-
Roger Hodgson -- vocals, keyboards, guitar, bass
- Richard Palmer
-- guitar, vocals
-
Bob Millar -- percussion, harmonica
line
up 2 (1970-71)
NEW
- Kevin Currie -- drums (replaced Bob
Millar)
-
Richard Davies -- vocals, keyboards
-
Roger Hodgson -- vocals, keyboards, guitar, bass
NEW
- Frank Farrell -- bass (replaced
Richard Palmer)
NEW
- Dave Winthrop -- sax, woodwinds
line
up 3 (1973-83)
NEW
- Rob Benberg (aka Robert Layne
Siebenberg) --
drums, percussion (replaced Kevin Currie)
- Richard Davies
-- vocals, keyboards
NEW
-
John Anthony Helliwell -- sax, woodwinds, vocals
(replaced
Dave Winthrop
- Roger Hodgson
-- vocals, keyboards, guitar, bass
NEW
- Dougie Thomson
-- bass (replaced Frank Farrell)
line
up 4 (1983-88)
- Rob
Benberg (aka Robert Layne Siebenberg) -- drums,
percussion
- Richard Davies
-- vocals, keyboards
-
John Anthony Helliwell -- sax, woodwinds, vocals
- Dougie Thomson
-- bass
supporting musicians:
-
Mark Hart -- lead guitar
-
Nick Lane -- brass
-
Scott Page -- brass
-
Lon Price -- brass
-
Steve Reid - percussion
-
Lee Thornberg -- brass
-
Marty Walsh -- lead guitar
-
Dave Woodford -- brass
line
up 5 (1997-2002)
- Rob
Benberg (aka Robert Layne Siebenberg) -- drums,
percussion
- Richard Davies
-- vocals, keyboards
NEW
- Mark Hart -- vocals, lead guitar,
keyboards
NEW
- Cliff Hugo -- bass (replaced Dougie Thomson)
-
John Anthony Helliwell -- sax, woodwinds, vocals
- Jesse
Siebenberg -- vocals, percussion, guitar
NEW
- Lee Thornberg -- horns
NEW
- Carl Verheyen -- lead guitar
NEW
- Tom Walsh -- drums, percussion
line up
6 (2002-)
- Rob
Benberg (aka Robert Layne Siebenberg) -- drums,
percussion
- Richard Davies
-- vocals, keyboards
-
Mark Hart -- vocals, lead guitar, keyboards
-
John Anthony Helliwell -- sax, woodwinds, vocals
NEW
- Jesse Siebenberg -- vocals,
percussion, guitar
- Agrosy (Roger
Hodgson)
- Bees Make Honey
(Dougie Thomspn and Rob Benberg)
- Alan Bown Set (John
Anthony Helliwell)
- Breakthru (Frank
Farrell)
- Crowded House
(Mark Hart)
- Heads Up
- Roger
Hodgson (solo efforts)
- Jack Knife
(Richard Palmer)
- The Joint
(Richard Davies)
- Orange Bicycle
(Kevin Currie)
- Secret Affair (Dave Winthrop)
- John Wetton and
Richard Palmer Jones
Rating: ***
(3 stars)
Gene:
progressive
Title: Supertramp
Company: A&M
Catalog: SP-3149
Country/State:
UK
Year: 1970
Grade
(cover/record): VG / VG
Comments: minor
ring and edge wear
Available: 1
Catalog ID: 5471
Price: $8.00
Funny that I can
tell my age by the fact 1970s culture seems to be regaining some semblance
of popularity with younger people. For goodness sakes, rappers Gym
Class Heroes sampled 'Take a Look At My Girlfriend' for their hit 'Cupid's
Chokehold'. That got me thinking I'd go back an reacquaint myself with
Supertramp's early catalog.
