With this 1977 album, Peter Frampton faced the fundamental problem of how to adequately follow such a smash hit 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 lightweight follow-up. However, one wonders whether they would have given it a more sympathetic hearing if the live album had never existed.

As a keen Frampton aficionado two years before 'Comes alive' was released, I bought 'I'm in you' on vinyl as soon as it was issued, eager to hear how the artist had moved on from his creditable 1975 release 'Frampton'. Whilst the cover of the new album blatantly cashed in on his current 'pin-up' image (perhaps undermining the credibility of the record in the process), and there was an unnecessary sycophantic liner note, 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', which I had first heard as a solo piano encore at a Frampton concert in late 1976. The rest of the album unfolded with upbeat tracks strongly featuring distinctive synthesizer sounds (a new direction for Frampton), the long, funky 'Won't you be my friend', pleasant ballads with melodic guitar solos, and a jazzy acoustic number featuring harmonica by Stevie Wonder. So my first impression was that, in the face of excessively high expectations, Frampton had produced an album of good consistent quality which represented a further step forward from his previous studio efforts, and I was certainly not disappointed.

Despite the passing years and the many changes in musical styles since it was released, I still enjoy many of the songs on this album, and would certainly recommend it to anyone who appreciates Frampton's music and recognises that there is a lot more to his work than loud stadium rock. And with most of Peter's work having been unavailable on CD for years, the prospect of several of his early albums now being available in remastered form is very welcome indeed.

With a cover like that, you'd think Pete was asking for it. The sexy boy move does much to reinforce the stereotype of Frampton as the 'dumb blond' one-hit-wonder that's been perpetuated ever since. If that weren't enough, you also have to wonder what the man was thinking in coming up with that cringing title which drew as much fire and ridicule as did the cover pose. Talk about botching your decisions. Shame, however, about the way all this conspired to ruin Frampton's image and subsequent career, since "I'm In You" (I can barely bring myself to write it out!) is probably the last batch of quality songs Pete would write.

Despite the shameless sappiness of the title track -- a classic piece of 70's glossy balladeering that had the young girls swooning which nonetheless evolves into something of a powerhouse toward the end -- the remainder of the album displays remarkable good taste and dynamic, imaginative songwriting. Picking up the famous vocoder (for the last time?) the album moves into the boppy rythms of "Putting My Heart On the Line", a song that may have dated badly but one that reveals that the late 70's were still fertile ground for songwriters. However, the album picks up unity with the compositions that follow ("St. Thomas", "Tried to Love", "You Don't Have to Worry", and "Rocky's Hot Club"). This is where Frampton showcases his enviable guitarsmanship, sense of color, and sublime handling of structure, arranging and singing. Far superior in these areas to almost anything he had written before, Frampton brings out some of his most soulful vocals and an effortless passion in writing and performing. The man was still brimming with ideas and confidence -- just check out how he takes his time fashioning interplays between his acoustic and electric guitars, moving from jazz, to Spanish, to liquid pop, to soft rock. Never had Frampton's guitar delivery and inventiveness been populated by such rich language. Far more delicate yet playful and daring than anything in his past repertoire, it is still the disarming, moving sincerity of Pete's singing that wins the day. The roots of Frampton's soul/rhythm & blues shine through.

Aside from the above tracks, Frampton proves he can groove to funk rhythms like the best of them with the slow burner, "Won't You Be My Friend", which gradually builds up to become one of the essential moments in the album. Strangely, most reviewers below point out "Roadrunner" and "Signed, Sealed..." as the highlights. While these are great covers (a la Al Green, Stevie Wonder), they were also done to death by Humble Pie, Frampton's previous band and, if anything, represent the man's somewhat lame decision to resort to filler material.

All in all, this is one of Frampton's last inspired breaths of fresh air. With guests like Stevie Wonder (playing the best harmonica I've ever heard -- on "Rocky's Hot Club") and Mick Jagger (back-up on choruses), it's easy to see the faith many had in this album. It is a shame he never delivered a live set of these songs -- no doubt they would have rivaled the material on "Frampton Comes Alive". If only.

I don't have a CD copy of this album,but I have gone through three copies of it,two on cassette and one on the defunct 8-track tape. My dad bought the first cassette copy in or around 1977 when this album was released and kept it in his car(there was a cassette player in his 1973 Plymouth with auto reverse!). The destructive child I was back then removed all the magnetic tape from the outer shell. He also bought with it a cassette copy of FRAMPTON COMES ALIVE. I removed the magnetic tape from that one also. The 8-track tape I sold at a garage sale years ago. I lost the second cassette copy somewhere. The late John Ritter presented an LP copy of this album on a 1977 episode of Three's Company. Although this album is now available on CD,I could never find it everytime I set foot in a disc and tape store. Now for the songs:the title track was a big hit,a beautiful love ballad. TRIED TO LOVE has Mick Jagger's background vocals. ROCKY'S HOT CLUB was written for Peter Frampton's dog Rocky. The harmonica heard in that song is played by Stevie Wonder. Stevie's 1970 hit SIGNED,SEALED,DELIVERED,I'M YOURS is covered by Frampton and co-written by Stevie. ROAD RUNNER(probably not a reference to the Warner Brothers cartoon character) is full of soul also. The other songs are great also. This album was a million-seller as was FRAMPTON COMES ALIVE. After this album,Frampton would collaborate with the Bee Gees for the movie SGT. PEPPER'S LONELY HEARTS CLUB BAND,based on the famous Beatles compositions and recordings. We can put this album on the Top 100 A&M albums of all-time.

I remembr for my 11th birthday, my mom bought me this album. Yes, "ALBUM", not CD. I know its hard to imagine record albums this day and age, but im proud to say I grew up listening to 70's music, and Peter Frampton was one of em. Im in you never really made it big for Frampton, like the Comes Alive recording did, but it shines in its own way. The title song, Im In You Is great, Rocky's Hot Club has the "FRAMPTON SOUND". All in all, If you like Peter Frampton, and you like the Comes Alive recording, you will like this one as well. Great music never goes out of style, it just gets better as years go by....

This is one of the albums which have been placed in the 'too-hard' basket for too long. Following up the super-albums of the 70's was something which most artists felt overwhelming. Look at 'Rumours' or 'Hotel California', both subsequent releases were deemed not-as-good as the previous, causing enormous friction within Fleetwood Mac and Eagles respectively.

I can only guess that Frampton headed for the middle ground and put together 'I'm in You' useing much the same fomula as his realeases from the early 70's .. material which included his trademark 'guitar-speak' and other influences including the work of the band Little Feat.

With this in mind, 'Im in You' is a friendly MOR album, aimed squarely at the Top 40 charts (it went to Billboard's #2 in July 1977). One of his last charting albums, this 1977 release deserves more discussion so I will welcome anyone with further ideas.