Peter Frampton

So I'm very very lucky. And therefore when people say, well, you did the finale too, now you're doing another, and now you're doing another too, well, I have to wait until I can see how my hands are going to be, and then we just have to guess that it'll be okay by the time we booked the tour. So that's the way it's been. So that's why I can't put together something too far ahead. But I'm doing good.

You know. So. But but as I'm very pleased to say, I feel like we're in a We're in a plateau right now, which is very handy.

a guitar and it's there. So the problem that, the only problem I'm having is that the pressure to put push down on the strings and to bend notes. So I work on I practice that every day, obviously, and so far it's it's remarkably good. So I have to say that, even though if you see me walking with a cane and everything, oh my god, he's really you know, things have gone down south, you know, so, But then no, it looks bad. But when I when I sit down and I play, it's fine.

of course ALS. The doctor when he told me I had IBM but needed confirmation, he said, I'm glad to tell you that you have IBM and not what I thought you had, which was ALS. So that was a huge bonus, but still scary, you know, obviously, because I'm thinking, wow, I play guitar, you know, and that was not a good feeling when I first heard it. But I'm this eternal optimist. My kids say to me, Dad, how come everything, little tiny things really like that should be over there? This,

why aren't you doing that? This is you know, the bike should be over there in the garage. But the big things don't bother.

money in for this wonderful fund. It's it's a lot of money now and it enables Johns Hopkins and the Maya Sidis Clinic to be able to hire all the people necessary to do the next trial drug trial that comes along. So that is really really helping, and I have to thank everybody for doing that. I know a lot of people have donated because someone in their family has it, or you know, they know they they want

to help me, which is unbelievable. But a lot of people who and it is a very boutique disease, boutique in this case meaning few of us compared to Parkinson's cancer, dementia. You know, this is a they say fifty to seventy five thousand people in America, whereas the others I've mentioned are exponentially larger. You know, So yes, it's just something that.

couldn't come anywhere they're close. So those two things sort of said something to me, and I said, I don't know, maybe I'm wearing my jeans too tight. It's stupid stuff, you know, and all the things you think because we're not a doctor, and I've never played one on TV either, so but I mean so anyway, Unfortunately, what happened on the tour was someone you know, as they do, kicked a huge, you know, three foot foot beach ball up on the stage, and as you do, you go over

and you kick it back to them. You know, well, this one of these balls is like light as air, and I went to kick it with my right foot and I went I fell backwards, and so we all laughed. We all thought it was highly hilarious. He's fallen and he can't get up, you know, the whole the hole, where's the beef, the whole thing, you know. So uh, and so that was, you know, I thought, well, something's going on here. But then two or three weeks later, I bent down on stage and I still use a

guitar chord. I hate wirelesses and doesn't sound good. And my cable got shorter as I got to the ground and I stepped on it and then I went to stand up, and of course it kept me and I just went back again. So there wasn't so much laughter this time. And we had a ten day break coming up, and I decided. My doctor said, you need to see

a neurologist. Let's see what's going on here. And so I went see the neurologist on the break and he the initial diagnosis was IBM and he said, so I said, well, okay, what do I do now? And he said, you call up doctor Christopher Stein at Johns Hopkins make an appointment, and she's the head of the Myacidas clinic and in this country, well in Johns Hopkins, and so I did. I went up and had a painful test that they do with electrodes and stuff to find this the it's inclusions.

They're looking for these little tiny round things that are inside my muscles, and so in order to prove it one hundred percent, I had to have a muscle biopsy and where they found the most inclusions was in my arm up here, so I have a little little scar there. And but I have to say, as an aside, someone

knew that I must be a guitar player. Because as they wheeled me into the operating room, or as we say in England the operating theater, Django Reinhart was playing and I said, all right, then, who's read my bio? So and I they said that that the nurse said, as soon as you were unconscious, the doctor said, let's get this shit off and let's put on some conws. So anyway that might be not an untruthed but it's

a good joke. But so anyway, yes, and of course the the the test came back and it was positive. So I continued, and I didn't say anything for about four years until I went on vacation with my daughter Mia and we went to Hawaii, went to Maui and some people took us out on their boat, which was very nice, and I fell on the boat and I I broke a bone in my back, and I said, I think I ought to slow down here. Now this

is getting a little crazy. So I was the next week, I was going up to New York to meet with Ken Levitton, my manager, and we were shopping a book deal. We were looking for a publisher, which we found well in between in each cab, right between the publishers. We were talking and and I said, Ken, I think I think we You know, we were scheduled to do a tour, a co headline tour with Alice and a dear friend, wonderful man and friend for so long, and his lovely wife.

And Ken said, I think we ought to cancel that and make this your finale tour, because if we don't know how long this, no one has any idea. That's the problem with this. So no one had any idea of how long I would be able to play. And I had always thought I don't want to be one of those guys that goes out and can play one note. And you know, I said, I want to quit while

I'm doing well, and I'm playing well. And then when we did the after the Finale tour, we got shut down because it was twenty nineteen, we did American Canada and we were going to play the Albert Hall and the rest of England and Europe in May Well got shut down in March. Everybody got shut down. So I thought, I'm never going to get to England to you know,

say goodbye to the old country, you know, Blighty. And it was a little disappointing, but I said, you know, everyone has the same situation right now as far as not being able to work, so I can't. That's it's something else I have that means so much to me, obviously.

And so when COVID two and a half years later, my agent dangled a Royal Albert Hall date at me and I said, oh my god, well, I don't know, I don't know if I can do this, you know, so or by the time it was a few months before, you know, because you have you have to book it in advance. So that's always the problem, you know, I

can book it now. But will I be okay? Then? Well, I made sure that I was okay because that's the way I am, and I don't let stuff get to me too much, and my moments don't get me wrong. But practicing and has my playing changed, I would say to myself, Yes, but what I'm playing now I think is almost better. It might not be as fast, but

it's less notes, more soul. And I just we started rehearsing and I was just having the time of my life, you know, So I thought, well, because it it gives me so much enjoyment, I'm gonna whether I can play like I could before or not. If I like what I'm playing, it's okay. But when I get to the point where it's like Kim and Pete, that's that's not good,

then I'll stay home. But right now, I still feel that I've got uh at least this tour, these four weeks in this in the spring, and I know it's going to be great.

