Frampton Comes Alive – Live Album Review

The 1976 mega selling album Frampton Comes Alive! stands as one of my top five live albums of all time, transforming a struggling solo artist into a global phenomenon overnight. The tracks were gleaned from recorded in mid to late 1975 at three different venues. None of venues had a capacity of more than 5500 and this adds to the appeal of the record. At times you can clearly make out individual voices in the audience as they enjoy the show. Released in January 1976, this double LP captured former Humble Pie guitarist Peter Frampton at the absolute peak of his onstage powers. Before this release, Frampton had dropped four studio albums to minimal commercial fanfare. On stage, however, the material finally found its breath, resulting in an album that has sold upwards to 17 million copies and continues to be heard on classic rock radio and is actively streamed daily.

What makes this record work so well is its flawless, pristine live production, which retains the sweaty energy of a happy crowd without sacrificing sonic clarity. This review explores why the album captured lightning in a bottle and how it forever changed the landscape of the live LP.

The album opens with the roaring introduction of “Something’s Happening,” instantly transporting the listener into the middle of a packed 1975 concert crowd. If you close your eyes you can almost smell the cannabis floating in the air. The rhythm section—composed of bassist Stanley Sheldon and drummer John Siomos—locks into a tight groove, while Bob Mayo provides a rich bed of rhythm guitar and keyboards. Unlike many live albums of the era that suffered from muddy mixing, this recording offers a warm, crisp sound where every instrument sits perfectly in the stereo field.

The track-list behaves like a masterclass in setlist pacing. Upbeat rock tracks like “Doobie Wah” and “It’s a Plain Shame” establish Frampton’s credentials as a heavy-hitting rocker, but it is his connection to the audience that truly elevates the record. The crowd is not just background noise; they are mixed prominently, singing along and acting as an instrument of their own.

The third song of the first side is the album’s pop single “Show Me the Way” that started the radio airplay. Driven by a infectious hook and Frampton’s signature Heil talk box, the track became a defining radio staple. The talk box—which routes the guitar signal through a plastic tube into the musician’s mouth to shape the sound into vocal-like vowels—became Frampton’s sonic calling card, blending technological novelty with genuine musical phrasing.

Side two of the original vinyl shifts focus toward Frampton’s melodic acoustic sensibilities. “All I Want to Be (Is by Your Side)” and “Wind of Change” strip away the bombast, showcasing his honest, pure vocals and intricate fingerpicking. My love for this album comes in large part from this acoustic section where you can hear the audience interacting with Frampton’s music. These first two solo songs set the stage for the album’s most famous ballad, “Baby, I Love Your Way”. In its live incarnation, the track achieves a breezy, celebratory warmth that the sterile studio original completely lacked.

While the radio hits solidified Frampton as a pop icon, the album’s deeper cuts remind listeners that he was, first and foremost, a guitar virtuoso. Tracks like the driving “(I’ll Give You) Money” features fierce, dual-guitar sparring between Frampton and Mayo, delivering a gritty edge that satisfied the hard rock crowd. Even his cover of The Rolling Stones’ “Jumpin’ Jack Flash” is injected with a heavy, driving energy that completely reinvents the classic riff.

Everything culminates in the jaw-dropping, 14-minute grand finale: “Do You Feel Like We Do”. Recorded at SUNY Plattsburgh, this sprawling epic functions as the definitive summary of the entire concert experience. It features extended keyboard solos, explosive drum breaks, and a massive, extended talk box section where Frampton literally “speaks” to the ecstatic audience. When he uses the effect to coo, “I want to thank you,” the crowd erupts, capturing a genuine, unvarnished moment of rock-and-roll communion.

Decades after its release, Frampton Comes Alive! remains a cultural touchstone. Critics of the era occasionally dismissed its mainstream accessibility as formulaic, but time has proven those cynics wrong. The record redefined what a live album could accomplish commercially, setting a new gold standard for the industry. It is a celebration of community, summer, and the sheer joy of live music. For anyone looking to understand the magic of 1970s arena rock, this double album remains essential listening.

Thanks for reading. JohnnyO

Concert in Central Park by Simon & Garfunkel – Live Album Review

On September 19, 1981, over half a million fans gathered on the Great Lawn. They witnessed one of the most historic moments in pop music history. The Concert in Central Park by Simon & Garfunkel captures that evening beautifully and is one of my top five favorite live albums.

Released as a double album in February 1982, it serves as a testament to their enduring legacy. It bridges a decade-long gap of solo projects with breathtaking harmony. The record is far more than a simple nostalgia trip. It is a vibrant, living portrait of a city and a musical partnership.

The duo was backed by a stellar 11-piece band including legendary drummer Steve Gadd, Richard Tee on keyboards and guitarist David Brown. This helped them inject a contemporary energy into their 1960s folk-rock catalog.

One major reason this album is so high on my list is because if you close your eyes and listen it feels as if you are at the show. The crowd noise is high in beginning and give a real feel for how the experience must have come across.

