Frampton Comes Alive

(3/5) Wah wwwaaahhh wah wah wah wwwaaahhh wah.. Frampton will forever be associated with that wah wah effect for as long as I live. This was fine dad/arena rock, but it was long in the tooth. Each of the tracks were heavy on the guitar work and as I've stated before, I'm not a big fan of live albums. This one was OK as they go. I'll just put him and this directly in the middle. Adequate, if long.

Some pretty good live ‘70s Dad Rock. Unlike yesterday, this is good guitar work that was not wasted all. Frampton was a name that I was familiar with but could not have named one song of his. He was the guy from the 70s with the weird guitar effects. Listening to a full album of his showed a lot of straight forward rock and roll. Its great to just turn on and rock with but nothing that really stands out. It’s competent rock on cruise control. 4/5

Tiene el temon de Baby I love your way. Despues un meh. Pero por ese tema sube. 6/10

Some good, some boring. I liked some of the songs. Solid 70s Rock.

Mad hooks, incredible fretwork, and a band playing seamlessly together after umpteen performances - a classic among live albums. The title is also criminally underrrated.

The greatest live album ever 10 1/2 thousand stars

Pretty solid live rock album. Production is great, everything is mixed nicely and you can pretty much hear everything. Frampton can certainly play the heck out of that guitar. "It's a Plain Shame" is new to me and I really enjoy it. For me, the cover of "Jumpin' Jack Flash" is a huge miss. It strips the song of pretty much everything appealing about it and just makes it some generic blues rock jam. I'm not saying you have to do it exactly like the Stones, but what they did here just didn't really do it for me. Solid enough live album, but it doesn't do much to change my opinion on Peter Frampton (he exists, he's pretty good, but not in my regular rotation).

I have tried this in the past, I think it's enjoyable, just not great. Like he sings in "Somethin's Happening", "it's alright" and that's exactly what this is. It was probably a fun show to be at if you're a fan, and he has some solid songs but he's just alright. Every song sounds like it's from the same family, there's not much variation. And honestly, his voice is pretty generic. I didn't need to finish a single song to get the gist of what the next 4-5 minutes would be like. Two all-time great classic rock radio songs in "Baby, I Love Your Way" and "Do You Feel Like We Do", after that, the rest is filler. Classic for its day, doesn't stand up all that well today. It was like whole bowl of vanilla ice cream, the store brand, not the good stuff, with nothing on top. Too many songs, all the songs were too long.

A phenomenal guitar player, and a good live album. The hits are fantastic, although the rest of the album wasn't super memorable... so the rating averages out. Rating: 6.5/10 Favorite Track: Do You Feel Like We Do

There are only a few legendary live records. This one is unfortunately not one of them.

I wasn't super excited about listening to this but I enjoyed it a decent amount in the end. Yes it's overlong and has some fretwanky moments, but the songs were solid and I'd happily listen to it again.

JL : 3, Do You Feel Like We Do

This is about as generic a rock performance you will find, and presumably the only reason this sold so well is because everyone else forgot to release music in 1976.

En positiv skiva med bra gitarr. Många bra låtar, ingen som faller igenom och är dålig.

Live albums are not albums, they're merchandise for fans. The performance on this is great. It's dad rock, but honestly it sounds like a concert I would have enjoyed attending. But I wasn't there, and listening to the crowd clap along doesn't improve the music in any way.

One of the bestselling live albums of all time, and I'd never heard of it. But I can absolutely see why not. Utterly uninteresting to me, I literally cannot understand how the crowd are getting excited by these samey sounding songs. Perhaps the purest expression I've come across so far of the unearned acclaim given to Country/Blues/Rock Made by Hairy White Men in the Seventies. At least it wasn't actively misogynist or racist.

it's easy to see why this is considered one of the best live albums ever done

A great collection of songs that makes me interested to explore Frampton's studio albums. Enjoyable.

One of the ten greatest live recordings ever in Rock and Roll. Been overplayed and still stands up.

8/10

I just read a book about AOR from the 70s-80s and this really seems like the platonic example of that kind of sound: technically proficient musicians, singers, and producers, all aligned to make the most milquetoast music imaginable. Never bad, but I have truly zero desire to listen to it more than once.

5/5

Not a fan of live albums , recognized a few songs but not something I'd ever listen to on my own.