With backing from
friend/sponsor/Dutch millionaire Stanley August Miesegaes, in 1969
singer/keyboardist/drummer Rick Davies decided to form a band. He
placed an ad in the English music newspaper Melody Maker, recruiting
singer/guitarist/keyboard player Roger Hodgson, drummer Robert Millar, and
guitarist Richard Palmer. Originally known as Daddy, within a couple
of months they'd opted for a name change, deciding on Supertramp based on a
W.H. Davies book. With help from Miesegaes the group attracted the
attention of A&M Records, releasing their self-titled album in early
1970. I'll readily admit the self-produced. "Supertramp"
didn't do a lot for me when I first heard it. In fact I remember
actually getting rid of my original copy. A couple of years later I
found a cheap copy at a yard sale and decided to give it another shot.
Same impression the second time around. Luckily I put it in my 'listen
to again' pile 'cause the third time around the album began to reveal some
of its charms to me. While I've seen the set described as being
progressive, that's not a particularly apt description. Yeah, there
were certainly progressive elements to be found in tracks like the ballad 'Aubade
And I Am Not Like the Other Birds of Prey'
and 'Words Unspoken',
but those were far and few between. By the same token anyone looking
for something along the lines of their late-1970s commercial breakthroughs
is likely to be disappointed. 'It's
A Long Road' and '' were surprisingly
mainstream rockers, but again they were atypical. That left most of
the collection sporting a laidback, mid tempo feel that had a habit of
wandering around the place (check out 'Nothing To Show' or the 12 minute
'Try Again'). Stuff like 'Maybe
I'm a Beggar' (with a nice guitar solo
jumpin' out about midway through) and 'Shadow
Song' didn't necessarily jump put at you,
but given a chance the subtle hooks and nifty performances had a way of
growing on you. Personal favorite - the rocking segments of 'Try
Again' . In spite of a slot at the
1970 Isle of Wight Festival, the album proved a commercial non-entity in the
UK, and didn't even see an American release. In fact, it wasn't until
1977 and the band's breakthrough success with "Breakfast In
America" that A&M raided its corporate vaults electing to release
the set domestically. Benefiting from a curious, or perhaps confused
audience that didn't realize this wasn't new material, the collection
actually managed to hit # 158 on the pop charts. Adding to the
group's problems guitarist Palmer suddenly quit the group in 1970. He
was followed out the door by drummer Millar.
"Supertramp" track listing:
(side
1)
1.) Surely
2.)
It's A Long Road
3.)
Aubade And I Am Not Like the Other Birds of Prey
4.)
Words Unspoken
5.)
Maybe I'm a Beggar
6.)
Home Again
(side
2)
1.)
Nothing To Show
2.)
Shadow Song
3.)
Try Again
4.)
Surely (instrumental)
Rating: ***
(3 stars)
Gene:
progressive
Title: Indelibly
Stamped
Company: A&M
Catalog: SP-3129
Country/State:
UK
Year: 1971
Grade
(cover/record): VG+ / VG+
Comments: small
cut out notch on lower edge
Available: 1
Catalog ID: 5477
Price: $8.00
Female breasts are
usually a pretty good marketing tool, but I've got to tell you that even
overlooking the tattoos, the ones showcased on 1971's "Indelibly
Stamped' have to be the ugliest set I've ever seen ...
"Indelibly
Stamped" track listing:
(side
1)
1.) Your
Poppa Don't Mind - 2:58
2.)
Travelled - 4:14
3.)
Rosie Had Everything Planned (Frank Farrell - Roger Hodgson) -
3:01
4.)
Remember - 4:00
5.)
Forever - 5:05
(side
2)
1.)
Potter - 2:23
2.)
Coming Home To See You - 4:39
3,)
Times Have Changed - 3:42
4.)
Friends In Need - 2:08
5.)
Aries - 7:25
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.
Indelibly Stamped is the second album
by progressive
rock band Supertramp,
released in 1971 (see 1971
in music). Like their début, this album was also a commercial
disappointment, which resulted in the loss of their financial supporter and
the ultimate break-up of the band at the time. Original editions have a
colour gate-fold cover and different text for the band name and album title.
