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.
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