It’s fine

Ahhhh Peter Frampton! One of my first crushes. Many pictures of this man were on my wall. To be honest I preferred his “I’m In You” album. As a teen girl I was the target for that one. But this will do. Good bluesy 70s rock! This man can play the guitar! And sing! Sounds good, looks good. Taking off a star because the songs can go on a bit long, but .that’s what guitarists do .

Frampton what?!

incredibly well done for a live album. you couldve convinced me he pulled a tom waits nighthawks at the diner and brought a "crowd" into the studio with how great it sounds. unfortunately the songs themselves are pretty boring and the album is overly long. i do love the talk box usage on do you feel like we do though

This had some solid songs on, including some ones I recognised, not sure if they were covers or his originally, but they were pretty good, main critique is the tracks just run quite long for no reason, like last track is 14 mins which is just unnecessary, in my opinion.

Pretty good.

Purpose built in a lab to simply bore me to tears. This is garbage music that makes no damn sense in its popularity. Everything's on quaaludes, everything is soulless, everything is just made with no point. There's a lot of stadium rock I love, but I definitely get why this album in particular earned the ire of so many punks - because when you really look into it there is a husk there, a void that cannot be satiated. Woof.

I don’t understand the hype

I don’t know. I’m not blown away by it at all. The Doors at the Hollywood Bowl is better. Blind Melon in Chicago is better. To name a few. There isn’t much to it. I’m actually surprised that this is hailed at such a good album. Choice cut: Show Me the Way

Solid Rock. 2,4

(8/1089) Not bad. I would have preferred it not to be a live album. Many songs are similar to each other. Favorite: Something's Happening; Baby, I Love Your Way; [I'll Give You] Money Least favorite: Shine On 5/10

i enjoyed this a lot more than i thought i would. also this is how i found out who did ‘baby i love your way’. every day is a school day.

This is quite enjoyable, the two way tracks are clear standouts, but the rest is a good listen, my main issue is that I have been trying to listen to it on and off all day and it is another bloody double album and trying to fit the 1hour 20 minutes around my meetings has meant the listen has been disjointed. Maybe if I'd heard it all in one go I might have judged it higher, but that's Peter's fault for not editing his record down. At least this one has the decent excuse of being a live album so you get an idea of what the actual gig was like. Anyway. It's good.

Funny how this list eschews Greatest Hits compilations but doesn't shy away from a live album that essentially delivers the same thing with lesser production values. And in this case, the tracks aren't even a single concert, but rather "compiled from multiple different tour dates in 1975," which feels even more egregious. All that aside, while I understand that this one was immensely popular and a monster in sales figures, it doesn't particularly hold up to the test of time. It's fine, mind you, more than proficient, and has a few head boppers scattered through it's exorbitant runtime, but there are just as many (or more) snoozers to traverse as not. Still a solid 3/5 that I don't anticipate I'll ever reach for, but also wouldn't necessarily change the radio channel from.

