September 14, 2025 • 15 mins
Grammy Award-winning guitarist Peter Frampton will perform “Baby, I Love Your Way” on “Conan” February 29. The performance celebrates the forthcoming release of his new album Acoustic Classics, due February 26 via RED Distribution. In addition, a new live video of Frampton performing the song with longtime collaborator Gordon Kennedy is premiering on The Huffington Post today [insert link].
For the first time ever, Frampton brings us stripped-down versions of his classic hits including “Lines On My Face,” “Do You Feel Like I Do,” “Show Me The Way” and more. Acoustic Classics also includes one new song, “All Down to Me,” which was co-written by Kennedy, who also co-produced Frampton’s Grammy Award-winning album Fingerprints. “All Down to Me” is also the only track on the record that features a guest musician. See below for full track listing.
The new album was mixed by Grammy Award-winning engineer Jeff Balding (Don Henley, Lionel Richie, Joe Cocker) and produced by Frampton himself. Of the recording process, Frampton explains, “The approach I took on this was that each song came across as if you are the first person to hear this song after I wrote it. I had to reverse engineer each song in order to get this result, which I feel I achieved.”
Acoustic Classics is available for pre-order now and a special pre-order bundle is being offered exclusively on www.frampton.com, which includes the album, a pick set and signed lyric sheet.
Frampton will also perform on DirecTV and AT&T’s new weekly music program, the Audience Network, March 4. The programming will be available to both subscribers of DirecTV and AT&T U-Verse and the two platforms' mobile apps.
Moreover, Frampton has extended his “Peter Frampton Raw, An Acoustic Tour” with more dates next month. Kennedy will join him again for the March run along with Frampton’s son, singer and guitarist Julian Frampton.
Peter Frampton remains one of the most celebrated artists and guitarists in rock history. At 16, he was lead singer and guitarist for British band the Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle and many others. His fifth solo album, the electrifying Frampton Comes Alive! is celebrating its 40th anniversary this year and remains one of the top-selling live records of all time.
Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-view-from-the-writing-instrument--1023245/support.
For the first time ever, Frampton brings us stripped-down versions of his classic hits including “Lines On My Face,” “Do You Feel Like I Do,” “Show Me The Way” and more. Acoustic Classics also includes one new song, “All Down to Me,” which was co-written by Kennedy, who also co-produced Frampton’s Grammy Award-winning album Fingerprints. “All Down to Me” is also the only track on the record that features a guest musician. See below for full track listing.
The new album was mixed by Grammy Award-winning engineer Jeff Balding (Don Henley, Lionel Richie, Joe Cocker) and produced by Frampton himself. Of the recording process, Frampton explains, “The approach I took on this was that each song came across as if you are the first person to hear this song after I wrote it. I had to reverse engineer each song in order to get this result, which I feel I achieved.”
Acoustic Classics is available for pre-order now and a special pre-order bundle is being offered exclusively on www.frampton.com, which includes the album, a pick set and signed lyric sheet.
Frampton will also perform on DirecTV and AT&T’s new weekly music program, the Audience Network, March 4. The programming will be available to both subscribers of DirecTV and AT&T U-Verse and the two platforms' mobile apps.
Moreover, Frampton has extended his “Peter Frampton Raw, An Acoustic Tour” with more dates next month. Kennedy will join him again for the March run along with Frampton’s son, singer and guitarist Julian Frampton.
Peter Frampton remains one of the most celebrated artists and guitarists in rock history. At 16, he was lead singer and guitarist for British band the Herd. At 18, he co-founded one of the first super groups, seminal rock act Humble Pie. His session work includes collaborations with such legendary artists as George Harrison, Harry Nilsson, David Bowie, Jerry Lee Lewis, Ringo Starr, John Entwistle and many others. His fifth solo album, the electrifying Frampton Comes Alive! is celebrating its 40th anniversary this year and remains one of the top-selling live records of all time.
Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-view-from-the-writing-instrument--1023245/support.
