[soft instrumental music] [Upbeat Music] - Welcome to the Metropolitan Museum of Art.

The Met has been preserving art from the earliest civilizations, to the contemporary.

From Egyptian sculpture, to The Art of Music.

Today, music legends Peter Frampton and Warren Haynes explored the halls of the Met.

With a hands-on introduction, to some of its musical instrument collections' newest additions.

- Was that good?

- Wonderful!

- From Seth Lovers' 1955 Gibson Goldtop, to the guitar that Keith Richards played on the "Rolling Stones" first appearance on the Ed Sullivan Show.

But now, join Peter Frampton and Warren Haynes on stage as they explore and share their musical journeys and the stories of the tools that help them create The Art of Music.

[applause] - Hello, I'm Warren Haynes.

Welcome to The Art of Music.

And uh, we are here tonight for my good friend, Peter Frampton.

[applause] - Thank you Warren.

[applause] - We-we've known each other a long time, and I-I'm honored to be here for this, but let's dive right in.

Uh, tell me a little bit about your first musical encounter.

What drew you to music in general?

And do you have a first musical memory?

- The first time I ever saw anybody on TV playing an electric guitar, I think it was, um, Eddie Cochran.

As far as, am, ah, ah, me wanting to play guitar, that-that started it.

And then, uh, our English band who were the back, backup band for Cliff Richard, "The Shadows", um, became a huge part of everyone's life in-in, um, England.

Seeing them play many, many times on TV and-and listening to all the records, that was really what, uh-uh, really got me going.

And also the fact that when we got our first record player, my dad bought me "The Shadows" album for Christmas, But he also bought Mom and Dad Django Reinhardt.

and the "Hot Club de France" with Stephane Grappelli.

And so when I left the room, and I'd finished playing "The Shadows," they would put on Django Reinhardt.

And I couldn't get up the stairs quick enough.

It was just awful stuff.

[crowd laughter] It was just, it was jazz, and what's more, it was on an acoustic, um, he didn't play an electric, this guy.

So anyway, needless to say, um, after many Saturdays, Um, I was, stayed in the room for him playing the Django Reinhardt, and I've been playing Django at least one track every day for the rest of my life.

And, uh, [laughs] [applause] Uh, it-it's always good to, um, I find, um, be, um, have a mentor, a player mentor that is so much better than you.

You'll never be that good, But it, you'll pick up things from him, and he was such a great.

He's still-, Django is still a teacher.

I still copy little licks of his.

And, uh, anyway.

- You know, I-I heard B.B.

King talking one time, And he said every great musician has at least one influence that you wouldn't expect.

And the interviewer said, who would that be for you?

And B.B.

King said, Django Reinhardt.

- Wow!

- Yeah.

Uh, so wh-who would that be for you?

Oth-other than Django Rein-Reinhardt, someone we don't expect that you were influenced by.

- I mean, it was listening to, um, going to see "John Mayall's Bluesbreakers" at the, uh, the Flamingo Club in Mordor Street.

When I was too young to get in, but I did.

And, um, I saw Eric playing, and, um, I didn't realize what I was seeing at the time.

It just, it blew me away.

And then I realized, I've got to listen to who he's listening to.

So that's when I found out about all the Kings, B.B., Freddie, and Albert.

And each one of them are just such great influ-influences.

and such a great technique, and they're all different.

They're all so different.

And have always been, uh, an inspiration to me.

- Uh, my first teacher told me, if you only listen to the three Kings, you have a lifetime of homework to do.

- Yeah.

- And he meant B.B.

King, Freddie King, and Albert King.

- Yeah, yeah, no, it's so, - Incredible.

I understand you went to school with David Bowie.

- You heard about that, did you?

Yeah.

- I did hear about that not from him.

[laughter] Although I-I met him, and he was a super nice guy.

Uh, but was it that way when you guys were in school together?

- Yeah, he, um.

It was the three of us.

It was, it was David, um, who we called Dave, obviously, Dave Jones, and-and George Underwood, and myself.

We're like the, the Three, um, Musketeers, basically.

Uh, my father was the head of the art department in the school.

So my dad said, "Well, you, you, you, guys seem to be, you know, into this music rock."

He said, "Why don't you bring your guitars to school?"

"And stick, I'll stick them in my office."

"And then at lunchtime, you can, you can, um, you can get the guitars out."

And, and, I don't think he said you can jam.

