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Supertramp1979

La historia del crimen del siglo

Se acaban de cumplir 40 años de la publicación de 'Crime of the Century', la obra maestra de Supertamp. Roger Hodgson recuerda su gestación

JULIÁN RUIZ Actualizado: 16/12/2014 04:17 horas

Source: El Mundo

Es maravilloso desarrollar la historia de la creación de una obra maestra a través de comentarios, anécdotas y secretos de uno de sus creadores. Ni más ni menos que los de Roger Hodgson, que junto con Rick Davies creó, compuso y grabó uno de los álbumes históricos de los años setenta. Hace justo cuarenta años.

Es decir, el inconmensurable, casi divino 'Crime of the Century', desarrollado y grabado a lo largo del año 1974. Para muchos críticos, junto con 'The Dark side of the Moon' de los inmensos Pink Floyd y 'Tubular Bells' de Mike Oldfield , él disco clave. Finalmente, el aficionado a la música empezó a no conformarse tan sólo con el pequeño single de éxito, sino que comenzó masivamente a comprar la historia de un artista a través de un disco de vinilo de 12 pulgadas, con una bella portada, a 33 1/3 revoluciones por minuto.

Casi se nos ha olvidado esa maravillosa ceremonia de escuchar el bello vinilo, la obra de tu artista favorito. Sólo a los veinte o veinticinco minutos tenías que levantarte para darle la vuelta. Me une cierta complicidad con Roger Hodgson . Así que se ha prestado con mucho mucho énfasis en recordarme que "es como una obra imposible de hacer en estos días. En la actualidad, hay demasiada prisa por elaborar un disco. Tampoco hay paciencia en el estudio. Recuerdo que llegamos a tener una sesenta canciones para poder hacer 'Crime of the Century'. Nos sobró mucho material que incluso utilizamos para los álbumes siguientes", por ejemplo el fantástico 'From now on', que no vio la luz hasta el disco 'Even in the quietest moments', más de dos años después.

Quiebra mental y económica

A comienzo del año 1974, Supertramp estaban al borde de la disolución. Los dos primeros álbumes habían sido dos fracasos de venta descomunales y se suponía que el sello A&M inglés, la sucursal británica de la discográfica de Herb Alpert, no tenía ningún interés en un tercer disco del grupo. " En aquellos días estaba experimentando nuevas cosas: me hice vegetariano, practicante de yoga y de la meditación. Eran cosas poco conocidas en aquellos tiempos. Incluso pensé en la idea de viajar a la India. Pero Rick y yo tuvimos una reunión definitiva y decidimos que todavía nos quedaba una bala en la recámara. Tomamos la decisión de vender nuestro equipo de carretera y ponernos a componer y grabar maquetas. Rick ya había escrito 'Bloody well right' y yo había compuesto 'School' y 'Dreamer'".

Y así fue el inicio de 'Crime of the Century'. Paralelamente, introdujeron tres miembros imprescindibles en los nuevos Supertramp. Primero el bajista Dougie Thompson, un escocés de la Alan Bown Set. El propio Douggie se acordó del carismático saxofonista de su viejo grupo, John Anthony Helliwell. El grupo quedaría maravillosamente cerrado con la incorporación del gran batería de Los Angeles, Bob Siebenberger, que reacio en un primer instante a integrarse al medio 'supergrupo', se convenció cuando escuchó las formidables canciones en maqueta de Roger y Rick, cuando ensayaban en la Furniture Cave, en Kings Road.

Pero, ¿que iba a pasar con A&M?. La providencia estuvo de la mano de Supertramp. El ejecutivo Derek Green había cedido al puesto a un director artístico de CBS , que había fichado a Gary Moore y que le encantaba la música de Supertramp. Así que con dinero fresco de un pequeño adelanto de la compañía, músicos, esposas, novias, perros y gatos se instalaron en un pequeña granja en Southcombre, en Somerset, por la que pagaban 20 libras esterlinas a la semana. Allí se gestó como tocar y arreglar las maravillosas canciones de Roger y Rick. "Empezamos a conocernos de verdad. Yo empujé a Rick a cantar. No le gustaba su voz. No parecía gustarle. Pero por primera vez empezaron a escribir por separado. Y una buena canción de uno empujaba a que el otro tratara de mejorarla".

'Ziggy' Scott

El gran Ken Scott fue el ingeniero y el productor de 'Crime of of the Century'. Y el propio ingeniero me contaba: "De alguna manera me recordaban a como se picaban John Lennon y Paul Mc Cartney, en mis días, cuando grabé a los Beatles durante el "álbum blanco" y "Abbey Road". El bueno de Ken, al que entrevisté hace poco por la publicación de su libro de memorias, ya ni se quiere acordar que se negaba en rotundo a grabar y producir a Supertramp en su 'santa santorum', su estudio Trident, en Londres. Para él sólo era un grupito con dos tremendos fracasos. Fue la compañía con su dinero y su rotundidad los que lograron convencer a Ken Scott para que acudiera a un ensayo a escuchar las canciones. Desde ese momento, Ken se convirtió en el mismísimo arquitecto del sonido de uno de los maravillosos discos de los años setenta. Algo que ya había logrado con los discos de Bowie 'Hunky Dory', 'Ziggy Stardust' y 'Aladin Sane', más el 'Transformer' de Lou Reed. Todos ellos grabados como ingeniero y co-productor. Ken era el nuevo Midas del sonido, con esas obras maestras. El mago de la consola Tridente A Range, sus mágicos ecualizadores y su magnetófono nuevo de 16 pistas.

