Retrospectacle - The Supertramp Anthology

by Dave Thompson
Considering their career spanned close to 30 years, it's amazing how condensed most people's vision of Supertramp has become. Or maybe not. Few listeners, after all, would disagree that their prime period encompassed the mere six or so years that divided Crime of the Century (their third album) from Breakfast in America (their sixth), and that the pile of vinyl on either side of that is more or less padding. Certainly Retrospectacle has no problem with that scenario. A completist's eye for affairs does permit the first two albums to enjoy a quick look-in, with one song apiece; and similar treatment is meted out to the seven albums that took the band through the '80s and beyond. The meat of the moment, however, arrives with "Land Ho," the first vinyl manifestation of the so-called "classic" 'tramp lineup, and a lost 45 from early 1974. And, from thereon in, it's all plain sailing -- five songs from Crime of the Century, four apiece from Crisis? What Crisis and Even in the Quietest Moments. . ., and a whopping six from Breakfast in America, all selected to depict the band at the peak of its creative and musical powers -- the haunted harp that opens "School," the staccato percussion that powers "Lady," the lurid harmonies of "From Now On," and on to the sheer illogical madness of "The Logical Song" -- in fact, the only weakness here is the substitution of a live "You Started Laughing" for the vastly superior studio B-side. That aside, though, Retrospectacle tells its story with as much panache as the best of Supertramp could ever demand.

By WTDK "If at first the idea is not absurd, the...

Unlike the previous releases, "Retrospectacle" focuses on material from the band's entire career including their poor selling first two albums and the single they released prior to "Crime of the Century". The first disc takes 1 track each from the band's first two albums. We get a rare single the band released prior to "Crime of the Century". "Crime" deservedly gets five tracks while "Crisis? What Crisis?" has four from this fine album. "Even in the Quietest Moment" also features four strong tracks including the hit single "Give a Little Bit". For fans of the band the real highlight here is the release on CD of the band's virtually unheard single "Land Ho"/"Summer Romance". This was the first single recorded by the band's most successful line up and the same one that would record every album from "Crime of the Century" to "Famous Last Words". If you've leard Roger Hodgson's solo album "Hai Hai" you've heard "Land Ho" as Hodgson did a virtually identical remake of the original version but with different production touches. A note to fans who may have purchased the single--this is not the original 1973 mix of the song but, instead, a previously unreleased 1975 remix when the song was being considered for inclusion on "Crisis? What Crisis?". The flip side of the single features Rick Davies on lead vocals on the R&B inflected "Summer Romance".
The second disc opens with six tracks from "Breakfast in America" ("Another Nervous Wreck" should also have been included but that's just my personal opinion). We get "You Started Laughing" the only new song on "Paris" and then three tracks from the most popular line up's swan song "Famous Last Words". The second disc goes on to document the post-Hodgson line up including the marvelous "Cannonball", overlooked "Free as a Bird" (the best song on the weak "Free as a Bird" album even if it had too much of a techno element to it), "You Win, I Lose" (which was originally supposed to be a reunion album featuring Roger Hodgson. It didn't work out) from the band's first studio recording in a decade "Some Things Never Change" and the big bandish "Over You" from the last release by the current line up "Slow Motion". While "Over You" is a marvelous song I would have gone for the marvelous jazz inflected "Tenth Avenue Breakdown".
The booklet has comments from Davies as well as a discography for the band and which songs were culled from which albums. It's not a complete discography though as there's nothing mentioned about "Extremes" a soundtrack the band did in 1973 which I've never heard. A very nice job all around this is the anthology to get if you want all the hits and some additional pleasant stuff as well.
Davies and co-producer Bill Levenson (who has done some marvelous reissues by the way. My hat's off to Bill who has continued to be a guiding force behind a series of excellent remastered/reissued albums and new compilations/boxed sets) have picked the cream of the crop for the band's albums. Sure, you could argue about songs NOT being included but just about every song on this anthology DESERVES to be here.

Slow Motion

by Aaron Badgley
Supertramp struggled after the departure of Roger Hodgson to be seen as a viable, creative band and prove that it could exist without Hodgson. Although the albums released after Hodgson's departure were interesting, they never managed to capture the glory days of that classic lineup, nor did they reach commercial popularity. That is not to say the releases were bad -- far from it -- but they tended to lack the variety and strong song structures that Hodgson brought to the band. For this studio album, Supertramp's lineup was almost identical to that of 1997's Some Things Never Change, with the exception of the addition of Jesse Siebenberg and the departure of Tom Walsh. The change in lineup meant little, as the music was very similar to the band's last studio release (there was a double live CD released between the studio CDs). Here, Rick Davies took control of production, and it proves the album's downfall. The songs were very good, but the production was muddy and cluttered. The mix did not do justice to the music. The songs themselves had shades of classic Supertramp songs, but there were hints of world music and prog rock, which kept things interesting. The songs were basic pop/rock songs with ever-familiar alienation themes. The two longer tracks ("Tenth Avenue Breakdown" and "Dead Man's Blues") crossed over into the realm of prog rock and harked back to the Crime of the Century album, but each was about three minutes too long, and could have used some editing.

By WTDK "If at first the idea is not absurd, the... 

(Let's stop comparing Supertramp Mark 2 to Mark 3. This edition of Supertramp has recorded a fine collection of music that has a bluesy edge that was only hinted at on previous recordings. The shift to a bluesier sound actually works. Sure, there's the trademark Supertramp sound but that's missing the point. Every Supertramp album sounded a little bit different from the one before. The template that Davies (and Roger Hodgson for that matter) always used for Supertramp was the Beatles. None of The Beatles albums sounded quite the same.
Is Slow Motion a success? Partially, yes particularly on the numbers that don't look to the past. The closing track Dead Man's Blues manages to recall the extended prog rock closers by the band in both its length and the solos. Beyond that, though, this track (which is stunning and the best piece on the album)along with most of the record really doesn't have much to do with the band that recorded Breakfast in America. Slow Motion is an elaboration on the style and sound of Crime of the Century.
I have to give Rick Davies and his band mates credit for trying something daring and new. Yes, there are times it does recall previous attempts to go down the same road (Some Things Never Change, Famous Last Words or parts of Free As A Bird), but Slow Motion is at its most successful when it abandons the very things that made Supertramp successful in the past.