I'm at. I don't think I could actually I'm not sure I could actually cohabitate with anybody anymore.

in Manhattan with her husband Sat Jade and Sam. They got this wonderful small place up in Manhattan on the east Upper East Side, and they were in Seventh Heaven and then Jay got pregnant and she gave birth on April the sixth, twenty twenty, in the absolute peak of Manhattan's COVID, which, if you remember, it was the worst place in the country, and only that morning did the governor give partners or husbands or white whatever permission to actually be in the birthing room while so she was

allowed to have her husband in there. Sam was allowed in, but as soon as el was born, he had to leave. And there wasn't a lot of help for Jay because all the nurses were you nowhere in the hospital dealing with what was going on and anyway, So as soon as she got home and spent a couple of months home in the apartment during still during COVID, I get the call we're moving. I said, what, but you said you'd never leave Manhattan. You're just Sam group was born

in Manhattan's yeah, now with the baby. I said, well, where can you be moving to? She said, Nashville. I said, oh my god, that's fantastic. I said, great, we'll get your place around the corner. And we did. We've got them a house around the corner. And so I see my granddaughter and my daughter and her husband, the family. I see them just about every day. And my daughter

works for me. Now. She left her job in Manhattan and she's got a full time job with l obviously, but she works part time for me and comes over and helps me during the day. So I'm okay. At some point, I probably we will need a nurse or someone at night, you know, to to help me. But as of the moment, no, I've I've got the family here, so I'm I'm very lucky.

like that, which was right up my alley. So but and then at one point when we lost George Harrison, which was November. I forget exactly the year.

the headliner. And so it was very very successful and we raised a lot of money and that that the night before I called the band members up and I said, look, I think I would like to do a tribute to George at this show and for the last number, can you all listen to while my guitar gently weeps, And we rehearsed it at the soundcheck, and we did it that night, and the audience didn't shut up. I mean, it went on and on and on and on and on. It was so emotional because we only a couple of months.

This was in January, we'd lost George in November. I think, so very emotional. But we've played that number every night ever since as the last a kiss off, as it were, saying goodbye to everybody. And yes, so Cincinnati was very important in many ways. I mean, I had a wonderful studio in my house in my basement. I recorded three of my albums there. So yeah, it was. It was

very instrumental in my career at that point. But when finally I we got divorced, I ended up with the house and there I am in this wonderful house with the studio in Cincinnati. But I'm living alone now, and I thought, well, I'm going to just move back to Nashville. So I said, we're all my museo friends are, and and so that that's why I moved back down here.

And I didn't build a studio this time. Well this is my music room, but I bought a studio because at that time when I bought here, two thousand and eight wasn't too far in the distance, and things had plummeted obviously, so and studios, smaller studios were while they weren't getting so much work because everybody's got pro tools on their iPad, you know, in the bathroom, you know, let alone the garage. And so someone said to me,

you should go. And I was looking for a place to just dump my recording stuff in a room somewhere in rent space, you know, And and so someone said we should go and look at the studio. So I said, well, I can't buy anything, you know, I just bought a condo and so anyway, I went there and fantastic place, you know, so and I thought, oh gosh, wouldn't this be amazing? So I said, so, who's your business manager to the owner and he said, Gary Haber. I said,

that's my business manager too. Maybe we can work something out. So he needed something, I needed something, and I ended up with the studio for a very fair price. And I still have it now, and it's it's been improved, and lots of people recording there now so apart from me, so it's it's phenomenal. So I'm I'm a studio owner in Nashville.

friends and lifelong friends. Maybe we should have met later on, but I think that. And then yeah, my point is, so I go straight from living at home to living with my girlfriend get married. Then that ends. I moved straight in with another girlfriend. We don't get married, thank god, and then that ends viciously. And then I was alone for a while and let's see, yes, then met somebody else very quickly and moved in with them, and they

moved in with me, and we started having children. And my wife, Barbara, who is the second one, we're still incredibly good friends. And she's moved to Nashville now too, so she's so. But as far as I needed, I never because I was so obsessed with music and I just needed a relationship to get into, to have ground, you know, to have a basis for living, I think, and and I didn't really I've never thought about is this right for me or if you know. It's weird

to say, but it's it's like I took things. I didn't take things seriously enough, I think, and if i'd have played the field like most people do, most guys or girls do when they first leave home and get their they get their apartment on their own, and then they play the field. And then hopefully I didn't do that. I just I short circuited all that and just would

just move straight in, you know. And I think that's where I made my mistakes other you know, I can't say for other people, you know, but that for me. Wash yeah, impulsive, Yes I am.

Then I would be to go out and see a movie with my friends or do whatever. So I kind of cut myself off from people that way. And the only person at that time that I saw well about when I was fifteen or sixteen was Mary, was my first ended up being my first wife, and she was very instrumental in helping me at that time in many ways, so with my career.

it would happen. And when it happened, I think it just opened me up and gave me that when you go out on stage and you get like so many thousand people clap in and shout shouting your name, it gives you a nice feeling, you know. And that started happening in The Herd and continued, you know, with Humble Pie and so and by the time I was a

solo artist, I kind of went back. I had because I'd spent two to three years with Humble Pie, leaving before the live album Humble Pie's live album came out was everyone thought I was crazy, but it was the right time for me to leave. Then after mixing that album with Eddie Kramer, I left and then I knew it was going to be their first really successful album. We just knew it was. It was so evident that we were giving the audience what they wanted, which was

our live show. And so yeah, I think then I got a little bit, went back into my shell a little bit, and and had to start at the bottom of the ladder again. Okay, I was a couple of rungs up, but only couple. And then you know, it wasn't for another four to five years before well four years and the Frampton album came out, which had shown me the way and Baby, I'll have your Way studio versions on it, and that all of a sudden took off regionally now you know, and I know what regional breakout,

but nobody else does anymore. But we were huge. I was huge in San Francisco first and foremost. For some reason, Kasan, the aor top station in the Bay Area, took to the Frampton album like you wouldn't believe. And I was all of a sudden, I was on the air like twenty four to seven in San Francisco, a little bit less in New US and probably the same as New York in in Detroit. Those three places were I was

having a regional breakout. It's not a disease, folks, It's it's the fact that all of a sudden, radio stations weren't programmed by one person for the whole country or a company, you know, they were each area, Each region was in charge of its own playlist, which meant that you could have a regional breakout in San Francisco and in New York. They wouldn't know anything about you, you know, but you could be huge and be headlining in San Francisco and opening the bill in in New York or

