Top Artists – Peter Frampton

Humble Pie – Humble Pie

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  • Incredible sound for this classic Humble Pie album from 1970 with both sides earning Shootout Winning Triple Plus (A+++) grades
  • A classic Glyn Johns British Blues Rock recording from 1970 – man, he was really on a roll back then
  • “Alternating hard-driving blues-rockers with country-folk numbers, Humble Pie neatly showcases the two sides of this band’s personality on their first release for a major American label and third album overall.”

This, their third album and first for A&M (which probably explains the master tape sound on domestic vinyl), is one of the few Humble Pie titles we’ve found that can offer honest-to-goodness Hot Stamper sound. Performance – Rockin’ The Fillmore is one of the best sounding live rock albums we have played, and Rock On can also be quite good, but after that it’s slim pickins for audiophiles.

The great sound is no mystery in this case; it comes courtesy of none other than Glyn Johns. He knows Heavy British Rock like nobody else on the planet, or did at the time anyway. If you want fat, meaty drums and grungy guitars — think Who’s Next, Sticky Fingers or A Nod Is As Good As A Wink — Glyn is your man.

Listen to how big and how far forward the drums are in the mix on the first track. That is a sound one rarely hears on a studio recording, and that’s a shame because the drum sound on this record is awesome. (more…)

Peter Frampton – Frampton Comes Alive

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  • All four sides of this double album earned Shootout Winning Triple Plus (A+++) grades or close to it for their Big, Bold Live Rock sound – exceptionally quiet vinyl too
  • Mixed and mastered so that the guitar solos soar the way they do in live music — what a thrill it is to hear them finally sounding the way they should
  • A killer copy like this one is a potent reminder of why we all went so crazy for this album back in the ’70s – I did anyway
  • Allmusic agrees with us that many tracks here are “much more inspired, confident, and hard-hitting than the studio versions.”

On the better copies, the guitar solos are the loudest parts of some of the songs, which, as everyone who’s ever been to a rock concert knows, is exactly what happens in live rock music. Fancy that!

Not many live albums are mixed to allow the guitar solos to rock the way these do. Since Frampton is one of my favorite players, hearing his work get loud on this album is nothing less than a thrill. It’s hard to turn up the volume on most copies — they tend to get aggressive in a hurry — but that simply doesn’t happen on our hottest Hot Stampers. They sound right when they’re loud. (more…)

Peter Frampton – Wind of Change – Glorious Big Speaker Sound

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A while back we discussed the kind of sound that Glyn Johns managed to get for the likes of Humble Pie and The Who: “But oh what a glorious sound it is when it’s working. There’s not a trace of anything phony up top, down low or anywhere in-between. This means it has a quality sorely at odds with the vast majority of audiophile pressings, new and old, as well as practically anything recorded in the last twenty years, and it is simply this: The louder you play it the better it gets.

This is without a doubt a big speaker record, one that requires the highest-resolution, lowest-distortion components to bring out its best qualities. If you have a system like that you should find much to like here.

I bought my first copy in 1972 when I was still in high school and it quickly became one of my favorite records. All these years later it still is. It’s records like this that shaped my audio purchases and pursuits. It takes a monster system to even begin to play this record right and that’s the kind of stereo I’ve always been drawn to. A stereo that can’t play this record, or The Beatles, or Ambrosia, or Yes, or the hundreds of other amazing recordings we put up on the site every year, is not one I would be very likely to own. (more…)

Peter Frampton – I’m In You

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This is the album that almost single handedly destroyed Peter Frampton’s career. To capitalize on the success of his amazing live album, this one was rushed into production with a lot of weak material. But there is a good reason to buy it. The song I’m In You has one of those perfect Frampton guitar breaks which is almost worth the price of the album. About half of this record is actually pretty good. This one won’t make you a fan, but if you are a fan you need this title in your collection, and this is about as nice a copy as can be found. 

Two Frampton albums are absolute Must Owns. Wind Of Change is a masterpiece — the greatest rock guitar album in the history of the world. And Where I Should Be is the last record Frampton made that was any good. I’ve listened to it countless times and never tire of it.

Humble Pie – Rock On – Our Shootout Winner from 2009

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Rock On

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

This record is the very definition of TUBEY MAGIC. The sound is so rich and sweet it will make you want to take all your CDs and dump them in the trash, if you haven’t done so already.  

This is the sound WE LOVE here at Better Records, assuming the pressing in question still maintains some degree of presence, immediacy and transparency. Records like this can easily get thick and muddy; think of the typically dull Who’s Next or Sticky Fingers and you’ll know exactly what I mean. (more…)

Peter Frampton – Frampton Comes Alive – What to Listen For

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Another in the long list of recordings that really comes alive when you Turn Up Your Volume.