I don't think that's what he said.

[laughter] "You can play those things you play, you know."

And uh, so, anyway, um, we did that.

- A-And you guys rekindled that friendship later on in your career, right?

Wha-what was that like?

- He was someone that was always there for me, looked after me.

And then one day, he, he called me up and asked me in '86, it was.

And, uh, he-he called me up.

He'd seen what had happened.

You know, my career kind of done this with the live album, and then it had kind of done this, you know.

And I was floundering and, uh, and not being known as a guitar player anymore which was very frustrating.

And, um, so David called me up.

He knew what was going on.

He-he knew me as the guitar player.

And so, he uh, he asked me, would I play on his record, next record?

So I said, "Let me think about that, yes."

Um, and so I went to Switzerland where he was living at the time, where we recorded there.

And um, then while we were there, he asked me, would, um, would you be, um, willing to come on tour with me and play guitar for me.

And I said, "Let me think about that.

Yes."

[crowd laughter] And, uh, so, so I did.

And I had absolutely no idea.

I was just thinking, finally, we get to play on the same stage, the same night.

You know, I'd, we'd played together the same night, but never on the same stage.

And, and uh, but he was thinking, I'm going to reintroduce Peter as a guitar player, which, Oh my God, did he ever.

And um, I-I thank him every day, and I will keep thanking him, because it was the gift that keeps on giving.

- That's great, that's great.

[applause] Well, speaking of the gift that keeps on giving, [laughter] Shall we play something?

- Oh yeah, let's do that.

[gentle electric guitar] ♪ Shadows grow so long before my eyes ♪ ♪ And they're moving ♪ ♪ Across the page ♪ ♪ Suddenly, the day turns into night ♪ ♪ Far away ♪ ♪ From the city, ♪ ♪ But don't hesitate ♪ ♪ Your love won't wait ♪ ♪ Ooh ooh ooh ♪ ♪ Ooh baby I love your way ♪ ♪ Everyday ♪ ♪ I want to tell you I love your way, ♪ ♪ Oh, true way ♪ ♪ I want to be with you night and day ♪ ♪ Oh, yeah ♪ [gentle guitar] ♪ Moon appears to shine and light the sky ♪ ♪ With the help of some fireflies, ♪ ♪ I wonder how they have the power to shine, ♪ ♪ Shine, shine I can see them ♪ ♪ Yeah, under the pine ♪ ♪ But don't hesitate ♪ ♪ Yeah, your love won't wait ♪ ♪ Ooh, ooh, ooh, ♪ ♪ Ooh, baby I love your way, everyday ♪ ♪ Wanna tell you I love your way, every way, ♪ ♪ wanna be with you night and day, oh yeah ♪ [gentle music] [gentle electric guitar] [gentle electric guitar] ♪ But don't hesitate ♪ ♪ Yeah, your love won't wait ♪ ♪ I can see the sunset in your eyes ♪ ♪ Brown and gray ♪ ♪ Yeah.

Blue besides.

♪ ♪ Clouds are stalking ♪ ♪ Islands in the sun ♪ ♪ I wish I could buy one ♪ ♪ Out of season ♪ ♪ But don't hesitate.

♪ ♪ Yeah, your love won't wait.

♪ ♪ Ohhh, ohhh, ohhh ♪ ♪ Ooh baby I love your way, everyday ♪ ♪ I want to tell you I love your way, oh your way♪ ♪ I want to be with you night and day ♪ [gentle guitar] ♪ Ooh baby I love your way ♪ ♪ I want to tell you I love your way, ohhh ♪ ♪ I want to be with you night and day ♪ ♪ Yeah, yeah, yeah, yeah ♪ [gentle guitar] [applause and cheering] - Talk a little bit about The Herd, and teaming up with those guys.

What, ya know, like 15, 16, what?

- Yeah, I-I was, uh, I, uh, 16 when I first joined the band.

And, uh, at the end of the summer, when I was going back to school, uh, they came up to me and said, "We'd like... we're going to switch the band around.

We want you to be the lead guitarist, and uh, this one's going to, whatever.

And um, and join the band, would you professionally?"

I said, "My dad's a teacher.

I don't think dropping out of school is going to go down too well."

So I went home and asked my mom and dad if I could leave school.

[laughing] [crowd laughter] And I-I said, "The Herd wants me to join like permanently in term professional."

And there's steam coming out of my dad's ears.