Philadelphia wherever. And it was. It was very interesting that that whole thing. And I think when we went up to seventy five to play Winterland, which was to promote the Frampton album, it wasn't we decided that we would record and do possibly do a live album because I was following the template of Humble Pie. Humble Pie, we'd had four solo albums and then everyone said, Jerry Mors de'anthony the band, we also we should do a live album,

so we did. And I always think of of Rock on the album before that as like my Frampton album, and it was that Rock on Album also was breaking out regionally, and so we knew that we could do a live album and it's good. There was a good chance it was going to be successful. How successful we didn't know. And uh So at that point, uh I've left, it becomes a huge hit and I'm on back on

the back, on the bottom rung again. But it took me, uh the same amount of time it took uh two to write those songs that are on the live record was a six year period. One year of humble Pie for shine On and then the rest are all cherry picking from my four solo records and and then a

cover of the Stones. And so at that point when I when we walked out on stage for the very first time headlining in a major city like San Francisco Interland, there's like eight thousand people there where you can hear on the album what it sounded like, you know, and we were taken aback by the reaction. And I think that through humble Pie, the herd, humble Pie and now this acceptance, I think it definitely gives you more confidence, but it also worries you, what are you going to

do next? So but yeah, I think that I just grew up and got more confident along the way. And I actually think the downs, the pitfalls were more important than the successes, because I, you know, talking about comes Alive inasmuch as you go down to from being the bigiggest thing in the world for eighteen months two years to who wein, you know, by nineteen eighty one or something. We're talking about. Seventy six is when the album came out,

So seventy nine eighty eighty one, it was deteriorating. The music I was putting out after that wasn't as good. I was being rushed into recording and stuff like that. And so I think that my character building time was mostly the time it took me from the early eighties to the two thousands to come back and to get a Grammy for doing for not singing, for playing guitar. You know, in two thousand and six I got the ground me for Best Pop Instrumental Album, not just the track,

the whole album, which again stuff like that. I never thought that there was a possibility again after the Big four of anything like that. And I remember as I was walking out, numb with this big shit eating grin on my face, thinking what the hell just happened? I'm holding a Grammy and I see this guitar player. No, I didn't know it was guitar player. I saw these two people, this guy and this lady running towards me, and I suddenly realized it's Larry Carlton and his wife.

And he just launches himself on me and gives me the biggest hug because I just beat him out in the category too. And it doesn't get any better or make you feel like King Kong when the guitarists guitarist who's played on all those Steely Dan records that we all love and wonder how he did those solos, comes and gives you a big hug that I think was almost more important to me than the Grammy. And from that moment on, I've always been this happy, go lucky guy.

I got the eternal optimism from. And I remember I was being forced in to do this record I'm Innew which shouldn't have come out for another four years as far as I'm concerned. But anyway, and I said, oh, and they were. They were staying my parents were staying with me at the time in New York up in Westchester, and I was getting ready to do I was starting

to record an Electric Lady, I'm in You. And I said, gosh, I wish I could get Stevie Wonder to, you know, play a harmonica solo for me and my mom just in SA call him up. I said, I can't. Just yes, you can, I said, well, how do I call? Call Motown? They'll know who you are now, Peter. So I called up Motown and lo and behold. A few minutes later, I get a call from Stevie Wonder and I'm I'm speechless, but I'm trying very hard to converse with him. And I said, he said, what can I do for you? Know?

So congratulations, Oh thank you, Stevie wondered. And and so I said, do you think there's any possibility? I mean, I think you understand what a big fan I am and we all are of you. Would you ever think about coming and doing some harmonica for me? And he said when do you want me there?

was wonderful. And so anyway, my birthday was a couple of weeks later, and some people brought me a cake and stuff, and then we're trying to record and then the door opens and I see Calvin Stevie's brother, and I, oh, no. Stevie came to my birthday party and brought me a Nakamichi, the high end cassette player, you know, stereo, big big thing.

It was huge, but it was like really pro and these headphones that had microphones in them, so you could have the headphones plug it into the Nakamichi and you'd hear you you could record what you were playing, you know. So I couldn't believe that. And we had some champagne going around and I asked him, would you sing some backup? He said, I'm too drunk now, So that was I didn't get him to sing. But but anyway, and then the story is I had a horrible car crash in

nineteen seventy seven. All right, I'm not sure now, wow, I usually know that right off. But it was July second, seventy seven or seventy eight, and I was in the Bahamas and I was broken. I was a broken mess. And they sent a plane down for me, my doctor from New York and my manager came put me in a lear jet took me back to Lennox Hill and they started to mend me, you know. And so it's I have a private nurse at night just in case, and two guards outside my door, who one of them

used to take my mother. My mother stayed with me too, which was wonderful, and she was staying at the hotel right down the street, so he would take her home every night at night. And anyway, and so this nurse, my nurse comes in and said, mister Frampton, you have a phone call. I said, what time is it. She said it's three thirty am, mister Frampton. Uh, you don't want to take this to you. I said, well, who

is it? And she said it's a mister wonder So he'd gone to all the trouble to find out what hospital I'm in and actually get to my floor where the nurses so they brought you know, they plugged me in and everything, and it's Stevie and he said, man, I'm so sorry to hear about Hey. I just called you up to cheer you up, man. And and what he then did was he was either in the studio or in his music room at home, and he said, I've just recorded these three tracks, but I haven't put

the vocal on yet. You want to hear them? What are you going to say?

On Show Me the Way is the only time I used a different amplifier for my guitar, and but they forgot to move the microphone to the other amplifier because they didn't have that many mics those days. So my rhythm guitar on Show Me the Way had to be replaced because it didn't exist. Same thing with the acoustic Baby Out of Your Way, it was intermittent again, crackling.

So that's about it. Anything anything else. You can't replace lead vocals, even though I might have replaced a part of Something's Happening vocal the very beginning because I was the clemped, but that was it. But anything else that didn't make it to tape we left. You can't redoce solos because you wouldn't be able to have or vocals because you wouldn't be able to have the audience up that loud, you'd hear it, you'd hear the other track. So I would say ninety seven ninety eight percent of

Frampton Comes Alive is absolutely live. And there are three places where I'm sorry, four places where stuff came from. The bulk of the show comes from Winterland, the acoustic section because it was a slightly better acoustics for the acoustics in Marine Civic Center. So those three songs, those three songs came from Marin. We went back mixed a single live album. Then Jerry Moss, the m of A and M came and listened to the single album and he just said, oh my god, he said, where's the rest?