Mark as Played
Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:02):
Hates Arrow and I heard radio unplugged and totally uncut
with Peter Brampt in it. Here you are with an
acoustic album, and the first thing that I did I
had to go see if my song I'm in You
(00:22):
is on there.
Speaker 2 (00:23):
I did about I don't know, seven or eight different
takes on different days to get the right feel of
that song. So even though it sounds like it's easy
to go in and just whip off, you know, you
know eleven versions of acoustic gave you songs. It was.
(00:44):
The songs are forty years old, you know a lot
of them, and so they have morphed into something else
along the way the way we performed them. Now woke up.
Speaker 3 (00:58):
This morning with a I'm passing my hand, Who's what?
Speaker 4 (01:03):
What? What? Where the hell did I've done?
Speaker 3 (01:07):
Must have been a jeam, I don't believe where I'll be?
Come on, let's do it again.
Speaker 4 (01:18):
You my god.
Speaker 2 (01:25):
So when I first did a couple of tracks and
went in the control room and listened, I thought, I
don't this isn't right. I missed the band, So I
had to. I realized that the performance I wanted was
if if you came over for coffee and I said, hey,
you know, you want to hear a new song I
just wrote. And I sit down and I get out
(01:46):
and acoustic and I sing you just one on one,
say I'm in you on piano or baby out of
your Way or whatever. It would be a completely different
performance that than I would give UH, you know on
stage with the band. You know, it would be a
very intimate moment, you know. Well that was That was
(02:08):
the m o I wanted to work with UH with
these songs. So I thought it was going to take me,
you know, a week to do the whole album. Yeah,
it took me a few months to do it because
I kept on wanting to do another performance on another
day and pick the best version. You know. It's like
doing a live tour, you know, and picking the right
(02:31):
the right track for the live album. But this was
in the studios, so it was very important that I
get the right the right version.
Speaker 1 (03:09):
So what do you do with like a song that
we're listening to right now? Do you feel like we do?
There's a talk box in the live version, but in
the acoustic version, what do you do?
Speaker 2 (03:17):
We don't use the talk but I use on the record.
The only talk box on the acoustic one. I used
the talkbox on show Me the Way because it's part
of the song really, whereas do you Feel and I'm
in You Live? When we do it on the acoustic
the Row tour, I have the audience sing the talkbox
(03:39):
part because everybody knows it, and I tell them it's
slightly humiliating, but you'll feel great when it's done so
and they do a great version of it. They love
singing along with it. But yes, I didn't really want
to use the talkbox at all, especially on do You Feel?
Speaker 3 (04:02):
So.
Speaker 2 (04:02):
I just made it a little bit of a jam section,
which is sort of how it started out, which is
what I wanted it to be the very first, you know,
like the very first performance of it.
Speaker 3 (04:13):
Look I do, Do you feel?
Speaker 4 (04:21):
Luck? I do?
Speaker 1 (05:06):
You got to play with the Indianapolis Symphony. Do we
get to see more of those where you get to
connect with the local symphonies.
Speaker 2 (05:12):
That isn't on the cards right now, but I won't
say that it wouldn't be something I wouldn't want to
do in the future. I think I would want to.
What I would want to do next time would be
to do a project incorporating an orchestra on newer material
(05:33):
and start from scratch as well as the older material
and then maybe do it not just the normal way
of the band with the orchestra behind, but to actually
do it from the ground up with and work with
an arranger who can conduct and write the piece of
write the parts for me that I want to hear.
(05:56):
So yeah, it definitely something that I've thought a lot about.
But it's it's got to be. It can't just be
a regular show and add an orchestra. It's got to
be something that's more cohesive from the from the ground up,
you know, with the orchestra shut.
Speaker 4 (06:13):
Off grow so long before.
Speaker 3 (06:19):
And across suddenly did some inn.
Speaker 4 (06:33):
Oh wait from the city now.