And my mother was just kind of looking at me.

And she gave me the wink, and she said, "Leave it with me."

So, um, mum convinced him, uh, once she doused his fire out, [laughter] Um, and convinced him that this is what he's gonna do.

You gonna stop him now?

Uh, you know, we stopped him before, because they kept me out of a band before when I was 12.

That was a little early to go, go-go professional.

So I agreed with that one.

But, uh, she said, "It's only gonna happen again, so why don't we let him go do his thing?"

So I joined The Herd, and, um, and then within within, a year and a half, if that, we were on top of the pops with, uh, three big hit singles.

So, um, it-it had happened pretty quickly for The Herd.

- It was almost like teen idol status, right?

I mean, like, which we knew in America with Bobby Sherman and David Cassidy and people like that later on.

But, ah, from what I remember hearing, it propelled you to that kind of... - Yeah.

- And that had to be a lot to deal with.

- Uh, well, it wasn't...

It was great to start with because I had all these girls screaming at me and ripping my clothes off.

And, uh, that's the good part.

Very soon, I realized, um, that they were screaming.

They couldn't hear what we were playing.

So that's when, um, I decided to leave the band.

And leave The Herd.

And I was starting to find my own band.

And then, uh, Steve, um, decided one day, he was gonna leave the Small Faces because they wanted, he wanted me to join the Small Faces So we did a session in France, and I-I played with the Small Faces.

And it was a dream come true.

And, uh, so when I, we came home, he decided, if they're not gonna let Pete join the Small Faces, then he's gonna leave, and we formed Humble Pie, you know, and that was, that was the next band.

- So uh, [applause] Well, I-I was a huge Humble Pie fan.

"Rockin' the Fillmore" was a, a really big record, a big, big influence on me.

Uh, I listened to it so many times when I was a kid.

And it was exciting because you felt like you were there.

You felt like you were in the audience.

You know, I-I-I just loved that.

And, and you and Steve reconnected, uh, not too long before he passed, right?

And, uh, we talked a little bit about this one time.

You, you guys actually did some playing together, and were, were gonna tour, right?

- We were, yes.

Um, we were gonna make, we were gonna do one album and one tour, and, um, but unfortunately, you know, we lost him, uh, before that was to happen.

But, um, there's one time that we were in this makeshift studio I had in Los Angeles, and, uh, so I had a reel-to-reel.

I wasn't digital yet.

And, um, - Thank God.

- Yeah.

[laughs] I'd written this song called, "I Won't let" "I Won't Let You Down. "

That's right.

I always confuse it.

And, um, we were singing in harmony, we triple-tracked it.

And in between each line of...

If you solo the, [clears throat] the track, the vocal track, you can hear us laughing because, sounded so good.

[laughs] The two of us singing together, he, he was the one, you know, but I was a good foil for him underneath.

- Well, was it a hard decision leaving Humble Pie when you first went on your own?

- Um, no.

Um, no, I...

I've made some, uh, brutal choices, uh, along the way.

Some have been good and some have been bad.

Um, but I'm, I'm pretty much make my mind up.

I'm pretty impulsive.

When I know something isn't right, then, you know, I don't tolerate it very long.

Whether it was gonna work or not, I wanted to go back on my own, start at the bottom of the ladder again and write my own songs and-and, and be a solo artist.

And I had no idea, uh, whether it would work or not.

- I remember when "Frampton Comes Alive" was the biggest record in America, I was, uh, [applauding] I bought, I bought a copy.

- [laughter] Thank you.

- Uh, tell me if this is right, 1976, it was the biggest selling record in America, but in 1977, it was still the 14th biggest selling record in America.

That's amazing.

And so, you know, now we're back to that question of what happens when you do this, you know, like, uh, your career just went skyrocketing.

- What goes up?

[laughter] First of all, you know, it had taken me six years to write all that material.

And, um, culled from Humble Pie, from, uh, all my solo records up to that point, and, uh, and a cover.

There was a "Jumpin' Jack Flash" we did on there too.

So, um, yeah, it was, uh, very, difficult period for me, especially when they, they told me that I was not only.

uh, number 1 in the charts, but that I'd sold more than Carole King's "Tapestry", which was the top selling record, of ever, you know, at that point.

And she still won't speak to me.

[laughter] No.

[chuckles] Uh, because she's overtaken me now with "Tapestry".