The cover photograph features the tattooed torso and arms of a woman. This
is the first Supertramp album issued in the US; the cover was in colour (in
1971), but A&M pasted two gold stars over the nipples.
All songs written by Rick Davies and Roger Hodgson, except where noted
The cover depicts the tattooed torso and arms of a woman. It is commonly
believed that the model for the cover was Rusty
Skuse, largely due to a tattoo on the left arm which names
"Bill" and "Rusty", however a comparison between the
album cover and photographs of Skuse's tattoos show that this is not the
case. According to Paul Sayce, writing in Tattoo News, the model was
Marion Hollier, who was extensively tattooed at the Les Skeuse Tattoo Studio
in the 1960s.[1]
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.
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This CD represents the early efforts of an important British
"art rock" band still developing it's sound. Even on this
early record you can see the pattern beginning to emerge; guitarist
and lead vocalist Roger Hodgson's gentle, deeply introspective
musings are counterbalanced by the solid blues-influences of Rick
Davies(keyboards & vocals). As the principle songwriters of this
six member band, they created moments of true beauty; but the real
breakthrough for this group occured a few years later with the
classic "Crime of the Century."
This one is good for completists or Supertramp fanatics (like
me). More casual listeners should seek "Crime" or
"Breakfast in America" to hear these guys at their best.
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This album sheds some light on Supertramp's early musical endeavours.
Their sound is still raw and bold. Hodgson is still experimenting
with his vocal abilities and so is the rest of the band. This album,
along with Supertramp(another early album), are essential to any
Supertramp fan who likes to know more about how the group had
developed its unique sound. Definitely not for a beginner though. If
you've never heard Supertramp, you'd better start with Even In The
Quietest Moments or Crime Of The Century.
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Long before "Crime Of The Century", I bought a promo copy
of this LP (their 2nd LP, the first issued in the US) and fell in
love with the quirkiness of the music and Roger Hodgson's voice. I
quickly discovered their first LP "Supertramp" and became
a died-in-the-wool fan long before they got big.
This CD is an exact duplicate of the once-available US issue;
complete with the black and white cover (the vinyl LP was in color
in both the US and UK).
The same bass overmodulation (distortion) is present here, the sound
is crisp, but the distorting bass is a bit annoying.
Oh well....I've lived with distortion since 1971!
It's musically more diverse than later albums, but anyone who loved
Supertramp during their big-hit period will find this a welcome
addition to their collection.
It's just a shame it's so expensive!
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This album was definitely the beginning of the Supertramp sound that
we've become so familiar with. Even though Rick Davies was there for
the self-titled first LP, he was kind of pushed to the back. Here
Davies has his coming-out party, and makes his presence known
through his awesome keyboard work and his deep, heavy R&B
vocals, both of which have become staples in the band's canon.
Meanwhile Roger Hodgson's music still sounds indicative of the first
album (Note the Yes-style flutes from much of the first album's
music return for "Travelled"). It sort of sounds as if the
early and the latter-day Supertramps are passing each other through
a time portal. It would take another record for Hodgson and Davies'
songs to mesh together more brilliantly than they do here, but in
the meantime what you're getting is just a very interesting mixed
bag of different styles. Other than Rick and Roger's songs is a very
curious rocker titled "Potter" sung by one of the other
guys (probably Dave Winthrop since he's listed as a vocalist). The
other highlights for me are Hodgson's "Rosie Had Everything
Planned", and Davies' "Remember" (which features a
blisteringly distorted Fender Rhodes) and "Forever", all 3
of which round out the first half of the CD.