What to listen for you ask? Dynamic, soaring guitar solos! On the best copies the guitar solos are the loudest parts of some songs, which, as everyone who’s ever been to a rock concert knows, is exactly what happens in live rock music.

Not many live albums are mixed to allow the guitar solos to rock the way these do. Since Frampton is one of my favorite players, hearing his solos get loud on this album is nothing less than a thrill.

It’s hard to turn up the volume on most copies — they tend to get aggressive in a hurry — but that simply doesn’t happen on our hottest Hot Stampers. They sound right when they’re loud.

It’s ridiculously hard to find good sound for this record. Most copies are thin, dry and transistory. And it’s time consuming to clean and play as many copies of this double album as it takes to find enough Hot Stampers to make the endeavor worthwhile. When this album doesn’t have the goods it’s just not very fun.



Further Reading
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Humble Pie – Humble Pie

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A distinguished member of the Better Records Rock and Pop Hall of Fame.

Both sides here are Super Hot – solid, big and fat with grungy guitars. Exceptionally quiet vinyl on both sides, mostly Mint Minus. A classic Glyn Johns rock recording from 1970 – he was really on a roll at the time. If you like a big bottom end on your rock records, this is the album for you.

This, their third album and first for A&M (which probably explains the master tape sound on domestic vinyl), is one of the few Humble Pie titles we’ve found that can offer honest-to-goodness Hot Stamper sound. There is no mystery in this case; the sound comes courtesy of none other than Glyn Johns. He knows Heavy British Rock like nobody else on the planet, or did at the time anyway. If you want fat, meaty drums and guitars — think Who’s Next, Sticky Fingers or A Nod Is As Good As A Wink — Glyn is your man. (more…)

Peter Frampton – Where I Should Be – A Personal Favorite

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One of my personal Records to Die For. This album presents a more mature Peter Frampton doing some of the most consistently inspired material of his career, including R&B covers like May I Baby and You Don’t Know Like I Know, with horn charts that really cook — in other words, a great album.

One of my personal Records to Die For. This album presents a more mature Peter Frampton doing some of the most consistently inspired material of his career, including R&B covers like May I Baby and You Don’t Know Like I Know, with horn charts that really cook — in other words, a great album. (more…)

Peter Frampton – Wind of Change

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More Wind of Change

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  • Incredible Demo Disc sound throughout: Triple Plus (A+++) on side two and close to that (A++ to A+++) on side one 
  • This British original is the very definition of TUBEY MAGIC, with sound so rich and sweet it will make you want to take all your CDs and dump them in the trash (now that record stores don’t even want them anymore)
  • The best copies like this one keep what’s good about the recording while letting us hear into the soundfield with glorious transparency
  • “The sound is crisp, the melodies catchy, and Frampton’s distinctive, elliptical Gibson Les Paul guitar leads soar throughout… “

This is some of the best High-Production-Value rock music of the ’60s and ’70s. The amount of effort that went into the recording of this album is comparable to that expended by the engineers and producers of bands like Supertramp, Yes, Jethro Tull, Ambrosia, Pink Floyd, Elton John and too many others to list. It seems that no effort or cost was spared in making the home listening experience as compelling as the recording technology of the day permitted.

The best song Peter Frampton ever wrote (and performed) is on this very record, in White Hot Stamper sound no less: All I Wanna Be (Is by Your Side). It has the Tubey Magical sound WE LOVE here at Better Records. (more…)

Peter Frampton – Frampton – Our Shootout Winner from 2013

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A distinguished member of the Better Records Rock Hall of Fame.

This is a shootout we’d been trying to do for years, but the copies we’d been playing off and on hadn’t been especially cooperative, and onto the back burner our plans would go. Maybe next year…

A bit of background: Both his first solo album and this, his fourth, were recorded by the well-known engineer Chris Kimsey, who famously worked with the Stones and others too numerous to mention. To say that the sound of his albums varies considerably would be the understatement of the year. The first album (British only, fyi) is rich, sweet, and Tubey Magical as practically anything you’ve ever heard (as well as overly tube compressed, its biggest fault).

Sonically this album tends to be none of those things. However, if you play enough copies you are sure to run into at least some that sound right.

I unashamedly confess to being a huge Frampton fan to this very day. His first album, Wind of Change, has been a Desert Island Disc for me ever since I picked up my first copy while still in high school in 1972. I’m a Big Production Rock Guy, as you may have guessed from looking at the records we rave about the most, and Frampton’s first album is a classic of Big Production Rock, in the style of Abbey Road, Dark Side of the Moon, Songs for Beginners and fifty others I could name. Make that a hundred others. Or two hundred. (more…)