So, um, But anyway, when they told me it was, it was the biggest record ever, uh, um, it...

I got scared.

And because, you know, that you've got to follow it up.

You're only as good as your last record.

And I should never have made any other records.

I should- I should have just... [laughter] That's it.

[laughter] And, but it's, there's nothing better than, than having the biggest record in the world, I guess.

[laughter] - So did you feel like you had to rethink everything from that point?

Like take some time and figure out what, what's going to be next?

- A-After the, "I'm in You" record came out, um, which I wasn't, didn't want to make.

Uh, let alone, release.

Um, I-I realized that it was time to take stock and uh, a lot of things happened there.

Um, money was going astray by the hundreds of thousands.

And, uh, so I needed to sort all that out.

And, um, and that's when I sort of stopped working and um, basically just, um, started writing on my own and getting ready for something that was to come, you know.

I've always been knocked down and then, uh, you know, you take a second or two, um, and if you don't get, if go to 10, you're okay.

You get up on nine and, um, and then you start again.

And it's never too late to start again.

[gentle guitar music] [gentle guitar music] ♪ Lines on my head from that, that one thing she said ♪ ♪ She spoke of strangers that don't sleep two a bed ♪ ♪ Kept on trying, buying time, not waiting on fate ♪ ♪ Somehow I got the feeling that I opened my eyes too late ♪ ♪ I saw where you came from ♪ ♪ Call out your name, there's no answer ♪ [gentle music] ♪ We lived on your doorstep ♪ ♪ I made you my wife, I don't need that ♪ [gentle music] [gentle music] ♪ Lines on my face, while I laugh, lest I cry ♪ ♪ Speed city, dirt and gritty, waving me goodbye ♪ ♪ Now listen, so many people, my family of friends.

♪ ♪ Trying so hard to make me smile ♪ ♪ Until this heartache mends ♪ ♪ I saw where you came from ♪ ♪ I call out your name, there's no answer ♪ [gentle music] ♪ We lived on your doorstep ♪ ♪ Made you my wife, I don't need that ♪ [gentle music] [gentle music] [playing electric guitar] [playing electric guitar] [gentle music] [playing electric guitar] [playing electric guitar] ♪ Ice in her eyes, frozen tears would never be a surprise ♪ ♪ You can't erase a dream, you can only wake me up ♪ ♪ My mind is turning slower, never to accept defeat ♪ ♪ Well, it don't matter, ♪ ♪ It don't matter, I still got a house to heat ♪ ♪ I saw where you came from ♪ ♪ Called out your name, but there's no answer ♪ [gentle music] ♪ We lived on your doorstep ♪ ♪ I made you my wife, I don't need that ♪ [playing electric guitar] [playing electric guitar] ♪ Yeah, I saw where you came from ♪ ♪ I called out your name, there's no answer ♪ [gentle music] ♪ We lived on your doorstep ♪ ♪ I made you my wife, I don't need that ♪ [playing electric guitar] [playing electric guitar] [applause and cheering] - So, uh, earlier when we were talking, I know you had a chance to see Jimi Hendrix play.

Did, did you guys tour together at all?

Did you, you never, were on the same stage.

- The Herd, our managers thought it would be a good idea for us to open for Jimi Hendrix one night.

It was kind of like Jimi Hendrix opening for The Monkeys.

[laughter] - In reverse.

- But in reverse, yeah.

They booed him off there and they booed us off there.

[laughter] They just wanted Jimi Hendrix.

I don't blame 'em, so did we.

Um.

but no, I um, I never...

I met him once, um, um, a friend of mine, just like my, my uncle or my older brother's, Bill Wyman, the original bass player in the Stones, and we've known him for years and years and years.

And he's, uh, and , uh, he would take me up to the clubs when I was too young.

And, um, one night, that's when we see this guy being pulled up onto the stage and he goes over to the lead guitar player and he said give me your guitar, okay then.

it was a right-handed guitar.

He picked it up he put it left-handed, didn't change the strings, and played it amazingly well.

That, that's when, uh, Jeff Beck said, "Yeah, what, what did you think of Jimi Hendrix?

Well, it was me, Pagey, um, and-and, and uh, Eric, and, uh, and we went to see, uh, Jimmy.

And when he finished playing, we just all looked at each other and said, "Well, what are you gonna do for the rest of your life?"

[laughter] - Where, how does the talk box thing did it, was it Pete Drake, - Yes.