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It's too bad that this album and their debut have been disregarded
when they became more successful. Both are excellent Supertramp
"starters". Bit this album is the beginning of the
"classic" Supertramp sound that's captured fans all over
the world. If "Supertramp" was Roger Hodgson's go at the
mike, than this is Rick Davies turn to clearly show what he's got to
offer us. Unlike their debut, this album is more upbeat,
rock-oriented atmosphere, and also has a mixture of different
musical styles. "Your Poppa Don't Mind"
"Remember" and "Potter" all have the
rock/jazz/blues hybrid to them, while songs like "Travelled"
and "Aries" tend to have the sad mood from the first
album, and all the other songs songs have pretty much everything
inbetween. Overall it's not a bad album, weak in some spots though,
especially "Rosie Had Everything Planned" seems a little
pointless. But don't let that stop you from getting this album! It's
an intro to the Supertramp "sound" and I recommend it
highly as well their first!
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Supertramp's second album (no longer available in the US) has pieces
of the band's classic sound scattered throughout the album. The
songs showcase influences of Traffic, Yes and Blind Faith. Although
it lacks the originality seen with later albums, the songwriting is
quite solid and the performances excellent throughout the recording.
The generic sound surprisingly sustains the album on many of the
weaker tracks. Although the songs lack the personality of later
Davies-Hodgson songs, they lend themselves well to the extended
soloing found throughout the record. Even at this stage, the Davies
sung pieces exhibit a strong flavor of r&b while the Hodgson
sung pieces are more pop sounding.
This probably isn't the album to get your feet wet with
Supertramp if you don't have many of the band's albums. I'd
recommend Crime of the Century, Breakfast in America, Even in the
Quietest Moments and Crisis? What Crisis? before purchasing this
album.
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I've collected just about all the Supertramp albums. Ok I admit it,
my favourite by FAR is the first one, so I can't say that my opinion
counts for anything that could stand for a general concensus;
definitely not.
The first album was a big prog effort, while their later efforts
were slick prog-pop, sometimes catchy, usually thoughtful. I was
expecting this to be more prog but it's just a bunch of wonky-sounding
pop songs. And by "wonky" I don't mean progressive in any
way, but off-key sounding and unprofessional. Maybe the cover says
it all, when they recorded this they might have been stone drunk
writing their lyrics on some groupie whose 'papa don't mind'.
Ok it does have some highlights. They seem to be going with
country-rock but are unsettled and are still searching. There's
definitely an influence from 'The Band' here. The mood here is a lot
more up-beat than on the debut, and is more care-free than the more
philosophical Supertramp that would re-emerge to great success in
the late seventies. However the production sounds like it was
reocrded on Archaic equipment, didn't this band just get millions of
dollars? Oh anyway the songs are striving for pop perfection but the
song writing craft is lacking. There's just not enough hooks or
strong melodies to tie this one down. My favourite tracks are the
off-kilter 'Potter' and the loving ballad 'Forever'.
I'm not saying don't buy it, it does complete your Supertramp
collection. They were still a young band searching for their sound
and we're just testing themselves out here. It's interesting to see
them in the development stage.
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As the author of the Jefferson Airplane book "Take Me To A
Circus Tent" and a former radio disc-jockey, I am often asked
to write and or discuss various music supplies and recordings from
the 60's and 70's.
Many to this day look at the 1974 Supertramp album "Crime Of
The Century" as the debut. The band had a history long before,
that saw two other releases for A& M. There was the self-titled
LP from 1970 and "Indelibly Stamped."
If this is your first experience with the earlier period of the
group it is imperative that you don't dismiss the second record if
it doesn't wet the taste buds the first complete listen. Please
realize that the Supertramp sound which was solidified on the third
album isn't in place here. The ten tracks are incredibly diverse as
to their composition. In one regard it may seem all over the map but
on the other it helped showcase a wide musical base and a young band
representing itself well.