Some Things Neber Change

by Stephen Thomas Erlewine
Rick Davies, Bob Siebenberg, Mark Hart, and John Helliwell re-formed Supertramp with a number of anonymous studio musicians in 1997 to record and release Some Things Never Change, their first album in ten years. And the title is correct -- nothing much has changed within Supertramp's world; they're simply churning out the same sophisticated jazzy, lite-funk-inflected pop as they did in the mid-'80s. The only thing that is different is that the group can no longer write ingratiatingly catchy melodies as they did when they called it quits in the '80s, but hardcore fans will still find the instrumental interplay a joy to hear.

By "progrock86" 

Unlike many people have suggested, alot has changed with Supertramp.
"It's A Hard World" opens the album, and it is anything but your typical Supertramp fare. The dark, smokey jazz track is something like Steely Dan on a cloudy day with more soul. Clocking at nearly ten minutes, the tune showcases chilled-out electric piano, atmospheric effects and plenty of little guitar and horn interjections. A much hipper, darker sound is displayed in this song that Supertramp has never touched upon before.
The next track, the light-heard "You Win, I Lose" is cute, but it wears off pretty fast, with its jumpy little guitar rolls and cheery electric piano. This track appears to be an attempt at reproducing the classic sound, but it doesn't work too well. The chorus is pretty decent, but overall, this song, instead of resurrecting the positive sound of "classic" Tramp, it only proves to be a bit embarrasing.
"Get You Act Together" has sort of a bluesy feel, but is far too clean to reallby be classified as that. The chorus, though, is pure Supertramp, which effortlessly shows us the feel that the previous track failed at. This song might be considered "easy-listening" by some people for its easy-going groove, but Davies' soulful voice knocks down all such accusations.
"Live to Love You," however, is easy-listening to the fullest, but who could help but indulge in the tuneful pleasures of Rick Davies' sincere voice? Not very good, but tolerable for a ballad.
The title track is a punchy jazz-rock number that features a mind-blowing, groove-a-licious chorus with a hip, jazz-funk feel that is one of the best things the band has ever done. Some cool but not-too-original guitar soloing is thrown in for good measure, but the real attraction is Rick's electric piano solo. The jamming is confident, sophisticated, and infectious, and the glassy timbre of the electric piano makes this nothing short of aural bliss, and the subsequent trippy sax/trumpet jamming is perhaps the Tramps spaciest moment in their history.
"Listen to Me Please" features some entertaining vocal interaction between Davies and Mark Hart, and while the vocals are a tad trite, the song has an icy, jazz-ish vibe to it that makes a real pleasure to listen to.
"Sooner of Later" has this bassline that is one of those riffs that _should_ have gone into the pantheon of greatest basslines ever, but hey, you can't win 'em all. Hart's breezy vocals carry this funky jazz groove for the first couple minutes, and then it reaches new hieghts of grooviness when the horn section embarks on a first-rate journey through jazz improvisation, not to mention the funky organ jamming, which is also quite delicious.
"Help Me Down that Road" is in the same vein as "Get Your Act Together," but scores significantly higher on the soul factor, due to its more sincere feel and spicy groove. Quite different from anything we've heard from this group before.
"And the Light" is a soft-sounding ballad, of a type which a generally shun, and yet I find myself enjoying this tune at last. I guess I am just a sucker for Davies' voice, since the composition and the lyrics are rather unoriginal and corny.
The next track is a secret track of sorts. If its on your CD, than lucky you. But otherwise, the next track should be "C'est What?" which is another jazz-rock tour-de-force, which gets quite ferociously groovy from time to time, in between mellower sections. This song is all about dynamics. Quiet, loud, quiet, loud, etc. Definetly the most rocking song on here, which borrows from jazz, rock as well as soul and classic R'n'B.
"Where There's A Will" starts of sounding lame enough, and the intentionally clicheic lyrics, but once it gets picked up, it actually has a pretty cool soulful sound, and you can tell that Davies is really playing and singing his heart on this one, despite the dumb lyrics. But dig the almost Gospel-ish sound on this track. It's pretty unlike anything that the band has ever done, like most stuff on this album.
After a close examination of this album, it appears that more has changed than the title suggests. In fact, this album is a prime example of the drastic evolution a band can undergo in a lengthy 30 year career. Sure, the style has changed quite a bit, but the unique spirit of Supertramp remains intact. It's just a matter of finding it in this interesting and unusual album.