The opening tracks, “Mrs. Robinson” and “Homeward Bound,” immediately establish the tone. The instrumentation is crisp, yet it never overpowers the core attraction of their their voices. Another thing that makes this album exceptional is the blend of their joint song catalog with Paul Simon’s solo work. Tracks like “Me and Julio Down by the Schoolyard” and “50 Ways to Leave Your Lover” receive a new life here. Art Garfunkel’s soaring vocal harmonies add a delicate, romantic layer to Simon’s solo rhythms. Garfunkel also gets to shine alone on a haunting rendition of “April Come She Will”. He also delivers a jaw-dropping performance of “Bridge Over Troubled Water”. His vocals on that track soar effortlessly above the massive New York crowd.

The chemistry between the two remains the album’s emotional anchor. Despite well-documented personal tensions behind the scenes, their musical intuition is flawless. A notable highlight is “The Boxer,” featuring a slightly revised lyrics set. When they sing, “After changes upon changes, we are more or less the same,” the line carries a heavy weight. It perfectly mirrors their own rocky relationship and shared history. The album closes in the most fitting way possible with “The Sound of Silence”. It features just a single acoustic guitar and two iconic voices echoing across Manhattan.

While some purists might miss the sparser arrangements of the original studio tracks, the live production hits the mark. It successfully captures the ambient atmosphere of a massive outdoor event. You can hear the crowd’s roars, the distant city hum, and occasional minor imperfections. These elements only enhance the authenticity of the recording. The Concert in Central Park remains a definitive live album. It is a celebration of songwriting genius and a love letter to New York City. Decades after its release, the recording still holds the power to transport listeners back to that late summer night. It is an essential addition to any serious music library and will always be one of my favorite live albums of all time.

Wake Up Early to be More Productive

Over the years of my life I have found more often than not I am an early riser.

The early morning hours hold a quiet power that can transform your daily life. While sleeping in feels luxurious, waking up early offers distinct advantages that boost productivity, mental clarity, and overall well-being.

First, rising early provides a peaceful environment free from distractions. Before the rest of your household and the world wakes up, there are fewer incoming emails, noisy traffic, or family demands. This uninterrupted time allows you to focus on high-priority tasks, read, or plan your day. Studies show that morning people are often more proactive and better at problem-solving because their brains are fully rested and alert.

Second, an early start eliminates the stress of rushing. Instead of sprinting through a frantic morning routine, you can enjoy a calm breakfast, exercise, or meditate. Starting the day with intention rather than panic sets a positive, control-oriented tone that lasts until evening. This extra time also makes it easier to establish a consistent fitness routine, as morning workouts are rarely canceled by unexpected daily conflicts.

Finally, early rising aligns your body with its natural circadian rhythm. Embracing daylight signals your brain to be alert, which improves sleep quality at night. Consistent sleep patterns strengthen your immune system and stabilize your mood.Waking up early is not about losing sleep; it is about restructuring your day to gain a competitive advantage. By trading late-night screen time for early morning peace, you unlock a hidden reservoir of time and energy.

Have a Great Day! JohnnyOooooooo

Top 5 Live Music Albums

Hi there and thank you for reading my list of Top 5 Live albums. Now let’s be clear, what makes my Top 5 may not jive with your list, however I would gladly listen to anyone else’s Top 5 list. All that said, I simply love to listen to live versions of songs.

Criteria:

What makes a live album great?

  1. The crowd is clearly in the moment. (often small venues sound better). My favorite live albums are those which sound like a complete concert. I love it when there is a formal introduction of the artist followed quickly by the band jumping right uinto the opener. The show then should proceed logically and sound like a complete concert. My least favorite structure for a live album is the “live cut” version. This structure is best described as a collection of live versions of songs. Usually each cut is separated by a fade out of the crowd after each song, then a fade in to the next song.
  1. I should be able to put the cd in and listen to it straight through just as if I was at the concert. It should should sound like a concert experience it has a beginning, a middle and an end.
  2. Musicians should sound like they are at their best. Great live recordings should not be studio versions with live crowd noise, (see Eagles). Great live recordings should sound like the musicians are having fun and enjoying themselves. My choices for best live album must feel like a coherent show. An album which is simply a collection of live versions of songs does not make the grade.

So here are my nominations in no particular order

– Frampton Comes Alive – Live Album Review

– Jackson Browne Solo Volume 1

– Deep Purple: Made in Japan

– Simon and Garfunkle Live in Central Park.

– Clapton’s unplugged

Stay tuned for the next 5 posts here – Album reviews of each of these selections.

Thanks for stopping by!

JohnnyOooooooo

It All Began With Lance

(or…..Where I found my passion for performing)

A Barley House Buddies Essay by JohnnyO Ozelius

“Can you see the real me…me…me…me…me…me…me…” Pete Townsend.

If you have ever attended an open mic you know that it is an interesting exhibit of local talent. Most openmic performers are true amateurs’ like you and I. We are just out to enjoy the experience. We want to feel the salty combination of fear and exhilaration as we get up in front of a supportive crowd and lay it on the line. Don’t let appearances fool you. For many of us, getting up in front of 25 people to sing a song is the equivalent of a novice skier flying down the mountain at breakneck speed. We don’t always know where we’ll end up, but we hope we will still be on two feet with someone cheering at the last note.