"Your Poppa Don't Mind" may have been on the turntable of
Loggins & Messina. There 1972 hit "Your Mama Don't
Dance" sounds very close in proximity! Supertramp captures the
American Folk-Rock sound of the day well on this track. Obviously
impressive not being from the states. It makes for a solid opening
track. "Travelled" can best be described as esoteric in
nature. It is a cross between the Moody Blues and the progressive
band Caravan. "Rosie Had Everything Planned" foreshadows
things to come. It is an upbeat rocker that gives a sample of the
sound to come. If "Rosie" was the prelude
"Remember" is the real thing. It could be Supertramp from
1974 on. This is an important track because it can be seen in
retrospective as the closest visit to "Crime Of The
Century." "Forever" has a superlative vocal and a
captivating sound. Along with the first track it isn't difficult to
gravitate to these. "Potter" puts the rock in roll. It is
upbeat, with the musical portion being the star. Some solid
improvisation and yet the song clocks in a little over two minutes
and thirty seconds! "Coming To See You" puts the emphasis
on the vocals. It backs what was previously described, a band
showing its musical muscles while they search for the perfect sound.
"Times Have Changed" can pass for an early Elton John
track. "Friend In Need" would be perfect if you were
sitting around a camp fire with some friends. It possesses the folk
roots but also the inclusion of musical energy. "Aries"
ends the journey. The blend here of the music and lyrical delivery
is very tasty. Make sure to check this one out a couple of times to
fully appreciate the instrumentation.
Enjoy the music and be well,
Craig Fenton
Author of the Jefferson Airplane book "Take Me To A Circus
Tent"
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This is a rougher sounding Supertramp then there later Albums but I
love the Album.
Its a much younger band and very much so less polished but thats
part of what makes it very good.
I like all there LPs even there newer ones that people tend not to
like but I really like the early stuff the best
This is definatly worth checking out
Buy the Vinyl LP for the Great cover and have fun listing to it
also.
Supertramp's second album
is not particularly memorable when compared to their later stuff. In
fact, it apparently led to the withdrawal of their mentor and backer
due to its lack of commercial success. Other original band members
also left and went their own way (however, as we later saw, from the
ashes of adversity a mighty sonic force arose).
However, the key thing to remember here is that you're listening to
a young band brimming with ideas and potential (well 'youngish' as
Rick Davies was already about 27 here). It was 3 years later with
the release of 'Crime of the Century' in 1974 that they bloomed.
Also, only two band members who took them to great commercial
success and critical acclaim are featured here (albeit Davies and
Hodgson; the creative engine of the band).
This album has a heavier rock sound compared to the more esoteric
and dreamy first album. The first track actually sounds a bit like
Status Quo...! Ironically, I think their first album from the
previous year - the eponymously titled 'Supertramp' is a more
listenable and interesting album.
If you're a fan of the band, then this album is still a must for
your collection - even if it is the acne-scarred youth of what was
to come later. It's a bit like listening to the birth pangs of a
mighty creative force.
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I really believe Indelibly Stamped is the kind of album you need to
give a chance by allowing the songs to grow on you. Some of these
songs are extremely unappealing the first time you hear them, giving
off a feeling that the band hadn't yet found their songwriting spark
they'd have by the time Crime of the Century was created.
However, and this is a BIG however, I found myself really getting
into most of the songs after a while, and honestly consider most of
side 2 on the same level as the best stuff Supertramp has to offer.
A classic album? No way, but the flute playing on the closing track
is VERY good, and the vocals throughout the album are mostly pretty
solid.
There is one problem however- a song called "Forever"
which I truly truly dislike. I guess every band has that ONE song
you just wish they'd never made, and for me, this is that song.
But yeah, the vocal melodies are mostly pretty good and honestly
resemble what the band was about to do very soon. I don't really see
the need for much negativity for this album. It's probably the worst
album the band made from their debut all the way to the end of the
70's, but not much a whole lot if you ask me. Just a fairly weak
album as far as songwriting goes.
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I'll start by saying that Supertramp is my favorite group, and has
been for over twenty years. Anyone who buys Indelibly Stamped
looking for elements of their best work, as exemplified in the
albums Crime of the Century through Breakfast in America, is bound
to be sorely disappointed.