Speaker 1 (06:39):
You know, if you were to play with the orchestras,
you would have to do another live album. Is that
one of those moments where you'd invite Glenn Johns to
come back in the picture?
Speaker 2 (06:46):
Oh Glenn? Uh what a dear friend. Yes, I'd love
Glenn to do that. I'm not sure he would want
to do a live thing, but who knows. He definitely
something to ask, that's for sure.
Speaker 1 (07:00):
Well, do you ever sit back and look at the
album covers and still see who you are as that entertainer,
because you have always been the most humble, down to
earth entertainer, always putting the people first.
Speaker 2 (07:11):
I think it's because I'm the way I am, because
I never really think i'm I don't agree with everybody
on how good I am, and I'm very hard on myself,
and I think that I think that I'm always trying
(07:34):
to become a better player and a better writer, and
I'm still working on it. Still, I'm still the apprentice,
even though I've been doing it for so many years.
You never stop learning, you know. And so for me
to sort of be all full of myself and say
I'm terrific, you know, I'm the greatest or whatever, it's
(07:54):
just not in my nature to do that. That's for
other people to say what they think about me. I
just am glad that I'm I still have this incredible
passion for playing music and writing music and performing music,
and passion is something that sort of regenerates itself, which
I found over the years. You think, oh, I'm losing
(08:17):
interest in this, and then all of a sudden, a
song will come on the radio, or I'll hear a
guitar player and wait a second, let me do that
and I'm back into it again. You know, there's you know,
there's ebb and flow with creativity, and there's ebb and
flow with the passion too, which you know, after a
tour and I've been out there all summer, I come down,
(08:41):
put the guitar in the corner of the room. I
might not play him for a day, and then I
look wake up the next day and then it's like,
come over here, come over.
Speaker 5 (08:51):
Here to related.
Speaker 4 (09:22):
It's sad to.
Speaker 2 (09:23):
See it's unending. The passion just keeps me playing.
Speaker 1 (09:28):
So what is it like to be reconnected to that
guitar that you thought you lost forever? I mean, I
can't imagine how protective you are.
Speaker 4 (09:33):
Of that guitar.
Speaker 2 (09:34):
Oh, protective is the word. Yes, there's only on tour,
there's only three people apart from myself that can carry
it because we just want to know that it's on
the bus already. By the time we finished the last number,
you know, I go to the dressing room and the
guitar is already in my room at the back of
(09:57):
the bus, safe and sound. Yeah, it's I guess it's
it's only natural that one would feel that way after
losing the thing for thirty two years, So it's it's
very special. It has a sound all of its own.
It's it was I would I never said it was
the best less full of history in history, but it
was my les full and it had that specific sound.
Speaker 1 (10:48):
So when we see you out on the road this summer,
you're gonna bring that guitar with you.
Speaker 2 (10:50):
Then on the Electric Show, I always bring it out. Yeah,
it's I couldn't. As much as I would like to
leave it at home, I think everybody wants to see it,
and I want to play it because I love the sound,
you know, So No, it'll always part me. I'm not
one of those guys that can leave all the good,
good guitars at home and just play copies. It's it's not.
(11:12):
The real thing is the real thing for a reason,
and and it inspires me. So as good as the
backups are, they're not. They're not the eighteen h.
Speaker 4 (12:01):
You area. Don't pretay we made love. I can't read.
Speaker 5 (12:13):
Anymore that I'm saying.
Speaker 6 (12:20):
I'm in you, you'll be me.
Speaker 4 (12:30):
I read you you're with me because you came in,
not that I never.
Speaker 6 (12:44):
Heard you gave me the or.
Speaker 4 (12:53):
Not that I mean for her count with the same
(13:36):
a BLASTL.
Speaker 5 (13:40):
You can't bye what we mad.
Speaker 4 (13:45):
You will not Amen. You mean me, I'm mean you.
Speaker 6 (14:05):
Young cause your gainst the cause you can stand, not
up them.