- That introduced you to them?

- It was, yeah.

Um, we were, we were recording Um, George Harrison's "All Things Must Pass" record [clears throat] at Abbey Road in London, you know, where the Beatles made all their record.

- Yeah, just that little old thing.

- That, you know, the third or fourth day, George said, um, "I've got someone coming over from Nashville to, uh, play pedal steel, Pete Drake."

He played on "Nashville Skyline" with Bob.

And, um, and, uh, so I said, "That's fantastic, I can't wait to meet him."

And so I'm here with my acoustic and George is there as we're sitting together.

And then facing me is Pete Drake, the pedal steel player from the A-Team, one of the top, top pedal steel players.

And, um, and in a slow moment, uh, Pete Drake said to me, "You wanna hear something?

"I've got something special you wanna hear."

He said, I said, "Oh yeah, yeah."

I thought he was just gonna play me a tune.

So he gets his little bag out and gets this box, puts it on his pedal steel, gets a pipe like this, and plugs things in here and there, and then he puts the pipe in his mouth, and he starts...

The pedal steel starts singing to me.

And that was it.

I mean, um, my jaw dropped and I said, "Where did you get that?

I've got to have one."

You know.

And he said, "I made this one myself."

I said, "Oh."

[crowd chuckling] So, um, I said, "Do you know where I can get one?"

He said, "No, I don't, really."

[laughter] "You mean you don't want me to have one?

Is that what you're saying?"

No, he didn't.

No, but, um, so anyway, I went back to, uh, that was 1970, '71, Bob Heil, of Heil Sound, Heil Microphones.

Uh, he was our PA company back in the day and, um, he had started making them for, um, because, uh, Joe Walsh, um, had borrowed that one from Pete Drake to do "Rocky Mountain Way".

And, um, and he said to, uh, Bob Heil, and Joe, Joe, Joe Walsh's inimitable way.

He said, "Hey, Bob, it's not loud enough."

You know, so, uh, [chuckles] uh, Bob Heil said, "I'll make you a loud one."

Okay, so, so he made this one that could handle 50 watts or 100 watts.

And, uh, and, uh, so he gave, uh, Bob Heil gave me one for Christmas.

I think it was like 1973.

And that's when I used it on, in the studio, on the studio version of "Show Me the Way" first.

That was the very first track I used it on.

- Uh, let's skip ahead to winning the Grammy.

How did that feel for you?

Because, you know, a lot of artists, we, a lot of artists grow up like not putting as much stock in the Grammys because in the past, uh, I guess we grew up thinking all the wrong people won.

[laughter] "The Beatles" never won, "Led Zeppelin" never won.

- Right.

- But then if you finally get to that opportunity, it's like, oh, well this, it's nice to be acknowledged for all the hard work you put into something.

So congratulations to you.

And, uh, wh-what was your feeling about that when it happened?

- Of course, I-I had, um, I-I'd been building back up on the road, but nothing record-wise was, was, was doing anything.

And so he said, "So, Peter, what would you like to do?"

"What are you going to give us" "for the first record back with A&M?"

And I said, "An instrumental album."

[laughter] And he went, "Ah, ah oh, I get it.

You're a guitar player."

"That's right, you got it now."

No, they understood.

Um, and I said, "And I'm not backing down on that.

I don't want to do, I don't want to sing a note.

I want to play guitar for the whole album."

And it was kind of like, um.

[sighs] Every track was like making an album, because I had to travel.

I had to get all the musicians together, all the different, I came to New York to do the track with Warren, and then he had me sit in with the Allman Brothers the next night, And, which was a dream come true as well, so.

- And, and for me.

- Oh, it was wonderful.

And, uh, so with The Shadows, I had to go to England.

And for Bill Wyman and Charlie Watts, I re-reunited them for the first time, since Bill left the Stones.

And, uh, then Pearl Jam, I had to go to Seattle.

You know so, it was, it was a fantastic journey, that album.

And it was for me, as most, uh, artists, uh, y-you don't do anything thinking about what other people are going to think about it.

You do it for yourself.

And then I got, then I got two Grammy nominations in the mail, and I seriously thought they had the wrong address.

[crowd chuckling] And [laughing] and, um, so I opened one and it was for "Black Hole Sun".

It was for the, for this, the one track.

[lips smacking] And then I, opened the other one, and it was for the entire album.

And, uh, so.