217. Frampton Comes Alive - Peter Frampton (1976) 9.27.26 Variety: 3 Adequacy: 3 Listenability: 3 Uniqueness: 2 Emotionality: 3 = 2.8 rounded up to a 3 ( 3.2 rounded down to a 3 for the assembled studio version of this) "Everybody in the world has 'Frampton Comes Alive.' If you lived in the suburbs you were issued it. It came in the mail with samples of Tide." - Wayne Campbell This is another one of those on the shortlist of albums that I heard quite frequently as a kid as my mom had a copy on vinyl. I mainly remember the three big songs though, and would maybe even hear them on the radio just as often. Pleasant enough as 70s lighter rock goes, at least it wasn't as soft as Bread. But it did seem to exist on the edge of what a lot of people would consider just hard enough. All my aunts I could imagine listening to this, but Kiss would have been a step to far. Except maybe "Beth".., but to get back to my main point - this thing was always just ok. It was fine. Decent enough. It was there. Later in life I picked it up on vinyl again as part of a collection, but I don't think I ever got around to listening before I sold it off ( likely as part of a smaller collection) or traded it away ( less likely as i find it hard to picture who would want this thing that didn't already own it). I also had it on CD somehow. It truly was everywhere. I now find this completely baffling as in my memory there is nothing especially amazing about it other than how middle of the road it was. Maybe that's it? It just appealed to the broadest possible demographic at the time? I look at what else was charting on Billboard 200 around then, and it looks like a LOT of similarly bland and unexciting stuff - Chicago IX: Chicago's Greatest Hits, Desire by Bob Dylan, Wanted! The Outlaws, Eagles: Their Greatest Hits (1971-1975), Wings at the Speed of Sound, Black and Blue by the Rolling Stones, Presence by Led Zeppelin, Breezin' by George Benson... yikes. Stevie Wonder's Songs in the Key of Life came out late in the year and beat Frampton's 10 week ( split up) domination with a straight 11-week run, but that's slim pickings. I wonder how many critics would list 1976 as the nadir of popular mainstream music? Plenty of great stuff came out but didn't have the sales impact those ones did at the time, and some would grow like Boston's self titled, but there are great releases by Bowie, Rush, Judas Priest, Thin Lizzy, Rainbow, the Ramones, the Modern lovers... I could go on but you get the point. People wanted chill, MOR stuff that would not rock the boat it seems. Most of them anyway. I'm really curious just how inessential this one might really be, other than it's inexplicable sales impact. Maybe there's more going on that my dumb kid brain couldn't rack. Let's see what multitudes Sir Peter Frampton contains within his frizzy THE TRACKS Side one "Introduction/Something's Happening" - Yes, fine. Let's get the into out of the way. I've made my views on live albums pretty clear in other reviews, so will try not to harp on it too much, but just as I recall the production here is ass. It does certainly do a good job of giving you the feel of being at the concert I guess though, with the muddy, too bass heavy sound, and guitars and vocals too low in the mix. So yeah, this shitty concert emulator is on point. The song itself is ok, and has a well played, if short solo. I listened to the original album cut, and no surprise it was much more listenable, and preferable. "Doobie Wah" - This one was a bit more generic, but also had a pleasant feel to it. I don't know if it was purposeful or not, and maybe the title is putting this thought in my head - but this sounds like a deliberate homage to The Boobie Brother's "Listen to the Music". Not nearly as good as that though. The audience got on my last nerve hear though. Applause at the end is one thing, but shut the fuck up in the middle of a song, please. ( I also feel this way when I'm at an actual live show - rare as that is, so I'm consistent, if I'm anything). There's a live in the studio version of this that is a bit slower, making the Doobie Bros. callbacks a tiny bit harder to pick up, but there's no distracting crowd noises, and Frampton's voice feels a lot more soulful. In fact this version feels quite a bit funkier, and jammy which I liked. And Frampton's guitar solo had a richer tone. At the 2:50 mark he really digs into the emotion quite well. "Show Me the Way" - This first of the GINORMOUS smash hits off this album, and one where the audience chatter is so baked in that it rolls off of me and fails to affect how great the song is. This is prime classic rock to me. It's a 94.7 mph fastball, right down the middle. No frills, excellent, catchy, not too deep, but not lacking in any depth. It's ostensibly a love song, but is a tiny bit dark and filled with a sense of unease and doubt, but it's still feel good enough to not upset anyone. Top notch stuff. I wonder if he gets a piece of that talk-box pie as sales must have exploded after this ( edit: turns out he started his own company - Framptone to make his own version). The studio cut is still pretty great, and arguably prettier, but the live one is SO ingrained in my mind as the "right" version and it actually does get electric when the crowd goes momentarily wild for the talk-box, and it really feels like he is