I would like to tell you a tale about one of my early open mic performances in Concord, NH. Concord has a small but thriving music scene and several great open mics.

In 1999, I had not participated in an openmic for well over 15 years. In college, I had participated in a number of talent shows and coffeehouses, but life had taken over and after finding myself in the suburbs with a wife, 3 kids and all the fixings, I simply hadn’t made time to do much besides strum a few chords on the front stoop now and then.

But around 1998 and 1999, my passion for performing began to return and I decided to investigate the open mic scene. I literally checked the newspaper for announcements. Yes, I said the newspaper. Does anybody remember that old paper pamphlet that provided all the local news. But I digress. I made note of a few openmic events advertised that fit my schedule and made a promise to myself that I would get out there and lay it on the line.

So, here I find myself at Pennuci’s Ale House in early 1999 for my first open mic type experience since college. A guy named Shane ran the show with help from a house band cobbled together from friends. They actually were pretty good and played a fun set of bluesy rock material. Basically they would play three or four songs, then bring up 3 or four individuals and let them do 2 to 4 songs apiece. Then they would repeat the process from 9:00pm until 1am every Sunday night. The first time I showed up , I did not play, I just checked out the scene. Realizing this might be safe, I decided to bring my old Ovation the next week and sign up.

So there I was 7 days later, ready to go. I had two songs ready, and when it was my turn, I played my best version of Little Feat’s Dixie Chicken. I don’t remember except that I didn’t forget any words and managed to land on my feet. Now that I had one song under my belt, I decided to follow with a cover of Eric Clapton’s unplugged version of his electric version of his own cover of a great Bo Diddley song “Before you Accuse Me” It was going well until just at the beginning of the 2nd verse, this guy with longesh, wavy blond, a baby face and a cigerette but hanging out of his mouth approached the stage, staggered toward the drumkit and mimed a question to me which was drunk for “do you mind of I play the drums? I smiled, gave him a quizzical look and bobbed my head in the affirmative.

He sat down and proceeded to ruin my song because he couldn’t keep a beat. Now, I played with a few drummers who couldn’t keep a steady beat. What I mean to tell you is this guy couldn’t keep a beat at all. Whether it was the drink or the lack of skill, he was bad. But, in good humor, I finished the song, got a few cheers and laughs and thanked the crowd for their attention and care. My new drummer friend introduced himself as Lance and apologized that he was too drunk to keep the beat. He smiled and staggered off.

Now as if that were the end of the story, my new friend Lance was to truly amaze me later in the show. About three hours later, the last openmic perfomer stepped up to close out the night. It was none other than my new buddy Lance. However, Lance was now the new and improved “mostly sobered up Lance”. I remember Lance for a couple of reasons, first, because his drunken Ringo act he loused up my song, but also because he played a natural color Ovation guitar. The real reason I remember Lance so well is because he proceeded to play one of the greatest finale songs I’ve ever heard open mic or in a packed arena.

His first few songs were delivered well, but to be truthful I cannot remember any of them. I do remember however hearing people yelling, “Walk a Mile” Lance, play Walk a Mile”,” Lance asked in reply, “Are you sure”. The calls came back.

“Yeah. Walk a Mile”.

So, as a good rocker, will, Lance responded with the first basic chord strums of the great Joe South song made famous by Elvis. The thing is though, and it gives me chills now just to think about it. Lance made it his song. I have heard that phrase used to describe various performers who perform a cover of a song, but “make it theirs”. Joe Cocker is a great example. Joe takes a song made famous by such a band as the Beatles, and ” makes it his own”. That is what Lance did that night. Not only that, Lance turned the song into a great finale by winding the final chorus around and around, getting the whole crowd singing along with him.

There we were, 30 to 40 half drunk locals singing “Walk a Mile in my Shoes”. After at least 4 final choruses, he carried it right up to a big Carnegy Hall ending. If I had closed my eyes, I would’ve thought that I was in the 4th row at the Carnegy itself. Big cheers went all around and I was amazed. How could the drunk drummer had done such a thing? Simple, a little sobering up and a boatload of talent.I went home that night and slept. But I woke up the next day and couldn’t stop thinking about Lance and that song. I needed a song like that. A big finale. I began noticing how all my favorite performer’s had a big finale song. JT – Steamroller, Harry Chapin – 30000 pounds of bananas, You name, they’ve got one.

More later on my big finale.

The odd part of the story is that I never ever in all my travels ran into Lance again. I thought maybe he had left town. However I have been told that Lance has indeed been around Concord. He and I just seem to be invisible to each other. Sometimes, late at night, I think that lance was sent there that very night like an angel, to give me a vision of what kind of performer I could work toward being. A true performer who could get the crowd singing alongm, who could make the covers my own and who could finsh with a big resounding Finale. Some nights I’m just anotheraverage singer songwriter, but once in a while, I have touched the edge of that cosmic circle in space and time, where, people sing along, where people rock back and forth with me, and where people join me in the spin of the music. I thank Lance for giving me the image to shoot for. I just wish I could thank him in person.

Thanks Lance.

As always, thank you for stopping by to check out my blog. JohnnyOooooooo