Live '88

By PHILIP S WOLF

Back in 1989, I was a bit of a bootleg junkie and a couple of record store owners in Providence, Rhode Island kept my phone number on speed-dial and called me up whenever a new rare boot arrived at their shops. It was fun to find bootleg CD's of: The Beatles, Bruce Springsteen, The Who and Dylan tucked behind the checkout counters at these little stores waiting for my dollars. I was quick on the draw to adopt more than a few of these less than legal discs.
"Supertramp Live '88" is no bootleg but, it's so rare it might as well be called a bootleg. The story behind this disc manufactured by A & M Records in Canada, goes like this: "Live '88" is a 60 minute CD that features 13 tracks from Supertramp's early tours of winter/spring of 1988 in South America, Canada and then on to Europe. In the middle of the European dates Rick Davies had a two track cassette tape recorder plugged directly into the mix board for his own personal listening experience. Rick, was quite pleased as how good his band sounded on this low-fi cassette.
"You Started Laughing" opens the show and it flows directly into: "It's Alright." Old favorites: "Bloody Well Right" "Breakfast in America" "From Now On" "Oh Darling" "Just Another Nervous Wreck" "The Logicial Song" & "Crime of the Century" are found right here. Newer songs: "Not The Moment" & "Free As a Bird" share space in the set and sound just as great as the older material found here. The big news to report about here is that this disc features music not writen by Supertramp members as the blues numbers: "I'm Not Your Hoochie Coochie Man" & "Don't You Lie To Me" (by Willie Dixon and Hudson Whitaker) are a part of this set and as weird is this may sound they are a special highlight as they are so diferent from the normal Supertramp tunes that you would expect to hear.
So why isn't this a five-star review? It's simple...SOUND QUALITY!
This is as close to flat-recorded board tape as you are ever gonna hear. The band sounds distant and the dynamic range is not very wide. The qualities of this tape are much to Rick's liking as he compares it to a Jazz or Blues field recording from the 1940's and it's raw form appeals to him over any digital recording that Supertramp would use in a pinch to capture the might of their live shows. I transfered this CD to a casette tape back in 1989, and played in my Walkman where it sounded great. Today, on my home stereo on Bose speakers it's a much different story as it leaves a lot of sound to be desired that ain't gonna reach my ears due to the low audio of this un-doctored two track source tape.
The simple fact is that if this were recorded on 48-track mobile recording truck and the entire show has been included we would be listening to a five-star double disc set of a really tight edition of Supertramp playing at their peak live. This is a band that kept going after many line-up changes (no Roger Hodgson found here!) But, it shows that drive and spirit that took this band to the top of the pop charts in the late seventies. I still like this set but it's best played on a cheap boombox for the best audio results.
Three & 1/2 Stars!

By Pau Bielsa "music mad" 

As it seems for great Rick Davies not to have been pleased in years of this recording and have banished it from the hands of the future supertramp fans, in fact, at the first time, as it appears written on the record, he was so pleased of the true color of sound emerging in this compilation: many years have passed and I still find amazing to listen to the vinyl recording and the cassette recording: the vinyl appeared in Spain is a bit lower in speed than 33 revolutions, and the cassette includes all the songs in the cd that doesn't appear in the other (Not the moment, especially, which is one of my favorites for ever and ever): and it does a pleasing effect to the ears. In addition, hearing a Supertramp album that insinuates the music emerging from a not annoying sound of continuate screams of the people, makes, as I see it, a mysterious effect that becomes a real experience, a new one, in all the known and unknown little and big "tricks" of wisdom in this band.

Free as a Bird

by Stephen Thomas Erlewine
Lacking the pop sensibilities of Breakfast in America and ...Famous Last Words..., as well as the jazzy fusions of Brother Where You Bound, Free as a Bird is a colorless and tuneless collection of prog rock meandering distinguished only by the fact that future Crowded House guitarist Mark Hart was featured on the recording.

By Just Fell In "Just Fell In"

This much maligned Supertramp realease was the follow up to 1985's BROTHER WHERE YOU BOUND. It was the late 80s and there was either electronica or hair metal to choose from in the top 40. Supertramp is a progressive rock group from the 70s, and that kind of music was definitely not in vogue. This album is like nothing they put out before, and therefore fans hate it. On BROTHER they had a hit with Cannonball, which also enjoyed some success on the dance circuit. On this album it seems like they decided to incorporate some dance and electronica into their style. BROTHER's subject matter was dark and heavy. On FREE AS A BIRD we hear a much lighter sound and there is a return to lighter material in the lyrics. It seems like they were trying to reinvent themselves to keep up with the times and/or to go in a direction that may have been suggested by their record company after the success of BROTHER. In any case, this is an enjoyable album that grows on you with time. They revisit the sound of their seminal album BREAKFAST IN AMERICA on track 3 It Doesn't Matter, but it is not as immediate as anything on that album. There are several tracks that incorporate danceable rhythms and latin percussion, but it only works as a novelty variation of the Supertramp sound rather than a reinvention that could be marketed to the dance circuit that Cannonball enjoyed success on. Regardless or what the motivation was for their radical change in direction for this album, it is a good listen; albeit after a few listens more than their older albums took to take hold. This is more of a transition album for them. It sounds more like adult contemporary than pop/rock, a sure way to alienate a fan base. The later sound that they adopted for SOME THINGS NEVER CHANGE and SLOW MOTION is audible here. Mark Hart from Crowded House replaced Roger Hodgson, but Rick Davies doesn't let him in on the fun. His presence is barely distinguishable and instead he becomes a bit player. The rest of the band is stellar as usual, but Hodgson is missed on the songwriting. If you are new to Supertramp, I recommend in order from best to least:

BREAKFAST IN AMERICA
CRIME OF THE CENTURY
CRISIS WHAT CRISIS?
BROTHER WHERE YOU BOUND
EVEN IN THE QUIETEST MOMENTS
FAMOUS LAST WORDS

FREE AS A BIRD is not Supertramp in their most famous and effective incarnation but it is worth buying as a blend of adult contemporary, jazz and world music. Rick Davies is a master of the blues and of blending the mentioned styles. I did not expect to like this album as much as I did, but it made me wish (as with all Supertramp fans) that Roger Hodgson had never left.

Brother Where You Bound

by Bret Adams
When vocalist-guitarist Roger Hodgson left Supertramp after 1982's ...famous last words..., few could have guessed that the band would continue and solidify its pop-oriented songcraft, let alone re-embrace its progressive-rock roots on 1985's underrated Brother Where You Bound. With vocalist-keyboardist Rick Davies firmly in control -- he wrote all the music and lyrics -- the album examined tensions at the tail end of the Cold War. In a thematic sense, Brother Where You Bound is dated and hasn't aged very well -- Davies' politically oriented lyrics are heavy-handed -- but the music is a pleasure. The crystalline sound of the album, particularly Davies' piano, is breathtaking; kudos to co-producers David Kershenbaum and Supertramp and engineer Norman Hall. The hit single "Cannonball" is a jazz-rock delight, especially in full-length album form. Lyrically, it can be interpreted as Davies' feelings of betrayal at Hodgson's departure, but the piano, percussion and horns are superb. Saxophonist John A. Helliwell, bass guitarist Dougie Thomson, and drummer Bob Siebenberg all contribute vital parts, as does guest trombonist Doug Wintz. "No Inbetween" begins with a lovely, bittersweet percussion (or synthesizer?) and piano melody. "Better Days" is a rather bleak look at the unfulfilled promises of the "good life" in Western society; the dramatic music is highlighted by guest Scott Page's flute solos. The fantastic title track examines Cold War paranoia and clocks in at more than 16 minutes; after the creepy opening narration taken from George Orwell's 1984, the song becomes a composite of several complex prog-rock "movements." Pink Floyd's David Gilmour contributes the searing, distorted guitar solos. Unfortunately, Brother Where You Bound never received the attention it deserved; it isn't a perfect album, but it was a gutsy project for Supertramp to take on.