We said, what do you mean the rest? Said, well, we didn't want to do a double album because I haven't really earned you that much money. I was worried they were going to drop me, you know, and so he gave me the go ahead, go out and record some let's make it a double album. Oh gosh, okay. So the ones we redid or where they came from, we went out and did about six more shows Comac

Long Island. The arena there that the hockey arena that doesn't exist anymore, is where show Me the Way it comes from and that was engineered by Eddie Kramer, and Baby I Love Your Way comes from and New York University Plattsburgh in Plattsburgh, and I think the ticket price then was like three twenty five and out of that, and Chris Kimsey was in the chart for that. So yes, So we came back and right before Christmas in seventy five, we mixed those and the other ones that we hadn't

the acoustics said would have changed all that stuff. We recorded more. We mixed more stuff. And because they were only on the original live album, the single one there was only five tracks, and Show Me the Way and Baby I Love Your Way were not on it.

an electric one as well. But that's how it became acoustic. And now we're back to doing it electric on stage, which is so good.

I get do. I enjoy doing show Me the Way and Baby, I Love you Way, Yes, because I enjoy seeing the faces of the people and the couples looking at each other and going you know, and they've obviously either got married to it or I don't know what. But there's so many wonderful stories. This last tour, which was the never Say Never to, because I had said at the end of the finale tour, I'm gonna fight this, so never say never, and everybody went all right, you know,

and so obviously I called it. They never say never to And this one is to never ever say never to her. We'll stop there. If I do more, it'll

be different. But so anyway, yeah, he's not ill at all anymore to he so but so uh yes, so Rob my bandleader, and I robbed Rob Arthur and I got to got together and we listened to a bunch of my solo albums, which was painful for me, but just to find find a couple that we'd never done before ever, you know, so I decided we decided to do uh I Got My Eyes on You, which is the opening cut from Frampton's Camel and it's such a

so great to play, never played it live before. And and also one from the Frampton record that's very low key jazzy, the crying clown and they go nuts for the crying clown. It's it's it's wild actually, how so I anyway, those are two I didn't really choose those because people had said to me, you know, we'd love to hear this, or love to hear It's what I

want to do, you know. It's like this this album that I wrote you about that I'm working on now that when will you know it's very well, I'll know when it's ready, when I'm happy with it, And I really don't care if anybody else is happy with it at all. It's what I feel is what I need to be doing right now. Like I'm sitting in the room where I'm putting all these songs together over quite a few years already, but it took me a lot of years to do those write those songs Comes of Live.

So I'm in no rush. Obviously. I have another an IBM clock as well that I'll be able to play. But I'm playing guitar on these demos as we as we go along, so I'm making sure that there's something there always. But it's I had so many people telling me what they thought was best for me in the seventies after the success of Comes Alive that and I listened to all of them, and I made terrible mistakes. So I I have an area of my stomach that lights up with a certain feeling when I know this

is something I shouldn't be doing. And I hope we all go by our gut because and I went against it many times early on, and now I just do what I want to do when I want to do it. It's I'm lucky that I can. It's not like I'm making this album to have you know, a mega you know, and I'm selling out. No, No, I know that's not gonna happen. But it's it's gotta be what what I

want it to be. My my level of perfection, and I'll throw a song out that I've been working on for three weeks if I get to a point where I say, well, I don't think it's cutting it now. I thought I liked it, but so I'll move on gone next. So I don't. I don't. I don't baby those songs anymore. It's either in or it's out. And and I tend to write the lyrics. I'll have a song title, but I tend to write the lyrics after

I write the music. I'm that kind of way. And so I can have a great track and great melody, and I know I'm gonna write words to that, but I can if it's not a great track and a great melody and it's turning me on like crazy, I'm I'm not going to finish it, because why you know?

Yesterday is in Town and Country. We'd had one big hit in England and Europe, natural Bornboogie. And so he he shouldn't have let us out of our contract because we were an asset to the company, but he did. But he couldn't let us have our publishing because he said, I got to give them something, so which we got back in the end, but it took a while. But what he did do and Andrew's a terrific friend and

we text all the time. He's wonderful did dear lifelong friend and and uh so he said, okay, you're going to go and see all. You're going to see Warner Brothers, A and M Atlantic, Uh, this one, that one, and this is what you want to ask for? And so he said, you want, uh, you want to ask for three hundred thousand advance for four years, two albums a year. And I forget what the percentage was that at that point.

So Steve Merritt and I went to see every record label in London, American or British and we gave the same story until we got to A and M. Jerry Greenberg and Armat Erdigon, who was one of my dearest I loved Armen and he was very very nice to me, phenomenal and as a friend and anyway, and they left and went back to to New York thinking they got.

Larry said, well, I think let me. I think I should call Jerry right now and see if we've got a deal here. So he goes out of the room and I look step from oh my god, you just up to thee hundred grand and he said, well, all I could do is say now. So he was right, and that's bravado for you. And Larry comes back in ten minutes later we've got a deal. So we all got one hundred grand out of that each, you know,

over four years. You know, well I didn't get the last years because I left, but but we all did extremely well out of that, and thanks to Andrew first of all, and then Steve for upping it. So and I've forgotten the question, but I know this was leading up to it. D Anthony all right, yeah, so there were going, okay, well, Andrew can't be our manager anymore. Okay, all right, So Greg Ridley, who was formerly with Spooky Tooth, had been to America and toured. They were an island

act Chris Blackwell. But Chris Blackwell didn't want to be the manager in America. He needed a manager, a co manager and an agency. Well, he went straight to Frank Barcelona, Premier Talent, the biggest stages in the world at that at that time.

And so he came over to England and met with us, and you know, he kind of reminded me of a mob boss, you know, but but very funny, very amiable, uh, very on it music. And he was already working with Jay Giles and so and they were they'd already just had a hit with their live album, I think the first one single live album. So anyway, uh he then D then said well, I've called Frank Barcelona and he'll be your agent over there. So that's how the whole

thing got set up. And then but in the in the same time we got all got the same lawyer and all got the same business manager. Mmm. So that was ominous. We didn't realize when you've got no money, no one can seal it from you. So everything went swimmingly for a long time until all of a sudden, rock On comes out and we start doing really well.

