10 Most Rocking Peter Frampton Songs

Feature Photo: Andrew F. Kazmierski / Shutterstock.com

Peter Frampton is a rock and roll guitar player. That’s what he does, that’s what he’s always done, so writing an article like this on the 10 most rocking Peter Frampton songs just makes complete sense—it’s rock and roll 101, just like Peter Frampton. I first discovered Peter Frampton in 1975 when one of my fellow high school students was playing a track from the Frampton album on the turntables of the school’s radio station. There was something about the sound of the record, a sort of cool, organic vibe, that really spoke to me.

It was only a year later that Frampton, once a cult artist with a devoted following, became one of the biggest stars in the world when Frampton Comes Alive! blew everything up. There were the sweet songs like “Show Me the Way” and “Baby, I Love Your Way,” which became massive hits, but if you listen to that album, there was some hard rock on it too—some of which we feature in this article. The mishap that happened with the follow-up I’m in You probably wasn’t his fault, as he was likely pressured by the record company to create an image with even broader mass appeal. I don’t know why record companies do that to artists—they need to let them be themselves—but Peter Frampton quickly found his way back.

Since then, everything he’s released has been pure gold—maybe not always in sales, but definitely in substance. A lot of his albums have gone unrecognized, especially some of his work from the 1990s and 2000s. There’s great music out there that he’s released, and some of it is really hard rocking. We hope that a list like this will make some people more aware of his later albums; even some of his old fans may have lost track of what he was doing while they were busy raising families in the 1990s and 2000s. Hopefully, this article will shine a light, show you the way, and make you feel the way we do about his music. And I know you know what I mean.

# 10 – Dig What I Say – Breaking All The Rules

Opening our list of the 10 Most Rocking Peter Frampton Songs, “Dig What I Say” showcases Frampton’s gritty rock style, setting the tone for his seventh studio album, Breaking All the Rules, released on 14 May 1981 by A&M Records. Recorded on the Charlie Chaplin Sound Stage at A&M Studios in Los Angeles between November 1979 and June 1980, this album embraced a raw, “live in the studio” approach similar to Frampton’s previous Brazilian EP, Rise Up. The album featured Frampton’s collaboration with notable musicians such as Steve Lukather and Jeff Porcaro of Toto, whose contributions added depth to its hard rock edge. The lineup for “Dig What I Say” includes Frampton on guitar and vocals, John Regan on bass, Arthur Stead on keyboards, and Porcaro on drums and percussion.

# 9 – It’s A Plain Shame

One of the challenges we face with these Frampton rockers is deciding whether to go with the versions from his early albums or the ones on Frampton Comes Alive! For the most part, the live versions on Comes Alive! take precedence because he definitely rocked harder on that record. I mean, that’s what rock and roll is all about—live performance. Any musician worth their salt will speed up the tempo a bit and pour more energy and passion into a live setting, feeding off the crowd instead of just the studio red light. Watching the faces of a hungry, rocking audience, you see the excitement, the big smiles, and who knows what else running through their bodies at the time.

“It’s a Plain Shame” was originally released on Peter Frampton’s debut solo album, Wind of Change, in 1972. Wind of Change marked Frampton’s transition from his tenure with Humble Pie into a solo artist. Fast forward to 1976, when Frampton included a live version of “It’s a Plain Shame” on his monumental double album Frampton Comes Alive!, recorded during his 1975 tour. That is the version we have featured in the video below.

# 8 – Cornerstones – Fingerprints

Opening with understated elegance, “Cornerstones” is a standout track on Peter Frampton’s Fingerprints, his 13th studio album and first-ever fully instrumental release, which arrived on September 12, 2006. This album marked Frampton’s return to A&M Records after a 24-year hiatus and won him the Grammy Award for Best Pop Instrumental Album in 2007. “Cornerstones,” the eighth track on the album, is a unique fusion of styles and talent, featuring the legendary rhythm section of the Rolling Stones: Bill Wyman on bass and Charlie Watts on drums. This collaboration brought together Frampton with two rock icons, creating a memorable “Frampton meets the Stones” moment that gives the track a special edge. The album was recorded at multiple studios, including Eden Studios in London, where “Cornerstones” was laid down.