By Alan Caylow

Supertramp's 1985 album, "Brother Where You Bound," drove a big wedge deep into the group's fanbase, which was not too surprising, as this was the band's first album without singer/songwriter Roger Hodgson, leaving co-singer/songwriter Rick Davies solely at the helm. Some fans balked at the mere *idea* of Supertramp carrying on without Hodgson, while the more open-minded Tramp fans (like me) decided to give Davies & the rest of the group a chance. Let me put it to you this way: if you truly believe that Supertramp are nothing without Roger Hodgson---even though Davies DID write 50% of the band's Hodgson-era material---then there's no point in me recommending to you "Brother Where You Bound." But if you happen to know better, and you know that Rick Davies is just as great a musical genius as his former partner, then you're in for a real treat. Just six tracks long, "Brother Where You Bound" is a stunning album, one of Supertramp's very best. Davies, sax man John Halliwell, bassist Dougie Thomson, and drummer Bob Siebenberg take a bold, daring turn into full-on progressive jazz/rock (with Pink Floyd-like voices & sound effects thrown in for extra measure). The album contains longer songs and thrilling extended jams, allowing the group to really stretch out. Although Roger Hodgson is missed, what could have been a major problem for Davies & company was turned into a great musical opportunity. There's no need to worry: "Brother Where You Bound" is pure, powerful Supertramp from start to finish. The album speaks for itself.Obviously, with Hodgson's departure being a big hurdle for the band to jump over, Rick & the boys had something to prove, and they had to throw down the gauntlet right at the start of the album. What better song for Supertramp to kick off "Brother" with then the slammin', take-no-prisoners track, "Cannonball" (edited down to single length, it was the group's final Top 40 hit). A rough & tough 7 1/2 minute jazz-rocker about betrayal, Rick Davies & the band tear up the place with great relish. It's an instant Supertramp classic (and a great crowd-pleaser live in concert). After the dust settles, Davies reminds us of his affection for 50's flavored pop with the fun tune, "Still In Love." Then it's back into prog-jazz territory once more, with the atmospheric "No Inbetween" & "Better Days," both excellent songs. But without question, the album's centerpiece is the sprawling, 16 1/2 minute title suite, guest-starring none other than Pink Floyd's David Gilmour on lead guitar. This piece is simply a mindblower, THE most epic work in the band's catalog. Davies & company really take the listener on a great adventure with this one, and they play it to pure perfection, with guest-guitarist Gilmour serving up some very classy lead guitar licks along the way as only Gilmour can. Finally, there's the brief-but-beautiful coda, "Ever Open Door," featuring just Rick Davies, his piano & synths, ending the album on a very poignant note.The group's album sales may have gone down another notch with Hodgson's defection, but not the quality of their music. Supertramp is completely safe in the capable hands of Rick Davies & company, and "Brother Where You Bound" is the testament to that. Supertramp rides again! :-)

"...famous last words..."

by Mike DeGagne
...Famous Last Words... was the last album that Roger Hodgson made with Supertramp before seeking a solo career, and he made sure that radio would take kindly to his last hurrah with the band. Sporting an airy and overly bright pop sheen, ...Famous Last Words... put two singles on the charts, with the poignant "My Kind of Lady" peaking at number 31 and the effervescent smile of "It's Raining Again" going to number 11. The album itself went Top Ten both in the U.S. and in the U.K., eventually going gold in America. The songs are purposely tailored for Top 40 radio, delicately textured and built around overly bland and urbane choruses. Hodgson's abundance of romantically inclined poetry and love song fluff replaces the lyrical keenness that Supertramp had produced in the past, and the instrumental proficiency that they once mastered has vanished. Hodgson's English appeal and fragile vocal manner works well in some places, but the album's glossy sound and breezy feel is too excessive. Hodgson gave his solo album, 1984's In the Eye of the Storm, a mildly progressive feel, quite unlike his last appearance with his former group.

By Alan Caylow (USA)