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Got it for a friend and she was thrilled when she opened it up,the
price was right and i was happy to have found it.
The only Supertramp album of very diverse quality: some songs are really
awesome, while others being simply terrible. I think, that comes mostly
of growing influence of Rick Davies - as their first LP had been done
mostly in melodic style of Roger, here they gave Rick a try, and we have
more of his simple jazzy-rockers, which have never been the strong side
of the band.
So, as an album the record is unlistenable. But here is some diamonds in
the dirt :
Travelled, Aries, - both very airy, flute-sounded, road songs )
Rosie - Indeed, THE BEST WALTZ-SONG I'VE EVER HEARD. Great
melody, very tender and moody.
Indelibly Stamped is one of Supertramp's less well-known
releases coming, as it did, before they received any major commercial
attention. It reveals a band in the midst of developing their own style
and still unsure of their own abilities. There is no hint here of either
the success they would later enjoy nor the more commercial side of rock
they would favour. What does shine through, however, is the promise of a
band who exhibit a breadth of musical accomplishment way above the
average and a dual vocal approach which, given the contrast between Rick
Davis and Roger Hodgson, provides an added unique dimension.
But good musicianship does not a good album make. The "mock"
live performance of "Remember", according to the sleeve notes,
is deliberately played at full volume throughout. Well, all I can say is
that their amps obviously don't go up to eleven! In fact I'm not sure
they climb much pass five. It's a tired, lethargic track which is
followed by the equally trudging "Forever". The honky tonk
arrangement given to "Your Poppa Don't Mind" is sort of
alright except it's very reminiscent of Status Quo and I'm not sure
that's who they were trying to emulate. "Coming Home To See
You" has a nice train rhythm as an underlying motif but is too
dreary and the same can certainly be said for "Times Have
Changed". Even the more upbeat numbers like "Friend In
Need" – with another honky tonk piano – sound as though they're
only being played half-heartedly.
In the end Indelibly Stamped is a very strange collection of
songs: very well performed but totally, utterly, irrevocably dull.
Only big fans of this band would buy this album, probably because of its
nice artwork. But 35 years after its release, it sounds as a pretty
decent hard-prog-rock album.
This album is a cruel désenchantement after its fantastic predecessor.
All the stuff here is lifeless, boring and forgettable. Don't waste your
time with it; it's one of the most insipid work done by Hogdson/Davis.
Not atrocious but unworthy from guys who will record the fantastic
Crime of the Century after this.
For fans only.
Their second album shows the band beginning to find their own sound.
There are some weak tracks, but overall an enjoyable listening
experience. No way did I ever see Crime of the Century coming
after the first 2 albums however!
In my case,
Supertramp stands as one of those 1970s guilty pleasures I'm a little embarrassed to
admit to. It may have something to do with the fact their latter stage
work seemed to dominate the top-40 airwaves during my high school years,
merely reminding me of our lost youth ... who knows. On the other hand it's kind of funny to hear
one's 17 year son humming "The Logical Song" ... where in the
world did he hear that one?
Released
in the wake of their split with long time benefactor/Dutch millionaire
Stanley Miesegase, 1974's "Crime of the
Century" found the band moving in pursuit of a more
commercial orientation. Recorded during an extended stay at a farm in
Southcombe, Somerset, Richard Davies and Roger Hodgson were again responsible for all of
the material, though this time out financial necessities saw the focus shift
to shorter, more
radio-friendly material. Produced by Ken Scott, the results were
surprisingly impressive, offering up a mix of keyboard dominated tracks the
highlighted catchy melodies and interesting song structures. The album
quickly spun off a pair of radio hits via the singles "Bloody Well
Right" b/w "" (A&M catalog number AM-1660) and
"Dreamer" b/w "" (A&M catalog number AM-).
Peaking at # 38 the LP also provided the band with their first true American
commercial success.
"Crises?