singing TO the crowd. The studio version vocals feel weak by comparison. "It's a Plain Shame" - Frampton gets a bit down and dirty ( for him anyway) and adds some grit with a bit of a roadhouse boogie number that gives me some Who vibes in parts. Easily the most rocking things have gotten yet, and a decent side one closer, if a bit generic. The guitar work remains strong, and unless my ears deceive me, the sound quality is a bit better on this one. I know that these albums are often made up from the best takes from handfuls of concerts, so maybe on this night the mic set up was more advantageous? I much preferred the studio cut of this one with it's tight crunchy, punchy production and Frampton's guitar sounding a lot bluesier, with some George Harrisonesque touches. And where the live version reminded me a lot of the Who, the studio one leans more towards Rolling Stones in vibe. Side two "All I Want to Be (Is by Your Side)" - Side two opens with a strummy acoustic love ballad. I'm sure this was great for all the people in the front row who got to bask in some prime 70s golden god rock n roll vibes. That's if the shrieks and WOOOO's were any indication. It's pretty hard to swoon though when you weren't there though. This was rest spot material, and got a cheap pop from the audience. Not terrible by any means, but utterly forgettable. Without the screams of people wetting themselves, this one sounds a lot less romantic, and Frampton adds some bluesy stank on both the guitar and his vocals here. This is also way more enjoyable a listen, and is up there with the better Doobie Brothers deep cuts to make that comparison again. It never goes fully over the edge into Yacht Rock territory, but it's a hell of a lot closer than say, Joe Walsh or Steve Miller Band ever were. "Wind of Change" - We get another softer track, this time with a more spritely energy, and even though it false in the romantic mode, it's a lot less focused and more brightly attuned to a generally upbeat mode than it is meant to illicit any swooning. Though at the end I can easily imagine him pointing to specific areas of the crowd on the "You"'s, which is fun ai Guess. The studio version is just as bouncy, and just all around better sounding, with clearer guitar sounds, and effects on his voice you can actually here. But both are still pretty good. "Baby, I Love Your Way" - It morphs right into this one, his big romantic hit off the album, and one that has had such a huge cultural footprint that it resurfaced with big covers in 1994 ( probably the best known one by Big Mountain), 1977 ( Diana Ross), and 2023 ( Dolly Parton and Frampton), with probably dozens more less notable ones in between. Content wise, this is the lowest order of pablum - the "Baby, Baby" song. As shallow as it is catchy and pretty, and sincerely delivered. It's a time honored tradition in rock, one which the Beatles made their career out of, and which should not be discounted and Frampton pulls it off marvelously here. The Hammond organ underneath I think provides all the soft feels, and helped launch thousands of wedding dances ( another idea for a list to go along with by funeral playlist). The studio cut of this one is conjoined to an instrumental slow jam called "Nassau" that's pretty forgettable, but which sets the mood up well I guess. The song itself is ... fine. It's just likely another case of the live one being the "true" version in my head, but this one feels a touch colder and more mechanical, especially with the drums which are metronomic and WAY up in the mix so much so that they overpower the vibe, and while the electric guitar work is good, it just makes the song a bit less lovey-dovey. Also, there's a lock of the Hammond organ, which also makes it less romantic. So another win for the live version. "I Wanna Go to the Sun" - This one was meant to sound epic I think with pounding, deliberate rhythm and it had an interesting bunch of chord changes but didn't have any good melodic hooks and just plodded along. Lyrically is an unfocused, mish mash of nonsense that makes grammatical sense but lacks any sort of meaning from what I can tell. Is it a break up song. Some sort of "Rocket Man" wannabe? By far the most boring thing on here. The studio cut is pretty similarly boring, but at least sounds a lot more palatable. Side three "Penny for Your Thoughts" - This was a pretty charming, McCartneyesque instrumental that had a little bit of "Blackbird" DNA in it, with it's gentle acoustic fingerpicking. At 1:23, its the shortest track by far and was a nice little detour. The studio cut is much more impressive and there's SO much more fidelity. I like them both, but the studio version wins out for the fidelity alone. "(I'll Give You) Money" - This one has a bit of a southern rock feel to it, and the echoey guitar solo was pretty great. Got some Mountain vibes for the harder bits as well. Solid and feels a bit more produced than most of the stuff on here. There's a quieter, slower version of this I could see Neil Young doing. Joe Satriani must have been a Frampton fan, as the guitar tone sounds a LOT like what I recall his stuff being like. The studio cut was not that different tbh. It rocked slightly more I guess as the bass levels were heavier, and Frampton's voice had a cooler effect on it. "Shine On" - This was fine. It's pretty