How does a band follow up a mega-smash album? Simple: they just follow it up. 1979's "Breakfast In America" was such a gargantuan success all over the place for Supertramp, that, after the world tour in support of the album, the band took some well-deserved rest for a couple of years before re-grouping for their next disc. However, one of the band's key members, singer/songwriter Roger Hodgson, wasn't so sure about his future with the group, and the next album, 1982's "Famous Last Words," would be his last album with the band (hence the title?). As Hodgson's swan song with the group, "Famous Last Words" certainly has an element of sadness attached to it, and although the album did not signal the end of Supertramp, it did signal the end of an era. It was nowhere near as commercially successful as "Breakfast In America" (how could it have been?), but "Famous Last Words" is still an excellent, heartfelt album filled with the high quality mix of pop, jazz, & rock that this great band are famous for. Hodgson's opener, "Crazy," is a great piano-thumper, while co-leader Rick Davies' "Put On Your Old Brown Shoes" is an excellent shuffler to clap along to. Hodgson's "It's Raining Again" is a very nice, uplifting song (and a Top 20 hit single), and "Bonnie" is a great showcase number for Davies. Next up is Hodgson's haunting, achingly beautiful "Know Who You Are," one of the very best songs he has ever written. Davies then picks things up with the great 50's fun of "My Kind Of Lady," followed by Hodgson's majestic "C'est Le Bon" (featuring Ann & Nancy Wilson of Heart on background vocals), and finally, for a powerful one-two punch of dramatic Supertramp rock, there's the double-header of Davies' "Waiting So Long," and Hodgson's grand finale---and, judging by the lyrics, his farewell to the band---"Don't Leave Me Now."After the tour for "Famous Last Words," Roger Hodgson left Supertramp, apparently because he & Davies could no longer agree on the band's musical direction (Hodgson wanted the group to stay more pop, Davies wanted the group to be more jazzy). Since then, Rick Davies continues to helm Supertramp on his own, and the band has since recorded four great albums, starting with 1985's "Brother Where You Bound," and continues to tour. Hodgson has also recorded four fine solo albums since his departure from the group, and he recently went on tour with Ringo Starr, so both camps are doing just fine. While Hodgson may not be interested in returning to Supertramp (and he has said as such), we can be grateful of the terrific music he did make with the band---seven albums worth, in fact, as well as the live double-album, "Paris." "Famous Last Words" is a fond farewell to Roger Hodgson, and a lovely album to close out his time with Supertramp. A definite must-buy. :-)

Paris - Live

by Stephen Thomas Erlewine
Recorded in the wake of the global success of Breakfast in America, Paris is a competent but ultimately unnecessary live album that fails to live up to the standards of Supertramp's studio material.

By Terrence J. Reardon "Classic rock and old sch...
Supertramp's seventh album entitled Paris was released in October of 1980.
The album was recorded in November of 1979 in Paris, France at the Pavillion on the final night of the band's Breakfast in America European tour. Paris is a wonderful live set, capturing the band at the peak of their popularity when co-leader/guitarist/singer/keyboard player/songwriter Roger Hodgson was still with the group. When you consider that the possibility of Hodgson returning to Supertramp these days very doubtful, Paris becomes an extremely important live document of the classic lineup of the band, indeed.
Many great Supertramp classics are included in this live two disc set, such as most of 1974's grand breakthrough Crime of the Century (the spirited opener "School", a slightly extended "Bloody Well Right", an excellent "Hide in Your Shell", a superb "Asylum', the Top 20 hit "Dreamer", a uperb "Rudy" and the closing "Crime of the Century" which closes this live album), two songs from 1975's highly underrated followup Crisis? What Crisis? ("Ain't Nobody But Me' and "A Soapbox Opera" both superior to studio versions), two from 1977's Gold selling US breakthrough Even in the Quietest Moments ("From Now On" and the best version of "Fool's Overture" ever), and three from the #1 Multi-Platinum selling Breakfast in America (the monster hit "The Logical Song", the title cut and the Top 20 smash "Take The Long Way Home") plus one exclusive song called You Started Laughing which was not found anywhere else save the B-side to a song called Lady from Crisis?.
Hodgson and co-leader/keyboardist/singer/songwriter Rick Davies sing their hearts out and play their respective keyboards with great passion, and Hodgson also serves up some incredible fretwork on the guitar. Co-horts John Helliwell on saxophones/clarinets/occasional keyboards and additional backing vocals, drummer Bob C. Benberg and bass player Dougie Thomson have terrific interplay with Hodgson and Davies, helping to bring the band's great melodic music to life in tremendous fashion. Just like on their studio albums, the band totally cook live in concert, too. The songs on here rival their studio counterparts, especially on Rudy which is sped at faster speed than the studio version on the Roger/Rick vocal duel section.
Commercially, Paris did well peaking at #8 on the album charts and is one of my Top 10 favorite live rock albums ever, especially with the remastering on this album.
Highly recommended!

Breakfast In America

by Stephen Thomas Erlewine

With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp's earlier records weren't as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits "The Logical Song," "Take the Long Way Home," and "Goodbye Stranger." Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark.

By Alan Caylow
Supertramp practically *owned* 1979 with their mega-smash album from that year, "Breakfast In America." The British band had been making creative, irresistible pop/jazz/rock for nine years & five albums by this time, but "Breakfast," the sixth album, was The Big One for the group, a #1 smash on the album charts all over the world. Though certainly not a "concept" album, the theme for "Breakfast In America" came from bandleaders Roger Hodgson & Rick Davies, who, for this album, wanted to write songs about what it was like to be a British person living in the USA, which is what the whole band were doing by this time. Credit Hodgson & Davies for writing such wonderful songs, such as the hits "The Logical Song," "Goodbye Stranger," and "Take The Long Way Home." But even the non-hits are shimmering beauties, such as "Gone Hollywood," "Oh Darling" (not to be confused with the Beatles tune), "Lord Is It Mine," and the exuberant finale, "Child Of Vision," all played to perfection by Hodgson, Davies (who both do great vocal work as well), sax player John Halliwell, bassist Dougie Thomson, and drummer Bob Siebenberg. This new remastered edition of "Breakfast In America" sounds sensational, with greater boom & clarity than any CD version of "Breakfast" that I'd ever heard before (including the now-defunct gold disc version from Mobile Fidelity). Now you can enjoy Supertramp's all-time classic the way it was meant to be heard. Pick it up, and enjoy this delicious breakfast as only Supertramp can serve it. :-)

Even In The Quietest Moments...

by Stephen Thomas Erlewine
The title of Even in the Quietest Moments... isn't much of an exaggeration -- this 1977 album finds Supertramp indulging in some of their quietest moments, spending almost the album in a subdued mood. Actually, the cover photo picture of a snow-covered piano sitting on a mountain gives a good indication of what the album sounds like: it's elegant yet mildly absurd, witty but kind of obscure. It also feels more pop than it actually is, despite the opening single, "Give a Little Bit," their poppiest song to date, as well as their biggest hit. If the rest of the album doesn't boast another song as tight or concise as this -- "Downstream" comes close but it doesn't have the same hook, while "Babaji," a pseudo-spiritual moment that falls from the pop mark; the other four tracks clock in well over six minutes, with the closer, "Fool's Overture," reaching nearly 11 minutes -- it nevertheless places a greater emphasis on melody and gentle textures than any previous Supertramp release. So, it's a transitional album, bridging the gap between Crime of the Century and the forthcoming Breakfast in America, and even if it's not as full formed as either, it nevertheless has plenty of fine moments aside from "Give a Little Bit," including the music hall shuffle of "Loverboy," the Euro-artiness of "From Now On," and the "Fool on a Hill" allusions on "Fool's Overture."