[chuckles] I went to the Grammys thinking, well, it's okay.

I know I'm not gonna win, but it's okay.

It's just fantastic to be nominated twice for the same album.

So, anyway, when they read my name out, I went into that kind of sort of dream state.

[chuckles] And I-I remember my wife at the time screamed.

She, I think she was screaming, "Oh, thank God I'm going to have a good night. "

[crowd laughing] I couldn't believe I got it for the whole record.

So for the album.

[crowd applause] - Which is a fantastic record.

[crowd applause] So uh... [chuckles] I hate it when people ask me this question, so I'm going to ask you this question.

[laughter] And you don't have to answer it.

Is there a best, a favorite gig you've ever done?

- Oh, gosh, um, Yes, I think there is.

Um, and it's, it was with Humble Pie.

The ones that stand out, was the first time we played Madison Square Garden.

And... [laugher] [crowd applause] We were opening for "Grand Funk."

We were doing a whole tour of Europe, America, um, with "Grand Funk" And so they let us have a soundcheck at Madison Square Garden, which was fantastic.

So my guitar amp was on, and Jerry Shirley's drums were up.

Jerry was there, I was there.

And I just played an E chord, you know, like.

[strums guitar] In Madison Square Garden with no P.A.

on.

Just my Marshall going out, and it just took about 30 seconds to come back to me.

You know, it was fantastic.

So then I.

[electric guitar playing] I did that, and then, uh, Steve, was ma-, was at the mixing console out, out front, and Steve ran up onto the stage.

I'll never forget this.

And he just said, "Hold the E!

Hold on the E!"

And he, he just, so, uh, [electric guitar strums] ♪ I don't need no doctor ♪ And he started singing that, and I went, "Oh, gosh."

And, and we rehearsed it, and we closed the, the evening with that song.

[crowd applause] That night.

- That's fantastic.

So that's where the song was born?

- Yeah!

Madison Square Garden stage.

- Tha-that's incredible!

What about your worst gig?

[laughter] - One of the scariest gigs was, uh, whether it was the worst one or not, uh.

We were playing in Austin, Texas, outdoors, and it was, they expected, you know, 15,000 people.

Well, this was 1976, so like, you know, 150,000 people turned up, you know.

And then, uh, at-at a certain point, uh, someone started throwing, uh, they had a bag of snakes, [crowd laughter] And they, threw up on the stage.

And so I'm, you know, trying to sing like this.

And, and then, all hell broke loose, and-and, uh, the crowd started moving forwards.

Um, and there was very little crash barrier, almost, no security.

And, they all of a sudden I realized they're under the stage, you know?

And all we heard was this ripping of wood.

And, uh, then, um, our manager, t-tour manager said, "Off!

off!"

[laughter] And basically, I think the stage fell over in the end.

We were...

This is...[ chuckles] They're gonna cut this bit out, but... [laughter] There's a helicopter that we... and our wives and girlfriends are there, but it would only fit the band, so we had to leave the girls back.

[crowd laughter] [laughter] We-we landed i-in a Kroger parking lot... [crowd laughing] And with towels and-and wet clothes and everything.

And then this guy in a pickup truck is-, with the windows open playing the album.

[laughter] He's pulling along and we're going... [crowd laughter] Like this.

And he said, "My God!

It's Peter Frampton!"

"I can't believe it!"

[chuckles] [crowd laughter] [shocked] "You're on the speaker!"

So I... [chuckles] So I, I said, "Yes, thank you" Um, so, that's when we-we finally ready, we said, "Can you take us to the Hilton?"

Oh, no, it was the Holiday Inn probably.

[laughter] Anyway, that was the end of the worst gig day.

- Music has this special place in-in our lives, that, there have been times when without it, you wonder what you would do?

- Uh-hmm.

And, is it still that, same way?

- I love what I do more.

Uh obviously, I have this muscle disease, which, uh, is crimping my style a little bit.

But, I'm going to go on playing as long as I can, because... [applause] I might miss a note here or there these days, but my heart is totally into what I do and always has been.

And, um, yeah, it's, it's something, uh, I-I think the passion is, is what drives you.

And if do, if you're lucky enough to have a passion for something, no matter what it is, I, It's the best thing in, in-in the world.

[crowd applause] - Well, I-I got one more question.

I-I know you're tired of telling the story about reuniting with the Phoenix guitar.

And this guitar right here.