uninteresting, but competent enough and yet it occasionally escapes from the mold of filler, which it is. The studio cut feels more alive weirdly enough. "Jumpin' Jack Flash" - This is a tall order even by groups that rock quite a bit harder than Frampton, and while him and the band acquit themselves well. Nothing embarrassing anyway, it's just such an iconic song that it just was doomed to not be very good. There was an instrumental break barely a fourth of the way that morphed into a prolonged jam that just kind of lowered my enthusiasm levels to the floor. The exact same arrangement but played by AC/DC would have been great probably. This just felt lethargic. The studio cut works much better and feels like a slow, and sleazy southern rock take. It's still a poor choice, but at least it felt a bit more epic and listenable, if still too long. Side four "Lines on My Face" - Quieter and with some chill, soothing guitars, this one feels like the proper comedown track before the big closer. A little bit jazzy, and some of his better lyrics. Imagine if Carlos Santana got together with Journey. By biggest issue with this one was the length. The studio cut is about 2 minutes shorter and has even cooler, chiller vibe to it. "Do You Feel Like We Do" - The last of the megahits, and the smart choice for a closer. I'm way more familiar with the radio edit of this one, and there's NO reason this should have been 14+ minutes. It's pretty rocking, and still a good time either way, but given teh choice I'd take the shorter one. There are some mid 70's Who vibes on this. Solid stuff. Epic closer. I'll say that the studio version is much closer in length to the radio/ single edit which is a check in its favor. It does not feel nearly as epic though. For anyone with even more time to waste, here's a playlist I made using mostly studio cuts and the live ones from this for the three big hits: https://open.spotify.com/playlist/4Xym3aBbQeK8B9iwGF5MKW?si=3f25d32dce894401 HIGHLIGHTS - "Show Me the Way" - "Wind of Change" - "Baby, I Love Your Way" - "Penny for Your Thoughts" - "(I'll Give You) Money" - "Do You Feel Like We Do" MIDLIGHTS - "Introduction/Something's Happening" - "Doobie Wah" - "It's a Plain Shame" - "All I Want to Be (Is by Your Side)" - "Shine On" - "Lines on My Face" LOWLIGHTS - "I Wanna Go to the Sun" FINAL THOUGHTS As a personality, Peter Frampton seems like an interesting, fun and genial dude. As he lost more and more of his trademark golden mane (I used to confuse him for Brian Eno way for a while because of this), he seemed to age into a respected rock ambassador of the type who has given hundreds of interviews ( one of which I recall his detailing how he and David Bowie were high school friends, and his dad taught the Thin White Duke himself art there). He's also an outspoken critic of our Greasy Turd in Chief over here in the U.S., and has inspired a good number of musicians to be up front about their politics. And the man has used his position and visibility, and money to help out a lot of good causes. So good on ya , Peter! All that said, it doesn't really affect my opinion of his music too much. It's all pleasant, and very capable stuff, and I can certainly see why people liked it. All the major "live" albums of this period I think were all pretty guilty of at the very least studio sweetening, but this one does retain a bit of charm to it, not unlike the Cheap Trick one we had, and listening to the album cuts on certain tracks, and can see why certain live ones became the hits instead. There's an energy there that's pretty palpable, and the speed and dynamics are good. Still doesn't change the fact that I find live albums to be mostly pointless ventures. Double live albums even more so. The studio cuts I listened to were fine, and I didn't mind the lack of energy too much at all. If I had to listen to these again, it would be these versions aside from the obvious ones. So if you did like what you heard on this, definitely go check out the below studio albums: - Rock On by Humble Pie (1971) - Wind of Change by Peter Frampton (1972) - Frampton's Camel Frampton's Camel (1973) (1973) - Somethin's Happening by Peter Frampton (1974) - Frampton by Peter Frampton (1975) Possible turn-Offs might include: - the length - live album audience nonsense - muddy and very uneven production throughout - lots of filler You Might enjoy this if you: - dig that live sound - don't want to rock out too hard - grew up in the mid to late 70s through the mid to late 80s and want a decent nostalgia rush - appreciate workmanlike pop rock that has a hint of hard rock, but which is still very polite PLAYLIST ALTERATIONS - "I Wanna Go to the Sun" would not be missed FURTHER LISTENING Precursors: - Summertime Blues by Eddie Cochran - Organ Grinder Swing - The Incredible Jimmy Smith - by Jimmy Smith (feat. Kenny Burrell & Grady Tate) - Rock On by Humble Pie - Are You Experienced by Jimi Hendrix - Ram by Paul McCartney - All Things Must Pass by George Harrison Contemporaries: - Something/Anything? by Todd Rundgren - Kiss – Alive! by Kiss - Live Bullet by Bob Seger & The Silver Bullet Band - They Only Come Out at Night by Edgar Winter Group - Animals by Pink Floyd Descendants: - Cheap Trick at Budokan by Cheap Trick - Double Vision by Foreigner - Exit... Stage Left by Rush - Caught in the Act by Styx

