Why would Peter Frampton, so close to stardom after a decade, release a live, double-record set when he hasn't really established a large audience? He says, "I just wanted to do an album that summed up the first four solo records in the most effective way possible." This album also gives him a dynamic, highly charged context for both his dramatically phrased vocals and a new, rougher guitar style. And the move may not be as ill-conceived as it seems -- his manager, Dee Anthony, used live albums to put J. Geils and Humble Pie over the top.

This album is a primer for those who've overlooked him in the past. In addition to shattering guitar leads on tracks like "Lines on My Face," "Show Me the Way," and "Do You Feel like We Do," the vocals are forceful, the harmonies balanced and the ensemble playing well-rehearsed.

Further reading on Super Seventies RockSite!: Peter Frampton: In His Own Words

Although Frampton has been stereotyped a hard rocker, the introspective side two is largely acoustic. This album also reveals other facets of Frampton's musicianship that his studio efforts have obscured. Second guitarist Bob Mayo provides a rich, dense middle texture, and working with him, Frampton demonstrates his excellence as a rhythm guitarist, a rare thing among lead players. Echo has always been a key factor in his sound and Frampton here manages to combine Leslie speakers, a compressor and augmented echo onstage without losing any presence. But what really makes his lead playing distinctive is his intuitive melodic sense, the economy of his solos and his elegant, quasi-jazz phrasing.

Although Frampton has included most of his best material, numbers like "I Wanna Go to the Sun" and "(I'll Give You) Money" run dangerously close to heavy-metal redundancy. The adopted "Jumping Jack Flash," like several other previously-recorded songs, hasn't really evolved beyond the original Frampton version, and "Do You Feel like We Do," which invariably gets the live crowd crazy, runs on far too long here. Overall, however, this album is Frampton's most coherent, exciting and accessible. Frampton Comes Alive! is more than a summation of his solo career; it's also a synthesis of the best third-generation British rock styles. As the genre's brightest light, it will be interesting to see where he takes it from here.

- Jean-Charles Costa, Rolling Stone, 3-11-76.

Bonus Reviews!

Double live set from Frampton should be the one to finally establish the British singer/guitarist as a superstar-level performer. To begin, the set is a perfect representation of the excitement Frampton and his three backup musicians capture on stage. The material is as representative of his stage act as could be wished for, and the variety here offers a perfect balance between rockers and lower-keyed tunes. Cuts from the Humble Pie days, oldies from the Stones and original material all offer Frampton, bassist Stanley Sheldon, guitarist Bob Mayo and drummer John Siomos a chance to display some of the most skilled instrumental prowess in pop. Particularly impressive is Frampton's guitar work, which avoids the flash sound of too many "super guitarists." Vocals far better than average as well -- and the spontaneity caught on record is rare. Better than any previous studio LPs, all quality material and perhaps the package that will make Frampton a superstar. Best cuts: "Show Me The Way," "Wind Of Change," "Baby, I Love Your Way," "(I'll Give You) Money," "Shine On," "Jumping Jack Flash," "Do You Feel Like We Do."

- Billboard, 1976.

Fueled by Frampton's voice-box guitar technique and accessible radio-friendly pop/rock songs like "Show Me the Way," and "Baby I Love Your Way," the double album Frampton Comes Alive became the biggest-selling live album in rock history, topping the ten million mark. It's a sensible place to start, since Frampton seems to be in his element here, and the song selection includes the cream of his first four albums. * * * *

- Donna DiChario, The All-Music Guide to Rock, 1995.

Go ahead; everybody else owns Frampton Comes Alive and you should, too. Its energetic performances are still infectious, even if the "spontaneous" crowd outbursts do get tired. * * * 1/2

- Gary Graff, Musichound Rock: The Essential Album Guide, 1996.

"Light yer Bics!" cheer crowds who consider this the grandaddy of live albums (whaa, whaa -- remember when guitars could talk?). "Do you feel like we do? Then show me the way to the bong," quip the nostalgists convinced it captured a moment. Bashers boo it's dated, self-indulgent tripe, adding it's one of the great mysteries how this double wonder could have sold over six-million copies in the U.S. alone. * * * *

- Zagat Survey Music Guide - 1,000 Top Albums of All Time, 2003.

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