What Crises?" track listing:
(side
1)
1.) School
(Roger Hodgson - Richard Davies) - 5:34
2.)
Bloody Well Right (Roger Hodgson - Richard Davies) - 4:31
3.)
Hide In Your Shell (Roger Hodgson - Richard Davies) - 6:48
4.)
Asylum (Roger Hodgson - Richard Davies) - 6:43
(side
2)
1.)
Dreamer (Roger Hodgson - Richard Davies) - 3:31
2.)
Rudy (Roger Hodgson - Richard Davies) - 7:19
3.)
If Everyone was Listening (Roger Hodgson - Richard Davies) - 4:04
4.)
Crime of the Century (Roger Hodgson - Richard Davies) - 5:36
Rating: ***
(3 stars)
Gene:
progressive
Title: Crises?
What Crises?
Company: A&M
Catalog: SP-4560
Country/State:
UK
Year: 1975
Grade
(cover/record): VG+ / VG+
Comments: original
inner sleeve
Available: 1
Catalog ID: 1736
Price: $5.00
Co-produced
by Ken Scott and the band, to us 1975's "Crises?
What Crises?" stands as another step in the band's transition
towards a more commercial identity. With the material again written by Richard Davies and Roger
Hodgson, tracks such as "Lady" and "Sister Moonshine" is
quite commercial, though it isn't nearly as impressive as the previous set. Elsewhere tracks such as "A Soapbox Opera"
and "The Meaning" ensured there was still plenty of
progressive-oriented material for older fans, though it didn't do a great
deal for our ears. Commercially the set didn't do bad, peaking at # 44.
"Crises?
What Crises?" track listing:
(side
1)
1.) Easy
Does It (Roger Hodgson - Richard Davies) -
2.)
Sister Moonshine (Roger Hodgson - Richard Davies) -
3.)
Ain't Nobody But Me (Roger Hodgson - Richard Davies) -
4.)
A Soapbox Opera (Roger Hodgson - Richard Davies) -
5.)
Another Man's Woman (Roger Hodgson - Richard Davies) -
(side
2)
1.)
Lady (Roger Hodgson - Richard Davies) -
2.)
Poor Boy (Roger Hodgson - Richard Davies) -
3.)
Just a Normal Day (Roger Hodgson - Richard Davies) -
4.)
The Meaning (Roger Hodgson - Richard Davies) -
5.)
Two of Us (Roger Hodgson - Richard Davies) -
Courtesy of YouTube you can see a performance of
the title track:
Comments: still
in shrink wrap (opened); original inner sleeve
Available: 1
Catalog ID: 5921
Price: $9.00
Roger Hodgson had
briefly rejoined the band to support release of their 1986 retrospective
"The Autobiography of Supertramp" but hard feelings between
principals had not disappeared (urban legend has it that their wives
didn't get along leading to the partnership breaking up) and by the time the
band regrouped to record their next studio LP, Hodgson had resumed his low-keyed
solo career.
Recorded
in L.A. with Rick Davies and the band producing themselves, by the time
1987's "Free As a Bird"
hit the streets Supertramp had already lost the majority of its
audience (as an example, I didn't even know this album existed for
until ten years after it was released). Judging by this one, it became
fairly easy to see why their audience had evaporated. With Rick
Davies serving as the prime writer (all nine tracks were credited to him),
this time out the band seemed to have lost their way. The group's
longstanding ability to mix and match pop, progressive, and quirkiness was
replaced by an ultra smooth set of adult contemporary sounds that came
awfully close to elevator music. All of the danger signs were on
display here - a horn section; studio players, a Tom Lord Alge mix ...
super slick and thoroughly soulless ...
