Do You Feel Like We Do - Writing and Recording

Writing and Recording

The song was written in the early 1970s with members of Frampton's band, then called Frampton's Camel. It was released on the 1973 Frampton's Camel album, and was relatively short compared to the live version at 6:44 and was not released as a single.

After the lack of success of the Frampton's Camel, Frampton performed under his own name and began touring the United States extensively for the next two years supporting acts such as The J. Geils Band and ZZ Top as well as performing his own shows at smaller venues. As a result, he developed a strong live following while his albums sold moderately and his singles failed to chart.

"Do You Feel Like We Do" became the closing number of his set and one of the highlights of his show. It was considerably longer (more than 14 minutes on Frampton Comes Alive!) and featured a number of instrumental solos. Most famously, Frampton used the talk box, an effects pedal which redirects a guitar's sound through a tube into the performer's mouth, allowing the guitar to mimic human speech.

As a result of the strength of Frampton's live show, A&M Records decided to release a live album taped when Frampton performed at Winterland in San Francisco. Frampton Comes Alive! was originally going to be a single album until Jerry Moss asked "Where's the rest?". "Do You Feel Like We Do" was one of the tracks added to the album as a result of the decision to expand the album to a double. The track had been recorded live on November 22, 1975 on the college campus of SUNY Plattsburgh in Plattsburgh, New York.

Read more about this topic:  Do You Feel Like We Do

Famous quotes containing the words writing and/or recording:

    For it is not the bare words but the scope of the writer that gives the true light, by which any writing is to be interpreted; and they that insist upon single texts, without considering the main design, can derive no thing from them clearly.
    Thomas Hobbes (1579–1688)

    Too many photographers try too hard. They try to lift photography into the realm of Art, because they have an inferiority complex about their Craft. You and I would see more interesting photography if they would stop worrying, and instead, apply horse-sense to the problem of recording the look and feel of their own era.
    Jessie Tarbox Beals (1870–1942)