By Samhot (Star Land) 
The header of this review may seem a bit trite, but I can't help but express my sheer love of Supertramp's music. Roger Hodgson's sensual, reflective upper-register vocals happen to be seductive in a spellbindingly indescribable way, not to mention that his talents as a songwriter were quite nifty as well. And, on the whole, each contribution from the other members blended harmoniously to create highly enjoyable, poignant and memorable music.
1977's _Even In The Quietest Moments..._ hasn't a single dud on the album - each track is memorable, well-executed, melodic and poignant, not to mention in simple terms, the music is just excellent ear-candy from start to finish. Main songwriters Roger Hodgson (vocals/guitar) and Rick Davies (keyboards/vocals) are in fine form, as to be expected, delivering convincing ear-candy for anyone willing to listen. In typical Supertramp fashion, each trade lead vocals on respective tracks.
"Give A Little Bit" opens up with those wispy strums from an acoustic guitar, with Roger giving the listener a charming introduction with a vocal improvisation, before letting his own wispy singing float atop the atmospheric acoustic strums. Such a charming beauty that's really hard not to fall in love with. An amazing track that has aged well, and will continue to do so for many years to come.
"Lover Boy" switches things up, as Roger takes a backseat on the lead vocals, and lets Rick Davies take on that responsibility. Roger himself offers a brief vocal appearance in the middle section of the track. Features elegant, quirky piano tapping, along with slight whimsical characteristics in the vocal delivery which lend most of this song an atmosphere of a theater musical selection. The track on the whole switches from Gilbert & Sullivanesque whimsy to rocker quite effortlessly, which gives the whole thing a sense of drama and utter excitement.
The title track is a wispy, subdued, atmospheric and ethereal number, exhibiting a predominance in acoustic instruments. It bears a heavy resemblance to Led Zeppelin, particularly such Zeppelin tracks as "Battle of Evermore" and "Going To California." Roger's vocal mannerisms recall to mind those of Robert Plant, and the rhythmic mannerisms of the acoustic strumming alongside the ethereal backdrops brought on by the combination of keyboards and certain wind instruments contribute to this Zeppelinesque atmosphere as well. A very beautiful, pleasant track.
"Downstream" features a lovely major 7th piano lick, while Rick Davies' unique vocals float atop the whole thing. Speaking of Davies' voice, it's not the best voice in the world, especially in comparison to Hodgson's voice, but it seems like an unique instrument within itself, which compliments the music very well. This track on the whole, seems like just a duet between Rick's voice and his piano.
"Babaji" features Roger Hogdson performing at his usual best, with those romantic, sensual vocals of his. He has always reminded me of a Jon Anderson (Yes) with a slight hint of Freddie Mercury (Queen) in his voice. I possibly adore the man's vocals so much because the two vocalists that he remind me of most are, in fact, two of my favorite vocalists - one of them being my absolute favorite. Not surprisingly, Supertramp's music seems to have quite a bit in common with the two said bands in which the aforementioned vocalists originate. As for the track, the rhythm is bouncy, the piano tapping is quirky and playful, and added touches of flavor are added from saxaphonist John Helliwel in spots necessary for the extra ornamentation.
"From Now On" has a bluesy, New Orleansesque tint in it's atmosphere. Rick Davies' vocals work especially well with this track: a mid-tempo, poignant number with John Helliwel adding larger touches of saxaphone to enhance the flavor of the track. The climactic point of the song, which ends in a gospel-like choral fashion is quite moving, and was an excellent addition to conclude the track.
"Fool's Overture" is the grand 11-minute closer of the album. The elaborate arrangements and literary themes featured here harken back to the glory days of the progressive rock epic: in the vein of Yes or Emerson, Lake & Palmer, but not necessarily sounding derivative of either. Starts off quietly and smoothly before a brief voice sample appears, which eventually gives way to the bombastic, anthemic main keyboard sweep of the song. From there, Roger's sensual upper register issues out these dramatic vocal lines for a brief period, which are followed by windy sound effects. Then, the bombastic, anthemic main keyboard sweep reappears, and Roger comes in with these Jon Andersonesque vocal mannerisms, which swap with these sci-fi-meets-reggae vocal overdubs twice. After that, part of the main bombastic lick returns, and the track ends quite unexpectedly. It seemed as if the track had one more movement to go before it had ended - a recapitulation, so to speak, but, as mentioned above, it ended unexpectedly.
The 70s produced such wonderful, artistic, imaginative, and original music, which for the most part, is sorely lacking in most of today's artistic output. I probably lean toward a schmaltzy disposition in general, which is almost indefinitely reflected in my tastes. If there's any truth to that, I bear no shame about it. Supertramp were such a glorious band, and their music is recommended to fans of 70s music, particularly for fans of such artists as Queen, Roxy Music, Electric Light Orchestra, Yes, Todd Rundgren, Elton John and the like, or for music fans who are romantics in general.