Fingerprints saw Frampton collaborating with an impressive roster of friends and musical icons, blending rock, blues, and jazz. Additional guitarists include Mike McCready, Gordon Kennedy, Hank Marvin, Warren Haynes, and John Jorgenson, who plays both lead and rhythm guitar. Paul Franklin contributes pedal steel guitar. The bassists on the album are John Regan, who also plays double bass, Stanley Sheldon on fretless bass, Gary Westlake, Mark Griffiths, Bill Wyman on “Cornerstones,” and Charlie Chadwick on acoustic bass.

Keyboard contributions come from Arthur Stead, Blair Masters (who also provides a cello sample), Gustavo Ramirez on grand piano, and Chris Stainton, who plays both grand piano and Hammond B-3 organ. Mark Harris also contributes on the Hammond B-3 organ, with John Burton handling Pro-Tools. Courtney Pine plays tenor saxophone, while percussion is provided by Daniel de los Reyes. Drummers include Chad Cromwell, Shawn Fichter, Matt Cameron, Brian Bennett, and Charlie Watts on “Cornerstones.” Stephan Dudash plays 5-string viola.

# 7 – Lying – Live In Detroit

“Lying” was one of Peter Frampton’s standout tracks from his 1986 album Premonition, his ninth studio release. With “Lying,” Frampton found a hit that resonated in the 1980s, driven by his characteristic blend of rock and pop energy. The studio version of “Lying” on Premonition featured Frampton himself on guitar, vocals, Yamaha CS-80 synthesizer, and bass for tracks 1 and 5. Accompanying him was Steve Ferrone on drums, Tony Levin on bass and Chapman Stick for track 9, and Richard Cottle on keyboards.

“Lying” also became a highlight in Frampton’s live performances, as showcased on the 2000 release Live in Detroit, recorded at Pine Knob Music Theatre on July 17, 1999. For this live version, the band lineup included Peter Frampton on lead guitar and vocals, John Regan on bass and vocals, Chad Cromwell on drums and vocals, and Bob Mayo on keyboards, guitar, and vocals. As with many of the songs on this list, the live version gest the nod.

# 6 – Solution – Thank You Mr. Churchill

This is a heavy-duty rocker that I’m pretty sure most old-school Peter Frampton fand may not know about. It could be wrong but I think this one kind of flew under the radar. And that’s a shame man because this album rocks hard. Released on April 27, 2010, Thank You Mr. Churchill is Frampton’s fourteenth studio album and showcases his evolution as a songwriter, addressing personal, political, and historical themes. The album was produced by Frampton himself, alongside Chris Kimsey, and released through New Door Records in North America and Eagle Rock in Europe.

“Solution” brings Frampton’s concerns about modern society and government directly into the spotlight. The lyrics, “What I really need in a world of revolution / What I really want is a government solution,” express frustration with the state of society and an appeal for meaningful change.

The personnel on Thank You Mr. Churchill elevate the song’s depth. Alongside Frampton, the album features notable musicians, including Eddie Willis and Gordon Kennedy on electric guitar, and bassists Bob Babbitt and Craig Young. Rob Jones contributes on grand piano and synthesizer, adding texture to the arrangement, while the drum work is split between Chad Cromwell, Kenneth “Spider” Rice, and Matt Cameron, with additional percussion by Eric Darken. Background vocals from Kira Small, Marcia Ware, and Scat Springs.

# 5 – While My Guitar Gently Weeps – Now

While Prince has gotten a lot of love for the guitar solo he performed at the Rock and Roll Hall of Fame concert on this legendary George Harrison song—and deservedly so—I think it’s safe to say that maybe the most rocking and intense version of this song that music fans have ever heard was released by Peter Frampton on his Now album. Frampton opens up with some delicate, very interesting guitar riffs before the band jumps in, and this one takes off to a universe beyond the one we live in. This has always been one of the most respected Beatles songs ever written. The original guitar player on this one was Eric Clapton, who played the solo. So now you have George Harrison, Eric Clapton, Prince, and countless others who have played this tune, but, man, I am telling you, if you haven’t heard Frampton do it, check out the video below.

# 4 – Where I Should Be (Monkey’s Song)

Oh boy is this a killer guitar riff. The sound of that guitar is just so tight an loud in the mix it will put a smile on your rock and roll face. “Where I Should Be (Monkey’s Song)” was released on Peter Frampton’s 1979 album Where I Should Be, his sixth studio album, released by A&M Records on May 30, 1979. This album marked Frampton’s return to recording after the height of his fame with Frampton Comes Alive! and the sugary pop album released in 1977 entitled I’m in You. What was he thinking with that one? Where I Should Be saw Frampton embracing back his real rock-centered sound.