You know, we're not opening the bill, we're middle spot and sometimes you know, small theater headline, you know, so uh, you know, everything everything started to happen at that point, and we all thought. We all thought D was a genius, you know, and Frank, and we were very thankful to be involved with them, you know, So yes, and that that's how it all started.

never been I've never been afraid of hard work. And playing live is my love. So, you know, off I go, and every every year I take a little bit of time. Every year to eighteen months, I take a little bit of time off, not enough to write and record. The next album, Wind of Change, was done over quite a

long period. Actually, in came out in seventy two. It was done in seventy one, and that was during my session period where I was part of the George Harrison kind of session team and you know, played with a lot of a lot of artists and and a lot with with George obviously. But so then having taken my time over Wind of Change, whether it was it wasn't loaded with hits, that's for sure, but it was loaded with what I wanted to be on the album, which is kind of where I'm at now, you know. So,

and it came out and to a little fanfare. I think I toured a little late coming over because I had to get the band together and rehearse it and

all that. But that's how it started out. And then every every now and again, time would be to write, do another time to do Frampton's Camel and then it was time to do something's happening and touring in between so tour album to an album to an album to a no no break, you know, except for the time allotted to writing, and it was usually a month so and then back on the road again month to right six weeks to do the album, back on tour.

job done, you know. So what about the money, Well, as I said, first of all, there was no money, and A and M was giving me to a support. That means they were giving me the shortfall of so that I didn't I didn't lose money that we would break even because we're in those days. We were doing them a favor by going out to promote the album,

by working I don't worry that way anymore. So then we get to the Frampton album and I've still got same business manager, same lawyer, And that's not good right there. And and I'm a novice when it comes to business. I've never I'm not really interested in never been interested in finance, unfortunately, you know, that's just the way I am. I am now, but no back then anyway, So I'm in you comes out and he's sending me. All the money went to d not to the business manager, but

all moneys went to the manager. And then it's when you have it in front of you, it's very hard to go but I owe this person how much? Do I? Well, let's just give them this amount, you know, because I want to keep this for me. You know. It's it's very very hard when it's there on the table and virtually in cash, you know. And but you know I wouldn't be like that, you know, most people the team I have now, that would never happen, obviously, because what he did was you could have had He always used

to say, a career. You got to think about longevity, You got to think about the road I had. You can't manage you for now, you know, Meanwhile, if you rip the artist off, now what does that say for the longevity because he's going to leave you when he finds out. So that's a conundrum right there, you know. So so anyway, I was waiting for my publishing money

because obviously I did the publishing company through him. Fram D Music supposed to be fifty to fifty, but it was what I signed and my lawyer said it was fine, which was D's lawyer. Yeah, you get fifty to fifty on this of the company and you and your writers. I just got my writers. So anyway, even with that, I wondered where my publishing was for the last six months when we were I think I'd just done I'm

in you, and it was in six months. It was seven hundred and fifty thousand dollars and which was a chunk of change back then. And so I called. I called my lawyer and I said, where's my money, where's my publishing money? He said, well, let me call D. So he calls D. God alone knows how they what they were into together, I don't know. But so D always used to say to me, you know, when you're owe some more money and they come to you and they say where's my money? You just say I don't

have it. And so I said to D, I said, D, where's my money? And I know you have it and he said, I don't. I don't have it. I don't. And the sick thing was he didn't have it because we did forensic accountancy into his bank accounts and unless he'd hidden it so well, he not that ever. So he was just a the opposite of a spendthrift. He was a throwaway. He I mean in the Beverly Hills Hotel, if the two of us were staying there, from the suite to the car, he would tip everybody fifty bucks.

They would come out of the woodwork. Oh, mister Anthony's checking out, okay. And he would have a role in his That was the old the mob thing, right, you'd have the big role. One hundreds and fifties, you know. Take that, take that and that. No, no, you you were really good. So God alone knows how much of my money he gave people as we were going to the car, you know. So that's that shows you. So that's how he lived his life.

very loyal to me and me to him. And but so then I sued him and I got a huge you know, price Waterhouse did the financial you know thing, looking into all and they found so much stuff that he'd taken unfortunately advances of mind that he signed over to himself and things like that. So to think I've asked a couple of different people over the years how much they think he took from me. And in nineteen seventy dollars it was probably six million, wow.

and everybody thought he was the Bee's knees. You know, no one knew. And then it was the cards failed, didn't they So and so many people lost multimillions in that situation. But I did too, I guess. But so it was basically like starting all over again.

say shit that you wouldn't believe about you. And and I thought, I don't think I want to go through I've been through so much already. And I said, if he had the money and he could pay me, it would be one thing. It would be worth not being able to work for four years. But he doesn't have it. You know, we knew that because the man still worked for the mob, because you never leave. So the more money I earned, the more money he had to pay them.

And that's where his money went. I think a lot of it, but he was he enjoyed spending it too. So my money.

didn't you tell me about this guy? I said, no one wants to tell the king he's not wearing any clothes. That's the same thing, you know, because they shoot the messenger. You know. Oh that comfy. That's not true, I said, Well, so I kept my mouth shut in those situations. But yeah, it's yeah, okay.

so will my family and anything I do. Knew from this point on touring New Record with new Record label, public, New Publishing, it's all come that that'll come to me too. Not that it will be a lot, I'm sure, but but it will be something that I will be assured of getting. You know. So it happened, and I got what I wanted, and it meant that if I handle things correctly with my management financial management team right now, who I wish as I said, I wish i'd had

them in the seventies, I'll be fine. So I'm very very lucky.

We'll see. So he said, well, you better call him up right now and tell him. So I said I will. So Jerry and Steve uh at Steve's place as it happens, and called up, Hey, guys, how's it going. I've seen the cover. It's really good. You'll love it. But unfortunately, I have something to tell you, and I've decided to leave the band. And there was silence, and then there was screaming, and then there was profanity, which I expected.

Why not. I would have been the same way too if it had been reversed and Steve had said he was leaving. So anyway, that's how it was. They weren't thrilled, obviously, But then when I got my band together, Frampton's Camel humble Pie did a tour of England and guess who opened for them? Just to show there was no you know, and they just was every night they stood on the side of the stage going throwing raspberries at me, so you know, it was all in jest, but they were hurt.

I would be too, you know. But I didn't have any future whatsoever lined up, nothing, nothing except I was doing a lot of sessions and I was earning enough money to live without the advance from the next album from Humble Bye. So I was doing okay enough to get by, but I had no idea how I was going to live, you know. And I knew I wanted to record. I knew I wanted to form a band, but just went to d and said, look, will you

still look after me? And Frank and I know Jerry said he'd stay with me, and so we started again.

were still looking for somebody. I could be wrong there, but I'm pretty sure. But uh yeah, And I say this all the time. Smoking is my favorite Humble Pie album and I'm not on it. It's a great, great album. And you know, because they always the crowd always shout out thirty Days in all and I have to go, Okay, let me just clear you in here, I had left the band. I would love to do thirty Days in a Hole for you, but I can't. So there you go.

whether that was something you desired or not. The album that has ultimately comes out from a consumer standpoint, a fan standpoint, seems to play more to this younger Evans in demo than the traditional hardcore Frampton fan. On the cover, you're dressed in an appealing way to an audience that is not your traditional audience. What went on there?

in America and Canada. And the pit of my stomach just fell out. I didn't want to know that. I didn't want to be the biggest. I would have preferred it was at number two. I'd have preferred that it didn't sell as much as Tapestry because now the spotlight is on me. Like myself, I'm putting the spotlight on me. It's now made it so much more difficult to come up with another album. I did not want to. I

wanted to. They say, you're as good as your last album. Well, until we released the next record, I'm as good as ram Who Comes Alive. So but well, everyone was saying, well, you don't want to leave it too long because you'll just get too scared and it'll And I said, well, I don't really have what I would call great songs. The material isn't up to pa. You know, I'm kind of writing it in the studio. It's I'm drinking, it's drugs, it's all this, all these distractions, and it was demoralizing.