Crisis ? What Crisis ?

by Mike DeGagne

Nestled between the accomplished Crime of the Century album and 1977's Even in the Quietest Moments, Crisis? What Crisis? may not have given the band any chart success, but it did help them capture a fan base that had no concern for Supertramp's commercial sound. With Rick Davies showing off his talent on the keyboards, and Roger Hodgson's vocals soaring on almost every track, they managed to win back their earlier progressive audience while gaining new fans at the same time. Crisis received extensive air play on FM stations, especially in Britain, and the album made it into the Top 20 there and fell just outside the Top 40 in the U.S. "Ain't Nobody But Me," "Easy Does It," and the beautiful "Sister Moonshine" highlight Supertramp's buoyant and brisk instrumental and vocal alliance, while John Helliwell's saxophone gives the album even greater width. The songwriting is sharp, attentive, and passionate, and the lyrics showcase Supertramp's ease at invoking emotion into their music, which would be taken to even greater heights in albums to come. Even simple tracks like "Lady" and "Just a Normal Day" blend in nicely with the album's warm personality and charmingly subtle mood. Although the tracks aren't overly contagious or hook laden, there's still a work-in-process type of appeal spread through the cuts, which do grow on you over time.

By Bud
Ex-`Tramp Roger Hodgson calls "Crisis? What Crisis?" the Supertramp album he listens to most often, because of it's "rawness," at Hodgson puts it. The album was indeed devised while the band was under pressure to put forth another album and tour in the wake of their breakthrough third album "Crime of the Century," which may be why the ex-vocalist finds the finished product more raw when compared to other Supertramp albums. But for an album that was planned and recorded while the band was under stress to keep the momentum going, "Crisis? What Crisis?" is an elaborate suite of songs, making it a crushing shame that the album will almost never appear on any big-time 100 Greatest Albums of Rock & Roll lists.
The dignified pop of Supertramp always sounded clinical and studio-polished, but not because of any Steely Dan-like studio isolation. That's just the way it was (ironically it translated well onto stage, as captured on the 1980 live album "Paris"). This album isn't exactly "raw" but it is certainly a bit more freewheeling and often less tightly wound as Supertramp's other albums. The album also allows a bit more space for Hodgson's guitars, which he often replaced with keyboards. Even though the quintet was under pressure to release another album, many spots on the album suggest that the band was having some fun, shown in the positive opener `Easy Does It,' `Lady,' and `Another Man's Woman.' There is however at least one genuinely raw song, the heavy schizophrenic `Ain't Nobody But Me.' But there are also plenty of tracks to confirm Supertramp's ability to create pure, flawless, and sophisticated pop songs like `Sister Moonshine' and `A Soapbox Opera.'. The world-weary `Just A Normal Day' is balanced by the more optimistic and catchy `The Meaning.' The innocent `Poor Boy' is a delight, and speaking of innocent, the closing `Two Of Us' is as elegant a three-and-a-half-minutes as any `Tramp fan could ask for.
"Crisis? What Crisis?" connected perfectly with "Crime of the Century," and though its chart peak in the US was just a few spots below its predecessor, many of its songs were becoming staples of FM radio, establishing Supertramp as a serious, dignified attraction. And there was more where this came from; maybe it wasn't such a "Crisis" after all.

Crime Of The Century

by Stephen Thomas Erlewine
Supertramp came into their own on their third album, 1974's Crime of the Century, as their lineup gelled but, more importantly, so did their sound. The group still betrayed a heavy Pink Floyd influence, particularly in its expansive art rock arrangements graced by saxophones, but Supertramp isn't nearly as spooky as Floyd -- they're snarky collegiate elitists, an art rock variation on Steely Dan or perhaps a less difficult 10cc, filled with cutting jokes and allusions, best heard on "Bloody Well Right." This streak would later flourish on Breakfast in America, but it's present enough to give them their own character. Also present is a slight sentimental streak and a heavy fondness for pop, heard on "Dreamer," a soaring piece of art pop that became their first big hit. That and "Bloody Well Right" are the concise pop moments on the record; the rest of Crime of the Century is atmospheric like Dark Side of the Moon, but with a lighter feel and a Beatles bent. At times the album floats off into its own world, with an effect more tedious than hypnotic, but it's still a huge leap forward for the group and their most consistent album outside of that 1979 masterwork, Breakfast in America.

By Richard Thompson "Music Fanatic"
If you are in your late 30's or 40 something, then you grew up in the 70's, when people actually bought 12' round vinyl discs and played them on a turntable! If, by chance, you were really into high quality audio sound (refered to as an audiophile), then you should be well acquainted with this musical offering.
A company known as Mobile Fidelity Sound Lab (MFSL), out of California, pioneered the "Original Master Recording" album. Also referred to as a "half-speed master". This company would seek out and only accept a first generation master tape to re-issue a popular music album. They made the choices based on popularity and sonic quality. The first few offerings were records of recorded "nature sounds" such as lightening, wind, streams, birds, etc. I think one was called The Power and the Majesty. The very first musical selection (catalog #1-005) was Supertramp's Crime of the Century. That's one of the reason's I bought this album. As a young music buyer of the day (late '78) I had not heard of Supertramp. I did know who Pink Floyd was and of course, the Beatles. I was surprised that Crime of the Century kept showing up in the MFSL offerings along with Dark Side of the Moon, Steely Dan's Aja, Fleetwood Mac I, and The Beatles Abbey Road. MFSL's Original Master Recordings were limited editions of 25,000 pressings.
In the early '80's, they began offering Ultra High Quality Records. Limited to only 5,000 pressings. These were the most incredibly high-quality analog phonograph records ever produced by anyone. Heavy, 200 gram records, pressed on virgin vinyl, so clean you could see light through it.
Again, Supertramp's Crime of the Century was one of the first five offerings, along with Floyd's Dark Side. I'm talking about a record that cost $50! Only the ultimate in sound quality music was considered for these very special discs. Even a regular Original Master Recording record cost more that a compact disc does now! About $17.
All this history lesson in sound recording media, that I have presented here, is simply to justify the fact that Crime of the Century is quite possibly the finest sounding achievment in all of recorded rock music. A "masterpiece" as another reviewer put it (pety brawl). Asking the question as to why it didn't stand in the same ranks as Pink Floyd's "The Wall" or "Dark Side of the Moon"? Well...it Does! And it always has. MFSL did not release Dark Side (#1-017) until after Crime of the Century. And way before other greats such as Steely Dan's Aja (#1-033) and Neil Diamond's fantastic sounding Hot August Night 'Live' (#2-024).
In the mid-80's, when compact discs first began to emerge in audio stores, the musical selections were very limited. Just like so many older people remember the first album or record they bought with their own money, everyone also remembers the first compact disc they purchased. I was working in the electronics section of a retail store and needed a compact disc to demo the new machines that were arriving. I went to a local high-end audio store that had a small bin of these mysterious new things called "cd's" for short. And what did I find among the half-dozen classical selections, but Supertramp - Crime of the Century (along with Rush's Moving Pictures). Paid my $18 and walked out. That was our only Demo disc for almost a year, and became quite of few people's favorite after hearing the great music that was within that plastic jewel case.

