I’m In You/(Putting My) Heart On The Line/St Thomas (Don’t You Know How I Feel)/You Won’t Be My Friend/You Don’t Have To Worry/Tried To Love/Rocky’s Hot Club/(I’m A (Road Runner)/Signed Sealed Delivered (I’m Yours)
After the massive success of his live album from the previous year expectations ran high for the next Peter Frampton release. Unfortunately, I’m In You was a disappointment in which his traditional rock musical style took a back seat to chasing the fickle teenage girls market. (US:2 UK:19)
“Frampton was walking a tightrope with this album, a fine line between catering to his teenybopper fandom and yet still wishing to further his rock-star credentials. In the end, although the album was commercially successful on first release, he satisfied neither faction and soon found himself back where he was in the early 70s with his future behind him.”
“I still can't believe what a lame follow-up to the double-live this was, especially given how relatively good and rocking its studio predecessor Frampton was.”
“With this album, Peter Frampton faced the fundamental problem of how to adequately follow such a smash as Frampton Comes Alive, which had taken the world by storm the previous year. Typically, many critics were quick to dismiss the new record as being an inadequate, rushed and a lightweight follow-up.”
“The music did not particularly attempt to replicate the sound and style of the live album, although the lively pairing of two old Motown songs did reflect Peter's enjoyment of performing. Rather than opening with an upbeat track, the album's first song was the memorable synthesizer laden ballad I'm In You. The rest of the album unfolded with upbeat tracks strongly featuring distinctive synthesizer sounds.”
“Despite the relative sappiness of the title track, it's still a classic piece of 70s glossy balladeering that had the young girls swooning, evolving into a powerhouse toward the end. But just in case, the remainder of the album displays remarkably good taste and dynamic, imaginative songwriting.”
“This album was basically a misguided attempt to become a pretty boy sex symbol and while it did sell quite a few copies, it was almost shamelessly devoid of any of Frampton's earlier wit and charm. The title track was a hit, and was snapped up by teenage girls looking for the latest pin up to swoon over. Otherwise, the songs are lifeless and emotionless.”
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