Speaker 4 (14:44):
I okay where not where I
Hates Arrow and I heard radio unplugged and totally uncut
with Peter Brampt in it. Here you are with an
acoustic album, and the first thing that I did I
had to go see if my song I'm in You
(00:22):
is on there.
Speaker 2 (00:23):
I did about I don't know, seven or eight different
takes on different days to get the right feel of
that song. So even though it sounds like it's easy
to go in and just whip off, you know, you
know eleven versions of acoustic gave you songs. It was.
(00:44):
The songs are forty years old, you know a lot
of them, and so they have morphed into something else
along the way the way we performed them. Now woke up.
Speaker 3 (00:58):
This morning with a I'm passing my hand, Who's what?
Speaker 4 (01:03):
What? What? Where the hell did I've done?
Speaker 3 (01:07):
Must have been a jeam, I don't believe where I'll be?
Come on, let's do it again.
Speaker 4 (01:18):
You my god.
Speaker 2 (01:25):
So when I first did a couple of tracks and
went in the control room and listened, I thought, I
don't this isn't right. I missed the band, So I
had to. I realized that the performance I wanted was
if if you came over for coffee and I said, hey,
you know, you want to hear a new song I
just wrote. And I sit down and I get out
(01:46):
and acoustic and I sing you just one on one,
say I'm in you on piano or baby out of
your Way or whatever. It would be a completely different
performance that than I would give UH, you know on
stage with the band. You know, it would be a
very intimate moment, you know. Well that was That was
(02:08):
the m o I wanted to work with UH with
these songs. So I thought it was going to take me,
you know, a week to do the whole album. Yeah,
it took me a few months to do it because
I kept on wanting to do another performance on another
day and pick the best version. You know. It's like
doing a live tour, you know, and picking the right
(02:31):
the right track for the live album. But this was
in the studios, so it was very important that I
get the right the right version.
Speaker 1 (03:09):
So what do you do with like a song that
we're listening to right now? Do you feel like we do?
There's a talk box in the live version, but in
the acoustic version, what do you do?
Speaker 2 (03:17):
We don't use the talk but I use on the record.
The only talk box on the acoustic one. I used
the talkbox on show Me the Way because it's part
of the song really, whereas do you Feel and I'm
in You Live? When we do it on the acoustic
the Row tour, I have the audience sing the talkbox
(03:39):
part because everybody knows it, and I tell them it's
slightly humiliating, but you'll feel great when it's done so
and they do a great version of it. They love
singing along with it. But yes, I didn't really want
to use the talkbox at all, especially on do You Feel?
Speaker 3 (04:02):
So.
Speaker 2 (04:02):
I just made it a little bit of a jam section,
which is sort of how it started out, which is
what I wanted it to be the very first, you know,
like the very first performance of it.
Speaker 3 (04:13):
Look I do, Do you feel?
Speaker 4 (04:21):
Luck? I do?
Speaker 1 (05:06):
You got to play with the Indianapolis Symphony. Do we
get to see more of those where you get to
connect with the local symphonies.
Speaker 2 (05:12):
That isn't on the cards right now, but I won't
say that it wouldn't be something I wouldn't want to
do in the future. I think I would want to.
What I would want to do next time would be
to do a project incorporating an orchestra on newer material
(05:33):
and start from scratch as well as the older material
and then maybe do it not just the normal way
of the band with the orchestra behind, but to actually
do it from the ground up with and work with
an arranger who can conduct and write the piece of
write the parts for me that I want to hear.
(05:56):
So yeah, it definitely something that I've thought a lot about.
But it's it's got to be. It can't just be
a regular show and add an orchestra. It's got to
be something that's more cohesive from the from the ground up,
you know, with the orchestra shut.
Speaker 4 (06:13):
Off grow so long before.
Speaker 3 (06:19):
And across suddenly did some inn.
Speaker 4 (06:33):
Oh wait from the city now.