I feel like Peter Frampton was the Dave Matthews of the 70s. Or maybe John Mayer is better comparison? Sure, he's very talented but he's also very very lame. It's hard to reconcile my feelings for those two things, especially as a lifelong guitar player, and give this a rating I can feel totally good about.

4 stars

Maybe you had to be there?

Live album (derogatory)

i really really like peter frampton

all these british blokes sound the sames

Theres a vibe but its not doing it for me

I reeeally enjoyed this album. The guitar was sooo good

Frampton comes alive; I can rest in peace having heard it once.

Right. When this started I was all ready for a zero rating, hated it… as I persevered I actually got into it a bit more, it’s not for me and it’s only 1 star but I have heard far worse from this list so far.

I don't like the talk box effect at all which makes me mark a little lower. but the guitar is so good, and the notes are so clean. Baby I love your way is timeless

Thoroughly mid and sort of emblematic of vanilla 70s rock even with some decent guitar work in the mix. Doesn't even really sound great for a live album. Maybe could be persuaded to give it a 3 but nah.

Pretty much the perfect live album

I've always wanted to check this album out since all I had ever heard were the singles that get played non stop on classic rock radio. I knew it was a breakthrough live album which is highly regarded and I can understand why. Flawless performances from all involved and the iconic use of the talk box on a few songs. A little long overall especially the last 15 minute track but a solid live album for sure.

One of the best live albums. The definition of live rock.

Great album

Had a hard time appreciating this album. Apart from 'Baby, I Love Your Way', which I've heard before and is a good song, I didn't really find anything standout (again the bias towards music heard before is extremely strong). The performance was good, but the songs weren't particularly interesting to my ears. Quite forgettable. Weak 3.

I think this may still be the #1 double live record of all time, I'm not taking the time to look it up right now. My point is that Frampton came out of nowhere to dominate on the strength of his live performances. Great songs, vocals, playing, band, etc. Big part of defining what rock was in the seventies. For me, this album was the soundtrack of my high school years. So it has some meaning. I don't know what it sounds like to younger ears. To me, it's quite the achievement.

Pretty solid, close to a 4 but stays at a high 3.

Everyone knows I love live albums and I love "dad rock", but despite that I still was not impressed by this album. Beyond songs with the work "Way" in the title, the rest felt boring and not interesting. Wanted to like it more but couldn't get myself there.

Realistically probably could’ve died without hearing this, none of the songs are super memorable but I can’t hate a guy for getting out there with a vocoder

I listened to this for the first time a few years ago. It's OK. 2-1/2 stars

Wow. This really does come alive. I like live music, and you can definitely tell the difference when its live. Had a nice time walking home from bgc to 'Show me the Way'. Pretty solid for what it is, considering it should get boring much earlier. Being live music with crowd interaction really helps me get into it more. 7/10

Inject that voice box solo on 'Do You Feel Like We Do' into my VEINS.

Ok album

This is sort of a fun record. I’m not sure that I understand its legendary status, but I’m guessing you had to be alive when it came out to get it (I was not quite alive yet). Still, I could see how this would be great if I was big into pot. 7/10

I don’t know, I kinda enjoyed it.

Show Me The Way on talkbox might be the only song of Frampton's I know. Well, and the Big Mountain cover of Baby I Love Your Way. Because of them, this album has been recommended before. And I've heard or it or read of it on plenty of "must" lists. Overall, I liked the live recordings. Song structures are great, instrumentation is competent, the actual recordings are clean for a live environment (although I understand there is some studio dubbing on some tracks to help with that). But I'm not blown away. In the future, I can see myself putting this on while I cook or clean. Good music to get tasks done while being in a good mood.

Soft rock for old people. Baby I love your way is a banger though. Also I hate live albums.

Prosječne pjesme, prosječan zvuk, malo ispodprosječan vokal, i malo iznadprosječan vokal. U suštini prosječan album i vidim što se u nas na piku masovno i povoljno prodaje.

It's a good album, but it's just too long. Ole Petey is a good guitarist and has great feel, but sometimes it just feels like he's dragging it on. Some real bangers are here, but they feel buried in between some real filler fluff.

Pretty boy rock - didn't care for it then, don't like it much now. Blow my guitar never seemed like a viable strategy to me.

A handful of tunes and a whole load of MOR 70s arena rock you’ve heard before. Plus the usual points off for being a glorified best of.

Turns out you can judge some albums by their cover.

idk bout this one… not a big fan of live recordings tbh

I mean, it was okay. Nothing too special about it, though the guitar riffs weren't half bad.