The musicians on the track are an impressive lineup of talented artists, including Steve Cropper on guitar, Bob Mayo on keyboards, and a powerful rhythm section with Eddie N. Watkins, Jr., Stanley Sheldon, and Donald “Duck” Dunn on bass. The Tower of Power horns add some killer brass, while the drums are handled by Gary Mallaber and Jamie Oldaker, with Steve Forman providing additional percussion.

# 3 – I’ll Give You Money – Frampton Comes Alive

“I’ll Give You Money” stands as one of Peter Frampton’s most powerful and intense tracks, originally released on his 1975 studio album Frampton. and later brought to new heights on the Frampton Comes Alive! live album in 1976. This live rendition from Frampton Comes Alive! live album in 1976 showcases Frampton’s mastery of the guitar and his dynamic stage presence, solidifying it as one of his most rocking songs. Backed by the stellar musicianship of Bob Mayo on keyboards and guitar, Stanley Sheldon on bass, and John Siomos on drums, Frampton delivered an unforgettable performance. “I’ll Give You Money” on the live album transforms the original studio version, pushing it into a fiery, hard-rock anthem that’s loaded with heavy guitar riffs and extended solos. Its heavy, driving rhythm and intense energy made it one of the most “smoking hot” tracks on Frampton Comes Alive!, That’s what I’m talking about baby!

# 2 – Day In The Sun – Frampton Comes Alive II

“Day in the Sun” shines as the opening track on Frampton Comes Alive II, Peter Frampton’s sequel to his iconic 1976 live album, Frampton Comes Alive!. Released on October 10, 1995, under IRS Records, Frampton Comes Alive II revisits the energy of Frampton’s live performances but with a twist—it features primarily tracks from his 1980s and 1990s repertoire, consciously leaving out the 1970s hits that catapulted him to fame. “Day in the Sun,” co-written by Frampton and Kevin Savigar, captures Frampton’s reinvigorated musical spirit, standing as an anthem of resilience and positivity. This song became a defining track on both the album and during Frampton’s live performances of the era.

Originally recorded on Frampton’s 1994 Peter Frampton studio album, Day in the Sun was brought to life in a new way during the Frampton Comes Alive II sessions at the Fillmore in San Francisco on June 15, 1995. Backed by a talented ensemble including Bob Mayo on keyboard and guitar, John Regan on bass, and J.R. Robinson on drums and percussion,

Lyrically, “Day in the Sun” resonates with themes of redemption and optimism, reflecting Frampton’s journey through the highs and lows of his career. Lines like “I’ve been waiting so long / Just for this day to come” echo Frampton’s determination to reclaim his place in rock music and celebrate his artistic perseverance. The song’s structure—layering soaring guitar solos with heartfelt lyrics—embodies Frampton’s signature sound and proves he could still deliver powerful rock ballads well into the 1990s. While Frampton Comes Alive II did not replicate the commercial success of its predecessor, peaking at No. 121 on the UK Albums Chart and failing to chart in the United States, “Day in the Sun” remains a testament to Frampton’s enduring artistry and his commitment to reinvention on stage.

# 1 – Do You Feel Like I Do – Frampton Come Alive

I wonder if Peter Frampton ever expected that his 14-minute live version of “Do You Feel Like We Do” would become such a smash hit after Frampton Comes Alive! broke sales records and totally turned the music business upside down. Frampton Comes Alive! marked a turning point in the music industry. Up to that point, record companies had never seen sales like they saw for Frampton Comes Alive!—and it was a live album, making its success even more surprising. Nonetheless, the perfect album cover, an incredible-sounding live record, and a setlist fueled by songs that most people hadn’t heard before transformed Peter Frampton from a cult rock and roll hero into a cultural icon.

Closing the album with his 14-minute live version of “Do You Feel Like We Do” truly defined the rock and roll experience of the 1970s for concertgoers. There’s a solo in the middle of the song that runs long but feels special, as Frampton speaks to the audience through his signature talkbox effect, creating a unique connection with the crowd. This song is filled with rock and roll rollercoaster moments, shifting gears multiple times, often exploding into intense jams—all led by Frampton’s impeccable vocal cords and sensational guitar playing. You can’t write anything about the pop culture history of the 1970s without mentioning this album. Its impact was vast.