And I remember going into uh D's office with the two boxes A and the B side. I threw him at him. I said, they are I said, I don't want this out, but I know you guys are going to put it out. And then I should have been in jeans and a T shirt on the cover with a leather jacket or something, you know, but I was still in the lord front lay outfit with this with the satin pants, the white nurse's shoes and some god

awful woman's top. You know, it's but they looked fine the year before, but now, you know, sex pistols are happening. Things have changed drastically overnight, you know. And and I'm behind the times already, you know, and out of sink. And that's that's what happened, basically, And I was just very disappointed that I couldn't have the time to spend another couple of years writing. You know, the Eagles don't

dash into the studio every five minutes. They've had a handful of studio records as opposed to what you think they've had, but they don't go near the studio until they've got you know, ten number one hits because the reason is they can't stand each other, so they better

have some good music to go in there. So I don't know if they love each other now, I don't know, but the documentary shot looked like they weren't thrilled with each other sometimes so but so I went against my gut and that was the beginning of the me learning to say no.

to not filling arenas you know. And it was horrible, feeling, totally demoralizing, and so we're back on the bus again, you know, and that's oh gosh, And it was I think I was self medicating at that point to the to to to the point where it was not good.

And and really the next thing, I did one more album where I should be for an M and uh, then breaking all the rules with David Koshimo that that that was a rock album, that was a good album, should have been the one off, the should have been the one instead of I'm in You, and then and then I did one more album, The Art of Control. I had no control, and and and A and M dropped me. You know, I'm sure Jerry Mortis must did it with moist eyes, but he had to let me go.

You know, it was it was so obvious, you know. Meanwhile, you know, A and M took up profit sharing after comes Alive and there's a building next to the Handsome Lock that's called the Frampton Building, which was Almo Irving Publishing building. And you know, so I've gone from a giant picture of me, you know, and then it all kind of faded into nothing. You know.

you know. But we all hated being in that movie. I mean the Beg's and I.

nowadays Giles would have done it right. But anyway, Yes, another mistake of Frampton mistake there.

So we went on a weekend and they were having a garden fate, which like a fair fete, and it's raising money for the school, you know, and pencils and whatever. And and so myself, uh, my father, my mother and my brother we walk in to the grounds and there's a band playing on the steps of the entrance to the school. And of course I'm going, who the hell is that? That sounds really good? And and I knew it was the Conrads because I'd heard of them. They were a big local band. And I said, Dad, who's

the guy on the end playing the sacks? He said, oh, that's Jones, very creative, and and so I just you looked at the band, but you couldn't help but you're he had the charisma right there, right from the off, you know. And so yeah, year and a half later, I go to the school. I'm in the first first year, and lunchtime I make a bee line for Dave. So I go and Dave's sitting next to George Underwood, who does is also in my father's class. And for three

years they were both in the art class. And George did the Ziggy start Us cover and he's a fine fine artist. Now have some of his work, and he did He's done a lot and for David over the years. And they were they were Frick and Frank till till we David left us, you know. So while I was there, it was kind of like the there was three of us, you know, and I would I don't know whether they liked me bugging them, but I was. I was there art teachers son, so they had to be good to me.

But anyway, my dad would say, uh, hey you guys. Why didn't he wouldn't have said hey you guys, He said, Pedra, I know you're all very musical, he said, but I think will be a good idea for lunchtimes. Wouldn't you want to get your guitars out and play? And we've got those beautiful steps on the the hot the stairway on the on the art block has got a lovely echo there. Wouldn't you like to sit there? So I said, yeah, He said, so, tell David to bring his guitar or

George to bring his guitar. So all brought our guitars. He stored them in his office and then at lunchtime he left the door open for us. So we went in there, got our guitars, sat on the steps of this beautiful stone stairs stairway and sang Buddy, Holly, numbers and everly brother, what you name it? All American, of course, And they taught me stuff and taught me Buddy Holly, George loved may I baby no.

then we have the Beach Boys. In the Four Seasons and sixty four the Beatles hit, whereas they talk about different acts in the UK Rory Storm, Cliff Richard, Beatles break in sixty two. What was it like in the music scene and were the Beatles this phenomenal force like they were in the US.

was a completely separate entity, you know. So that's why I Love Me Do is not on Please Please Me. So the English I over here.

all these names. We've probably never heard of, all these instrumental bands, but the Shadows and the Ventures were the two primo, and of course for me, as great as the Adventures are, I have to say I picked the Shadows because they're homegrown, and so we went from that, and then the Beatles came out. I remember of seeing them do Love Me Do on I forget what which which TV show it was, but in England, and I

was mesmerized. It was such a different sound and the harmonica and obviously they've written it themselves and this was not the normal up until this point, you know. And then Please Please Me came out and went through the roof. So I don't know if that was still sixty two or whether it was sixty three, it was probably still sixty two. Please Please Me came out, and then it was an album. Then it was there, there's your album,

Please Please Me album. And because they'd do like three or four singles a year, maybe more, you know, and they'd all be one, two, four and seven, you know in the British charts, we go, oh my god, I've never seen anything like well. I had seen Cliff at number one, Shadows at number two, Cliff at number three, Shadows at number four, had seen that, but this was going even further. This was like, oh my god, everything they do, so the true Beats had to start singing.

So we did badly and so that was it. And then I didn't realize that when they went to America, the first single that came out was I Want to Hold Your Hand, because that when that came out in England, now we're we're above number one, we're like plus twenty the Beatles are, you know, in everybody's mind. It was phenomenon exactly like it it was here, you know. I mean, we loved them. They were ours and we loved them and we couldn't get enough of them.

you know, And we couldn't believe the radio stations. There's just just jazz on this one, and there's look, there's R and B just on this one, and there's you know, it was we couldn't believe it. So it was for a musician, I felt that they were much more involved. Music was much more important in America than it was in England, which is not true, but we just didn't

have the outlets we had. We were used to the BBC having a playlist of five records a week, new record, five new records a week, and then luckily we had the pirate radio stations Caroline, London and all these guys throwing up on boats outside the three mile limit playing music until the GPO finally shut them down with the technicality. But that was like American radio absolutely and that we wouldn't have had the who I don't think the Stones would have been as big a small Faces Swinging Blue.