This is one of those classic albums everyone needs to have that I haven't actually heard all the way through. Glad to finally be remedying that today. I mean, yes, this is definitely a dad rock standard. But it's still great, though I much prefer a live album that is all from one show rather than different songs from different shows cobbled together. I guess that's a little more rare for a multitude of reasons. I never really thought of Peter Frampton as such a good guitar player either. I mean I've heard plenty of Frampton but I guess I never really paid attention. I like this album and would certainly buy it in the record shop if I saw it, though I don't think I'd make a special trip just to look for it. Plus I feel like I've seen this album in every record shop I've ever been to so I don't think it's exactly a rarity these days. 4/5

Overall great vibe

not bad

Decent.

Takie okej. Nie musiałoby być live. Solidne 3

6.0/10 Not horrible but don't think I would ever listen again..

Not mad on Framps

Some great tracks but a whole lot of boring in between. Like really boring

I’d probably enjoy this music if it wasn’t a mediocre live recording with 1000 tone deaf randos singing along.

....

1056 - "Here's your juice box and orange slice. Thanks for coming."

I *hate* Frampton. But I can't deny that there are a couple of good tunes on here for people who can stand him. I refuse to be that person to give one or two stars simply because I hate the artist.... but even if you like Frampton, you can't deny that other than his heavy use of wahs and talk boxes this isn't anything really groundbreaking or outstanding. But, it's on here because he really does use some of these more obscure toys more effectively than most. I still hate him.

Dad rock at it's (lamest) finest.

It's fine. This album is so connected to 70s bombast, and I have heard so much of this on so many classic rock stations, that it's hard to take seriously, especially with Zappa referencing I'm In You, the follow up album. Couple of the lesser known songs really hit, but overall it's a nice arena rock album that exploded.

It is completely beyond me why this album was voted the best live album of all time. I listened to the 1996 24kt gold remastered version. The sound isn't even particularly clear. Perhaps I’m just spoiled. Afterward, I listened to the 25th Anniversary Deluxe Edition. While the song order is a bit jumbled there and there are a few extra tracks, the sound feels better to me—and to my stereo system. Okay, regarding the music: the album sounds like power pop, if you want to call it that. In the 80s, there were bands like Europe or Bon Jovi doing exactly what Peter Frampton did in the 70s. It’s music for girls who swoon over the singers. Some of those soft-rock bands—the ones with long-haired, pretty-faced musicians—learned a thing or two from a guy like Peter Frampton. The music ranges from acoustic ballads to melodic rock numbers, yet none of the guitar solos really stand out. That’s a shame, really, because he isn't a bad guitarist. Peter Frampton experiments with the talk box to alter the sound of certain notes. Interesting, sure, but nothing more than that. Even the Rolling Stones cover, "Jumpin' Jack Flash," doesn't save the record. I have to say, this album just doesn't grab me. Even after listening to it repeatedly or skipping through the tracks, I feel nothing. It’s no better than any album by Boston, REO Speedwagon, Foreigner, Journey, Kiss, or Supertramp. Steve Miller’s *Fly Like an Eagle*—also released in 1976—is better. Thin Lizzy’s *Live and Dangerous*—and their live performances, for that matter—are in a completely different league! Far more inspiring, sonically light-years ahead, and featuring "real" guitars. I won’t even get started on Neil Young’s *Live Rust*—released in 1979 and recorded in 1978. That is a quintessential live rock album! *Frampton Comes Alive* is arena rock—a style that still works today. Fifty years later, people still fall for those catchy melodies.

6/10 No es malo, pero meh. No me llamo mucho

I really feel like this is a gimmick album: "He talks with his guitar!" However, the novelty soon wears off, and what is left is a genuinely great live album, great guitarist, and great band.

the man that stares into your soul as you flip through the "Record Bin" they have. After a few instances of that Whipped Cream album, you finally stumble upon this bad boy. The only good song is the very last track of the vinyl. Make sure to get some good light to track it correctly.

Good.

I tend to really enjoy live albums, and this one was pretty solid.

GOOD FOR FRAMPTON MUST BE NICE

One of the better live albums in the list - but enough of these.

I reeeally like Frampton’s voice. Everything else was mostly solid. Sometimes, I don’t care for the crowd noises in live albums, but I enjoyed it here.

Three classic rock staples and eleven tracks that exist, I guess.

6/10

Good,not great