[crowd applause] Uh, I would love it if you would, uh just share that with everybody.

- Yeah, it's, um, it's one of the most incredible stories, and it happened to me, you know.

So, we had a cargo plane crash in, uh, Caracas, Venezuela in 1980.

So I had the guitar from 1970 to 1980.

And everything that I played on every session, all my own stuff, was all on this guitar.

This was like a glove, you know, hand in glove.

And, it's, it's so incredibly, almost telepathically made for me.

So, it was 2008?

Something like that.

And, um, I got an email, and in the email, were-were a dozen forensically taken shots of this guitar.

And I screamed.

I couldn't believe that they said, these pictures were taken a few days ago.

And I said, that's my guitar.

They said, we know.

And so he wanted a little money, um, um, but it was nowhere near what I thought it would be.

So, uh, he was fair.

And, um, 32 years later, I'm in a, a hotel in Nashville, and this guy comes up from Curacao, and walked into the room with this horrible plastic cover.

And as he gave it to me, I just went, I-I knew it was mine, but, it's, it's one of the lightest Les Pauls I've ever played.

And I said, "Oh my goodness, this is mine."

This is my guitar.

And, uh, that was it.

And the first night I used it, was the Beacon, here in New York.

And, um, at the end of the act, right before "Do You Feel," my tech, ev-everything went dark.

My tech put it on a stand, and all the floodlights, spotlights just went... Pshh!

On the guitar.

And everybody stood up, [chuckles] and went berserk, because they knew what it meant for me to get this back, you know?

And, um, so I didn't play it throughout the whole act, but for "Do You Feel," I picked it up.

And In the intro, I made a mistake.

[crowd laughter] I, should I, uh, without further ado?

- I think so.

- I think so.

- Yeah!

- Alright!

- That's great a-do.

[laughter] [electric guitar playing] [gentle rock music] [gentle rock music] ♪ Woke up this morning with a wine glass in my hand ♪ ♪ Whose wine?

What wine?

Where the hell did I dine?

♪ ♪ Must have been a dream ♪ ♪ I don't believe where I've been ♪ ♪ Come on, let's do it again ♪ ♪ Do you, you feel like I do?

♪ ♪ Do you, you feel like I do?

♪ ♪ Well, my friend got busted just the other day ♪ ♪ They said don't walk, don't walk, don't walk away ♪ ♪ He drove into a taxi.

Bent the boot, hit it back ♪ ♪ Had to play some music otherwise he'd crack ♪ ♪ Do you, you feel like I do?

♪ ♪ Do you, you feel like I... ♪ [electric guitar plays] ♪ Do?

♪ [gentle rock music] [gentle rock music] ♪ Do you, you feel like I do?

♪ ♪ Do you, you feel like I do?

♪ ♪ Champagne for breakfast and a Sherman in my hand ♪ ♪ I got black tops, black, grey tails, never, never fails ♪ ♪ Must have been a dream ♪ ♪ I don't believe where I've been ♪ ♪ Come on!

♪ ♪ Do you, you feel like I do?

♪ ♪ How'd you feel?

♪ ♪ Do you, you feel like I... ♪ [gentle rock music] [gentle rock music] [voice box talking] [crowd laughing] [voice box talking] [crowd cheers and applauds] [voice box talking] ♪ Do you feel like we do?

♪ [voice box talking] ♪ Oh yeah, I do ♪ [voice box talking] [chuckles] [crowd laughs] ♪ I feel like you do now ♪ [voice box talking] [voice box talking] [voice box singing with electric guitar] [voice box singing with electric guitar] ♪ I Want to thank you ♪ [voice box talking] [applause and cheering] [voice box talking] [chuckles] [voice box talking] [voice box singing with electric guitar] [voice box singing with electric guitar] [upbeat rock music] [upbeat rock music] [cheering and applause] - I'm honored to be part of this.

Thank you guys for being here.

[crowd cheers] - Thank you, Warren.

[crowd cheers] Allison and Rob.

[crowd applause] [electric guitar playing] ♪ Shadows grow so long before my eyes ♪ ♪ And they're moving across the page ♪ ♪ Suddenly, the day turns into night ♪ ♪ Far away from the city ♪ ♪ But, don't hesitate ♪ ♪ Your love, won't wait, ohhh ♪ [upbeat music] [upbeat music] [mellow jazz music] TAOM FRAMPTON