Speaker 1 (06:39):
You know, if you were to play with the orchestras,
you would have to do another live album. Is that
one of those moments where you'd invite Glenn Johns to
come back in the picture?
Speaker 2 (06:46):
Oh Glenn? Uh what a dear friend. Yes, I'd love
Glenn to do that. I'm not sure he would want
to do a live thing, but who knows. He definitely
something to ask, that's for sure.
Speaker 1 (07:00):
Well, do you ever sit back and look at the
album covers and still see who you are as that entertainer,
because you have always been the most humble, down to
earth entertainer, always putting the people first.
Speaker 2 (07:11):
I think it's because I'm the way I am, because
I never really think i'm I don't agree with everybody
on how good I am, and I'm very hard on myself,
and I think that I think that I'm always trying
(07:34):
to become a better player and a better writer, and
I'm still working on it. Still, I'm still the apprentice,
even though I've been doing it for so many years.
You never stop learning, you know. And so for me
to sort of be all full of myself and say
I'm terrific, you know, I'm the greatest or whatever, it's
(07:54):
just not in my nature to do that. That's for
other people to say what they think about me. I
just am glad that I'm I still have this incredible
passion for playing music and writing music and performing music,
and passion is something that sort of regenerates itself, which
I found over the years. You think, oh, I'm losing
(08:17):
interest in this, and then all of a sudden, a
song will come on the radio, or I'll hear a
guitar player and wait a second, let me do that
and I'm back into it again. You know, there's you know,
there's ebb and flow with creativity, and there's ebb and
flow with the passion too, which you know, after a
tour and I've been out there all summer, I come down,
(08:41):
put the guitar in the corner of the room. I
might not play him for a day, and then I
look wake up the next day and then it's like,
come over here, come over.
Speaker 5 (08:51):
Here to related.
Speaker 4 (09:22):
It's sad to.
Speaker 2 (09:23):
See it's unending. The passion just keeps me playing.
Speaker 1 (09:28):
So what is it like to be reconnected to that
guitar that you thought you lost forever? I mean, I
can't imagine how protective you are.
Speaker 4 (09:33):
Of that guitar.
Speaker 2 (09:34):
Oh, protective is the word. Yes, there's only on tour,
there's only three people apart from myself that can carry
it because we just want to know that it's on
the bus already. By the time we finished the last number,
you know, I go to the dressing room and the
guitar is already in my room at the back of
(09:57):
the bus, safe and sound. Yeah, it's I guess it's
it's only natural that one would feel that way after
losing the thing for thirty two years, So it's it's
very special. It has a sound all of its own.
It's it was I would I never said it was
the best less full of history in history, but it
was my les full and it had that specific sound.
Speaker 1 (10:48):
So when we see you out on the road this summer,
you're gonna bring that guitar with you.
Speaker 2 (10:50):
Then on the Electric Show, I always bring it out. Yeah,
it's I couldn't. As much as I would like to
leave it at home, I think everybody wants to see it,
and I want to play it because I love the sound,
you know, So No, it'll always part me. I'm not
one of those guys that can leave all the good,
good guitars at home and just play copies. It's it's not.
(11:12):
The real thing is the real thing for a reason,
and and it inspires me. So as good as the
backups are, they're not. They're not the eighteen h.
Speaker 4 (12:01):
You area. Don't pretay we made love. I can't read.
Speaker 5 (12:13):
Anymore that I'm saying.
Speaker 6 (12:20):
I'm in you, you'll be me.
Speaker 4 (12:30):
I read you you're with me because you came in,
not that I never.
Speaker 6 (12:44):
Heard you gave me the or.
Speaker 4 (12:53):
Not that I mean for her count with the same
(13:36):
a BLASTL.
Speaker 5 (13:40):
You can't bye what we mad.
Speaker 4 (13:45):
You will not Amen. You mean me, I'm mean you.
Speaker 6 (14:05):
Young cause your gainst the cause you can stand, not
up them.
Speaker 4 (14:44):
I okay where not where I
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