Indelibly Stamped

by Stephen Thomas Erlewine
Indelibly Stamped, Supertramp's second album, was an improvement on their debut, although the group did have a tendency to indulge themselves in long-winded instrumental sections.

By Alan Caylow 

(Like their 1970 self-titled debut, Supertramp's second album, 1971's "Indelibly Stamped," was critically-acclaimed but didn't exactly set the cash registers ablaze. Still, the band continued to evolve, as they stepped away from the psychedelic rock of the first album and honed their trademark jazz/pop/rock hybrid sound that would eventually sell millions, starting with "Crime Of The Century." "Indelibly Stamped" is a marvelous Supertramp album, and a definite sign of things to come. For the second 'Tramp album, singer/guitarist Roger Hodgson and keyboardist Rick Davies got themselves a new line-up: bassist Frank Farrell, drummer Kevin Currie, and Dave Winthrop on flute & sax. Also, Rick Davies finally stepped up to the microphone for the first time with his first batch of lead vocals. Every single song on "Indelibly Stamped" is an excellent one. "Your Poppa Don't Mind" is a fun keyboard-thumper. "Travelled" is a lovely acoustic number that reminds me of vintage Crosby, Stills & Nash, and "Rosie Had Everything Planned" is a fine, light & breezy tune about a woman who gets into trouble with the law. "Remember" is pure arena rock all the way (complete with cheering audience), and "Forever" is, in my estimation, one of the greatest love songs ever written, as it says everything you could ever want to say to your sweetheart in a song, and you can slowdance to it. I'm definitely playing it at my wedding, that's for sure! "Potter" is a brief but excellent blast of guitar rock. "Coming Home To See You" is a pure gem, the lyrics in the style of a phonecall from a rude boyfriend to his girl, with the band kicking into a delightful, chugging choo-choo train jam at the end, featuring some outstanding organ & harmonica from Davies. "Times Have Changed" is a classic Davies ballad, signaling his other great, piano-based compositions that would follow. "Friend In Need" is a short but appealingly playful number, featuring some nice 20's-style piano & sax. And finally, Hodgson leads the band in the tremendous "Aries," a breathtaking 7 1/2 minute acoustic whirlwind. It's a phenomenal piece, another unsung 'Tramp classic. Once again, Hodgson & Davies' singing, songwriting & playing are superb, and their musical chemistry with the rest of the band simply cooks.This second version of Supertramp quickly folded after the commercial disappointment of "Indelibly Stamped," but, without question, they undeniably laid down the blueprint for the third and most-famous version of the band that would follow with "Crime Of The Century," with the band's signature jazz/pop/rock sound now firmly in place. "Indelibly Stamped," like Supertramp's self-titled debut from 1970, is a wonderful buried treasure that no 'Tramp fan should do without.

Supertramp

by Mike DeGagne
Progressive in texture for the most part, Supertramp's debut album became increasingly disregarded as they blossomed commercially through the '70s. The album was the only one on which drummer Bob Miller and guitarist Richard Palmer appeared, replaced by Kevin Currie and Frank Farrell for the Indelibly Stamped release which surfaced a year later. Quite a bit different than their radio and AOR material, Supertramp is inundated with pretentious instrumental meandering, with greater emphasis and attention granted to the keyboards and guitars than to the writing and to the overall effluence of the music. There are some attractive moments, such as the mixture of ardor and subtlety that arises in "Words Unspoken," "Surely," and "Nothing to Show," and some of the fusion that erupts throughout the 12 minutes of "Try Again" is impressive even though the whole of the track results in one of the most extravagant and overblown pieces the band has ever produced. Hodgson's use of cello, flageolet, and acoustic guitar is endearing in spots, and while both he and Davies had just recently formed their alliance, it was evident that their songwriting was going to be one of the band's strengths. Ultimately dissatisfied with the results of the album, they retorted with Indelibly Stamped, which disappointingly followed suit. It wasn't until 1974's Crime of the Century that things began to improve for Supertramp, when they replaced Farrell and Currie with saxman John Helliwell, bass player Dougie Thompson, and drummer Bob Benberg.

By "fordprefect_ix"
Many people like Supertramp up to Breakfast in America before they became 'too commercialised', and others like the Breakfast sound and not the earlier albums. Personally I would like to scrap both of those opinions, and say that I think ALL of their albums range from extremely good to sublime. But this first one stands out in my record collection of them. Surely, Maybe I'm A Beggar, Aubade and Other Birds of Prey bring tears to my eyes; and Nothing to Show and It's A Long Road are excellent rockers. As always, the falsetto of Roger Hodgson is hauntingly beautiful, leaving a soaring feeling long after you've turned off your hi-fi. Rick Davies does magic on the keyboards, Bob Miller's Led Zeppelin drumming is fantastic, and Richard Palmer's bass adds perfectly tuned low notes to the ensemble. All in all this is Supertramp at its finest - at times a Floyd/Zeppelin sound, mixed with their later sound: a FANTASTIC album. Another few albums I would recommend for the melodious sound are Even In The Quietest Moments, Crime of the Century and Famous Last Words, as well as Breakfast in America of course. Long live Supertramp!