So many bands that were part of the British Wave, the late latter British Wave wouldn't have made it had it not been for Radio Carolina, Radio London and all the others, because now you're in rotation, you know, and there's no BBC orchestra music, you know. So very that was a very, very important and it's this this year is the fiftieth year of Radio Caroline. Wow, it's yeah. So I just did an interview about with them about that because that changed everything.

that my team that I have now. I was one of the very few people that stored their equipment at Soundcheck in Nashville who was insured for flood. The building wasn't insured. Sound Check was not insured for flood, and they're on the river, so I got I mean, I had to replace the entire back line, drums, keyboards, everything for the band. They'd lost everything right that I did first. So when we got enough equipment back replaced, then we

were good to play. But then what I did was, instead of going out and replacing every guitar, I just said, well, I've always wanted one of these. So I went and got a Burst, a nineteen sixty Gibson to pick up Burst and which is a collector's item. It's very expensive, but I bought it a few years and ago, and I just got one of everything that I really like. One decent telecaster, one baritone guitar, a bunch of acoustics because they all sound different, but you know, one fifty nine,

three thirty five, you know, beautiful. So I was able to give my replace the band's equipment. Plus I was able to go out and get a nice one of each that I desired to have. I didn't go get a million guitar. No, and I don't do that now. You know, every now and again, something or just I'll get a bug And as they say, you don't need another guitar, do you oars room for one more? So? You know, but no, I'm not a Joe Bonamasa or cheap Trick.

it's so big, you know. So yeah, it's moderation. I'm a I'm a collector with moderate collector.

any connection over there. I'm sure they've got all the duets done by now, but I'd love to offer a guitar solo. It would be such a thrill to be on that record. And so he gets me Kent Wells, who is a lovely man, her guitar player and also her producer, and he's producing these thirty tracks. So anyway, he calls me up. He said, oh, hi, man, you just want to do a guitar solo. I said, well, I'm lowballing with a guitar solo, but I figured you'd done all the duets. And he said, hold on a minute,

would you ever do one of your songs? I said, let me think about that. Yes, and so he said, hold on a second, I'll call you right back. Five minutes go by. If that he calls me back, Dolly's screaming she wants to do baby, I love your way with you? Will you do it? I said, let me think about that. Yes, So that's how it came about, and my band cut the track. I sang it all the way through, gave it to Kent and said, dip me wherever you want me and have us sing whatever

she wants to sing on it. And then I got it back. I got her vocal back, and I got chilled because she'd taken it to another level. You know, this is Dolly's version, you know, even though it's my song, and that's right. So she starts ad libbing with me and singing three part harmony with me, blew me away. So I had to redo some of my ad libs because I was definitely lackluster competitor, you know. So I so enjoyed doing that, and she's like, she called me up.

We never met throughout the I've met her once, but we never met throughout the whole process. But she called me up after she'd finished the vocal and she was just like guff thoring how much she enjoyed it and all that. She's a lovely lady. We all know that, and she does so much great stuff for so many people. I applaud her.

it's bigger than I'm trying to scale it down. But it sounds so good that I'm not downscaling for scaling it down for this tour. So but when we finish this one, I'm gonna build another rig just because I can, just in case.

go back, give me the other one. And then he unsolded that one and sold of this one. That one okay, number one or number two, number one, just like an eye exam. And he tuned this amp for this was only a month and a half ago, you know. And so yeah, I love all that. I'm so into sound. It's so important to me.

So he said, well, they're recording it Trientent. So we walked down ward Oh Street. There's the little alleyway and Tried Studios is right there, and so we walk in and there's a little tiny office here. Then you walk straight ahead and the control room is door you open up. The control room is upstairs, and the studio is in the basement, so you look down into the studio. So as I walk in, I looked to my left and there's George Harrison Ade my first Beetle meeting. And he

looks up and goes, hello, Pete. And I just couldn't Did he just say hello to me? How does he know why? Oh, I'm in a band, don't I? Yeah, he probably knows why. And all this is going through my head and I'm sweating profusely and shaking and wishing the floor would just open up. And I mean I didn't wipe my hand before I shook his hand and I'm sure.

He said, yeah, Steven Steeles is down there. Doris and Doris had sang on shine On on the original version and as a background singer, and so I knew Doris. I'd met Steve once before, I think. And so he takes me down into the studio. I say hello to Stephen Stills, who's sitting there playing his gradge as I

imagine he should. And there's a Princeton amp over here, and George hands me this sort of red looking les Paul, which is now we know is called Lucy, and it's the guitar that Eric gave to George but also played the solo for while my guitar gently weeps on this guitar. Thank god, I didn't know any of this at the time. So he gives me the guitar, plugs me in, and he starts. He's got a guitar and he's showing me the chords, and I'm a quick learner, so I picked

it up really quick. So anyway, George goes over and we start we rehearse it, and and so I start playing very quiet rhythm. This is the Stephen Stills is right there like I could kick him if I moved my foot, and George, the Beatles lead guitarist, is over here, and I thought, play quiet rhythm, so I did so, and then halfway through George goes no, no, no, Pete, no no, I'm going to play rhythm. I want you to play lead. Another gut wrenching feeling. Oh my god.

You know this is too much, too good to be true, you know.

on the rest of the album? And I said, let me think about that, yes, you know, and ended up there's Ringos playing drums, Klaus Woman's on bass, Billy Presty, you know, Gary, right, but they're all They're all there. All the precursor to All Things Must Pass is right there, you know. And I don't think I slept that night.