-
Try as I might, I just couldn't enjoy 'It's
Alright'. The cheesy synthesizers, sham Latin rhythms, strained
vocals, French backing vocals, horns ... yech. A total mess.
rating: * star
-
Opening up with an AOR sax solo, 'No the Moment' was little more adult
contemporary background noise. Your attention was guaranteed to wander
within the first 20 second. Sheer boredom.
rating: * star
-
Giving credit where due, 'It Doesn't Matter' at least sought to recapture
their classic sound. The instantly recognizable keyboards were there
as was Davies voice. Unfortunately the results were a forgettable pop
song.
rating: ** stars
-
'Where I Stand'
was nothing more than a slice of corporate rock. More a product than a
piece of art, this could have been something Toto, or any of those other
faceless mid-1980s L.A. bands was pushing out the door. I'll
give it an extra star for having something the resembled a melody.
rating: ** stars
-
So the first dozen times I heard the title track track it made absolutely no
impact on me. Part of that may have been the fact it came after four
really bad side one songs. By the time you got to this one most
listeners were just burned out. 'Free As a Bird' is far from a great
song and doesn't come within a country mile of Supertramp classics, but
surrounded by the rest of this crap it wasn't half bad. Decent melody
and the Gospel-ish feel wasn't half bad. One of the better
performances on the LP.
rating: *** stars
-
It wasn't quite a disco number, but 'I'm Beggin' You' had a distinctive
dance flavor to it, easily explaining why it got quite a bunch of exposure
on the dance charts. You can just hear longtime Supertramp fans
having cardiac arrests listening to this one. Pure crap.
rating: * star
-
A bouncy pop song, 'You Never Can Tell with Friends' was an okay
performance. Nothing great, but not nearly as bad as some of the other
stuff here.
-
With a reggae-tinged background 'Thing for You' was one of the few memorable
performances. Not exactly a throwback to prime Supertramp, but it was
kind of quirky and was also one of the few performances were Davies sounded
like he was actually enjoying himself.
rating: **** stars
-
Well at least the band subscribed to the truth-in-advertising credo with 'An
Awful Thing To Waste'. Compared to the rest of this set, the track
actually had a progressive feel to it. Mind you it wasn't progressive
as in old Supertramp, rather progressive in a 10 C.C. mold - namely cutesy
and self-absorbed. The Caribbean rhythms were certainly likable and
the song actually generated a bit of energy towards the end with guest
guitarist Mark Hart turning in an excellent solo. Again, compared to
the majority of the set, this was quite good, but then that was a fairly low
baseline for comparison purposes.
rating: *** stars
-
1987's 'I'm Beggin' You (Straight Pass)' b/w 'I'm Beggin You (Mad House Mix)
and 'Im Beggin' You (Dub)' (A&M catalog number SP-12245) 12" format
-
1987's Free As a Bird' b/w 'Thing for You' (A&M catalog number 2996)
So
the bottom line was this one was pretty painful. Listening to a band
that was once clever and mildly entertaining reduced to mindless and
faceless AOR ... Shame to see such a monumental waste of talent, or
perhaps better stated - 'An
Awful Thing To Waste'. Most folks
can pass on this one without a major loss. Kind of a fluke, but
with the single 'I'm Begging You' making some noise as a dance club hit the
parent album actually hit # 101 on the US charts.
"Free As a
Bird" track listing:
(side
1)
1.) It's
Alright (Rick Davies) - 4:57
2.)
No the Moment (Rick Davies) - 4:34
3.)
It Doesn't Matter (Rick Davies) - 4:49
4.)
Where I Stand (Rick Davies) - 3:38
5.)
Free As a Bird (Rick Davies) - 4:20
(side
2)
1.)
I'm Beggin' You (Rick Davies) - 5;27
2.)
You Never Can Tell with Friends (Rick Davies) - 4:14
3.)
Thing for You (Rick Davies) - 3:59
4.)
An Awful Thing To Waste (Rick Davies) - 7:47
And
that spelled the end of Supertramp for over a decade.
For
anyone interested, here' are a couple of YouTube links to videos for 'I'm
Beggin' You' and the title track. Shame they didn't spend as much
money writing the songs as filming the glitzy videos.
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