely to the acoustic guitar -- two firsts for the musician.

 

"People have been trying to get me to do it for ages," Frampton says. "I thought, I don't know. I need the band. I need electric. But then I thought, Well, let's try it. It has to be very intimate. My writing partner of 15 years, Gordon Kennedy, will be joining me, as well as my son Julian. And it's a completely different experience!"

 

While kicking the tour off in Arizona makes sense routing-wise -- it begins March 9 in Tuscon and heads to Phoenix March 10 -- there are other reasons Frampton is looking forward to the Phoenix gig.

 

"I lived in L.A, and after an earthquake, I moved to Scottsdale in '94," Frampton says. "I lived in Arizona for a year, and family reasons moved us farther east. But I miss every sunset, you know? The sunsets are unbelievable in Arizona."

Frampton didn't finish the new album, Acoustic Classics, until he returned from the Northeast and East Coast legs of the tour in late 2015. The album was released February 26 and features 11 unplugged versions of the artist's most popular songs. Tracks include "I'm in You,' "Show Me the Way," "Fig Tree Bay," (from his '72 solo debut, Wind of Change), the new track "All down to Me," and, of course, "Do You Feel Like We Do.'

 

Many people never forget the first time they heard Frampton. For me, it was "Do You Feel Like We Do," the almost 14-minute recording from Frampton Comes Alive! In fact, it was one of the songs that Frampton was most nervous to record acoustically in the studio -- and not just because he had to reduce it to eight minutes.

 

"It's so iconic. Whether you go, 'Oh, not that song again,' and you change the channel because it's so damn long or it's, 'Oh, I haven't heard this in 20 minutes,'" says Frampton, laughing. "I should be so lucky; I shouldn't be mocking it. Anyways, there's so much soloing going on in it, and I originally wasn't going to use the talk box on the track. I didn't necessarily think it was going to be a good idea."

 

Frampton also was surprised by the challenges he faced while recording.

 

"I wanted these songs to come easily. Like, if I was hanging out and I brought you over and said, 'I just wrote this song last night,'" he says. "I would record a song in the morning, and come back in the afternoon, and think 'Where's the band? That's not the performance I was looking for.' I actually had to reverse-engineer my songs ot get what I wanted."

 

"Do You Feel Like We Do" is a song that clearly defines why people fall in love with the guitar -- the feeling behind it, the layered textures, the unique sound. While it was the only sound Frampton wrote about hangovers (probably "when he was hungover," he adds), it shifted something in the musical landscape. It was a song on an album that made people conncect with the authenticity of a performance and the personality of an instrument.

 

 

It's tracks like that, along with the others on Acoustic Classics, that Frampton thinks provide that feeling to listeners everywhere -- or so he hopes. The feeling was evident back then, and the goal is that it will be now as well. It's achieving that feeling among music fans and an audience that challenges Frampton and his desire to bring intimacy back to shows.

 

Frampton feels that intimacy  (along with the connection to the music and instruments) has been lost. This is due in part, he feels, to technology. Most artists can't stand that an audience brings out their phones for video and photos, choosing to watch them through a tiny screen, he says.

 

"Take photos and video during the first three songs, then put your phone away," he instructs. "You want to make them part of the show. That's what I've always tried to do. As soon as they pick up their camera, they've left the room. People say, "Well, I just take them for the memories." But how many times have you watched that video?"

 

Another thing Phoenix fans can expect: a glimpse of Frampton's signature guitar that he recovered about five years ago after not seeing it for 30 years. It made the cover of Frampton Comes Alive!, but after a plane crash while on tour in South America in 1980, it disappeared. It reappeared in the Caribbean after a local guitar collector spotted it and contacted Frampton. The singer basically won't let it out of his sight now, and he plans on using it to play a few songs: "It's just got a sound. When I first brought it back to the Frampton Comes Alive! 35th anniversary tour, people were craning their necks when I started playing it. There's a sound that pairs with that guitar that people just know."

 

His love for the instrument -- and itch to write new music after spending time revisiting his classics in the studio -- has him picking up the instrument even more frequently now.

 

"I don't play to play what I played yesterday," Frampton says. " I pick it up to play something new."

Phoenix New Times

 

 

Edited by luvlz2
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16 minutes ago, luvlz2 said:

That's a shame. I wish him the best. I learned to appreciate Peter Frampton more in his later years than in the 1970s. He seems a genuine nice guy.

The biz is full of acts that rose swiftly to fame only to suffer ignominious falls due to greed, ego, or sheer bad luck. Billy Squire, Quiet Riot, The Motels. 

But unlike, say, Kevin Dubrow, who never learned from his mistakes and remained an asshole throughout his life, Peter Frampton was able to keep a proper perspective on things and not let himself become a bitter old man. He just kept his focus on the music.

It's easy to root for a guy like that.

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