I was on such a high from not only meeting of Ethel and let's face it, you know, I was twelve when they came out, you know, and now I'm twenty twenty one maybe, and I'm still a huge Beatle obviously for the rest of my life, a huge Beatle fan. It shaped my music and everybody's music, you know, but

in the form my formative years of playing music. So just and then I came back for all these other sessions, and then from that that's when that's when I get a call George has obviously given Harry Nielsen my phone number. I get a call from Harry Nielsen, you know, who's just had the huge, huge, huge hit and he's doing his next album, Son of Schmielsen, and I get to play on that whole album too, And meeting Harry was unbelievable. I just, you know, it's a it's hard to explain

because I'm such a huge fan. I think that's why I'm part of my makeup that I don't think of myself as as being what these other people are. I think they're much better. They've got to be better than me. You know. It's like someone to look up to because they've done so much. And then I realize, gosh, actually people are looking up to me now for what I you know, and I realize now, and then I'll get young guitarists will come backstage, and I'll spend time with

them because I know what it means. They say stuff like or the father or bring the young kid back. Literally, you know, this big he's he knows every solo you've ever played. I said, you're kidding me, and he will show me and he'll play one of myself, and it's like, oh my goodness, and the kids like shaking, sweating and wishing the floor would open up, just like me meeting

George Harrison. So you pay it forwards, you know. And I've got so many I've had so many young players come up to me and the same way, and I've been through the same thing, and a lot of them I keep in touch with.

and I still have one. So yeah. So at the airport when I when I came in, I realized that Alvin Lee from ten years after was on the other side of baggage claim. So hey, you know, I vote with them many times and and with Humble Pie and with me, and so I said, uh, hey, Alvin, it's me, you know. So my three weeks ended up being the last eight days when they left town. We were we

were partying and and I was procrastinating. So I had eight days before I had to go back, and I hadn't written anything, not that well, not what I would call up to standard. So I got up that first day of the last eight and picked up my acoustic and I thought, well, let's tune it to openg, just for something different, inspiring. And then I played played a chord, and I played another chord, and then I played another chord, and I went back to the first chord, dang ding

getting ding ding, getting ding ding ding d ding. It's the beginning. It's the intro to show me the way. And so I thought, oh, this is good. This is better than anything I've written so far, and so got out the pad. Uh, first of all, put it down on the on the boombox so I didn't forget it. And then I got out my notepad and started writing the first verse and and the first chorus, and then I said, well, I'm into something here. Let me move on. So I had lunch. I was right on the beach.

It's just me, nobody else on this wonderful beach, and I had a little table outside umbrella and I took my boombox about four o'clock after lunch in a swim, really hard writing session, and I brought the I brought the guitar out, sat down, I put it back to

normal tuning. I thought, well, I don't want to write the same thing again, okay, So within another twenty minutes, I'd written the beginning of the intro to Baby, I Love Your Way, and I said, well that it's a bit like kind of the Blackbird chords there, Paul's Blackbird Chords, and they are a different order, and so I knew that I felt this is this is good. So ran back in, got the pad, pencil, and it's the sun

is just about to set. And that's when I looked around and I went, shadows gross along before my eyes and they're moving across the page and go. So I knew I had another one. And then I went back in that night, same night, same same day, within a twenty four hour period, I went back and I picked up the electric and I said, well, let's try this. I plugged into Steve's am boombox again started jamming, and I came up with the chords for No Where's Too

Far from My Baby, which is on Frampton too. And I didn't have a melody or anything, but I loved I had the I had the whole song in chords, no melody yet. And there's another person I met that I got chills. Eddie van Halen. You know, another guy who reinvented guitar, the nicest guy in the world. He was so sweet. And I got invited by the engineer to go to one of their sessions, and so I went in there and they're all over me. How did you do? What did you do? Want?

He said, this is so cool man, And I forget which number it is, but I was just blown away that And then he's he's playing his guitar, you know, he's got the big rig in the studio, you know, and he goes, hey, try this. I go, okay, not wanting to play it all, and nothing comes out. You know, It's like, I am totally this isn't this isn't happening right now, is it? He's asking me to play his guitar. I can't do it. So I just played a couple of chords and gave it back to him straight away.

It was very intimidating, but rightly so, because he was so good.

come up with the initial ideas. But lyrically is it's always harder for me. Getting much easier actually, because I'm just writing. I'm writing from my heart and I'm not trying to write a hit song. I'm just trying to write a great piece of music that I like. You might not think it's great, but I do. And that's that's it. I cannot force myself to write. It's not going to happen. But there is something that I was

felt very pleased about when I wrote. When I read Chronicles one by Bob Dylan and which I loved, I thought it was great and he said, which I was thrilled to hear. He said he had a like an eighteen month two year period we couldn't write. And he said, that's it. I'm done for you know, you always think that, right when, oh god, I got write it. And then

there came this time. I don't know how long it was total, and he said, I sat down in the dining room, I got out this pad and I wrote and wrote and wrote for ten days, two weeks straight, he said. And I opened the drawer in the dining room, I put the pad in there, and I said to my wife, that's my next album. And I thought, wow, that's pretty cool. And then he said it made him think about why now and why not for those two years? And he said, you don't have writer's block. There's no

such thing as writer's block. And this is the best part. He said. You're either on input or you're on output, and you can't have output if you don't have input first. So those two years, he said, I was writing, But the culmination of those two years came two and a half years later. In those ten ten days to fourteenth two weeks. You know, so don't he said, I don't worry now if I can't write, because I know that there's a reason for that, that I don't have anything

to say. Therefore I need to live a little, you know. And I thought that was that made all the difference in the world. And our poet Lauriate couldn't write for two years.

and nobody was thinking about me either. I was I was gone. I was a hasben, you know. And and there was a part of that. I really enjoyed being anonymous. But there's that other that that's this side and then the other side of the broad say, oh, but nobody's recognizes you. Yeah, but no, I uh I. It's something that I've grown used to. And my daughter will say, you know, everyone's looking at you, don't you are they?

I don't know, you know, So you know, it's it's part of my life now, and it's something that happens, and sometimes it doesn't, you know, but it's h I tell you. I I went to I went to a party after an award show in the late seventies, and the party after the show was at Chasin's. Was the big place where everybody went, you know, the big restaurant. I'm not even sure if it's still there.

He didn't he knew what it was like. He didn't hang around, and it's He's one of the only people I've ever wished would have stayed around a little bit. So that kind of stuff, it's kind of really neat. You know, this guy was asking for my autograph when I would like to ask for his autograph, you know, And because we're all fans, let's face it, well, I know there are some musicians that don't think of other

artists and the way that I do. But I just know that for the artists that i'm whichever one I'm thinking about, that's had this illustrious career, they have been through the ringer, they have so much talent and they've done things right and they've had a wonderful career and

I know they've you know, it didn't come easy to them. Therefore, you know, I don't want to bug them, you know sometimes, And there's some people that I have bugged that I wish I hadn't, you know, and have been rude, you know. So I prefer to think of myself as the James Ghana than the.

another great singer. I'm not thrilled with my voice, but but I get by with it. And people when I say that, people say, oh, will you can about yourself now? I do you know? Hey, I'm honest. You know, I'm a great guitar player and I'm a great writer when I get to write, but my voice is okay.

They can't verbalize it, and I'm sure that that's somewhat frustrating to be in this world, which is not always such an intellectual world, but you're definitely a thinker.