"De verdad que si escuchas hoy en día 'Crime of the Century', te quedas petrificado. Suena increíblemente bien, espectacular. Ken era un tipo muy meticuloso, muy específico, pero maravillosamente técnico y positivo. El logró darnos el sonido típico de Supertramp, el mismo que desarrollamos en los siguientes discos".

"Más presupuesto, esto es bueno"

Roger recuerda con nitidez como se grabaron algunas cosas, incluso en el estudio Ramport , propiedad de los Who, aunque casi todo se hizo en los Trident . Pero con un leninismo proceso de gestación. Desde finales de febrero hasta casi llegar a junio de aquel 1974. Tantos meses era una barbaridad.Tenía que soportar la creación de 'Crime of the Century' un presupuesto de grupo consagrado. Así que le pregunto a Roger de como pudo querer seguir la compañía con un presupuesto brutal para un grupo casi desconocido. "Bueno, hubo un momento muy delicado de la grabación. Pero, sí, es cierto. Jerry Moss, es decir, la 'M' de A&M Records, se presentó un día en el estudio. Me acuerdo que escuchó 'Dreamer' y 'Crime of the Century' y le gustaron muchísimo. Luego supimos después de que llevábamos veinte mil libras esterlinas gastadas en el disco, casi cinco veces más de los presupuestado y que Jerry Moss le dijo a nuestro director artístico que siguiéramos adelante, "carta blanca". Hoy día esa perspectiva hubiera sido imposible. Es otro guiño del destino en la suerte de 'Crime of the Century', desde su nacimiento".

Roger y Rick, finalmente, decidieron que el disco se llamara 'Crime of the Century'. Y le digo a Roger que fue una decisión muy generosa y honesta, porque la canción precisamente no era de Roger. "Daba igual. Era un maravilloso título y creo que la mejor del disco, con esos arreglos sensacionales de cuerda de Richard Hewson. Además, ya habían elegido mi canción 'Dreamer' como el single, lo que se iba a escuchar en la radio. Al fin y al cabo, mi canción fue el primer éxito de Supertramp en listas. No podía dejar de estar orgulloso, me acordaba que la había hecho en casa de mi madre, con el acompañamiento de mi piano Wurtlizer y una percusión absolutamente casera, en un magnetófono Sony de cuenta abierta". Pero el Wurtlizer se convirtió en el sonido distintivo de Supertramp.

El rapto del universo

'Crime of the century' es también el "rapto del universo", como decía Roger Waters (Pink Floyd). Esa terrible combinación de "lujuria,codicia y gloria" que envuelve al mundo. "Estoy más que orgulloso del álbum. Han pasado cuarenta años, pero está más vivo que nunca. Es verdad que 'Breakfast in America' fue el disco de más éxito de Supertramp, pero para mí, 'Crime of the century' sigue siendo el mejor, el único, el divino".

Ya casi hacia el final de la conversación, le pregunto si es posible que algún día que Rick y él se pongan a dialogar, a volver a tocar juntos y resucitar a Supertamp. Roger admite que "Realmente no es algo que necesite. No hemos vuelto a escribir juntos desde los primeros tiempos de la banda. Y sobre una posible reunión, ese barco ya partió. Y una reunión sin Dougie y sin mi no es lo que la gente esperaría ver". Le comenté que he hablado varias veces con Rick, una persona introvertida, de trato dificil, muy encerrado en si mismo. "Si, es una persona dificil de entender..." asume Roger. Así que parece claro que no volveréis a juntaros..... " Si, eso parece".

Un crimen más del siglo XX.

 

crime cover

 


 

English Translation: (Raw version)

 

The story of the Crime of the century

40th anniversary of the publication of 'Crime of the Century', the masterpiece of Supertamp. Roger Hodgson remember the process

JULIAN RUIZ Updated: 12/16/2014 4:17 pm

It's wonderful to develop the story of the creation of a masterpiece through comments, anecdotes and secrets from one of its creators: Roger Hodgson, together with Rick Davies created, wrote and recorded one of the historic albums of the seventies. It was forty years ago.

That is, the immeasurable, almost divine 'Crime of the Century', developed and recorded throughout 1974. For many critics, along with 'The Dark Side of the Moon' from the great Pink Floyd, and 'Tubular Bells' from Mike Oldfield, the key album. Finally, the fans started to not settle only with small single, but began en masse to buy the story of an artist through a 12 inches vinyl, with a beautiful cover, 33 1 / 3 rpm.

We've almost forgot that wonderful ceremony, when we listen the beautiful vinyl, the work of your favorite artist. After twenty or twenty-five minutes you had to get up to turn it around. I feel certain complicity with Roger Hodgson. So he helped with emphasis on reminding me that "it's like an impossible work to do that on these days. At present, there is too much haste to prepare a disk. There is no patience in the studio neither. I remember that we have sixty songs to prepare 'Crime of the Century'. We overran much material that even used for the following albums ". For instance the fantastic 'From now on', which was not released until the album 'Even in the quietest moments', over two years later.

Mental and economic bankruptcy

At the beginning of 1974, Supertramp were near the rupture. The first two albums were two failures and it was supposed that British A&M , the British branch of the Herb Alpert company, had no interest in a third disc of the group. "It was a time when I was doing a lot of experimenting with a lot of different things. I had just turned vegetarian and  then I was and getting into yoga and meditation. And that was at a time when no one even knew the words. I even pondered the idea of going to India. But Rick and I had a short meeting and we decided that we still had a bullet in the chamber. We decided to sell our road equipment and work to writing and recording demos. Rick had written 'Bloody well right' and I had composed 'School' and 'Dreamer' ".

And that was the beginning of 'Crime of the Century'. At the same time, introduced three essential members in the new Supertramp. First, bassist Dougie Thompson, from the Scottish Alan Bown Set. Dougie reminded the charismatic saxophonist from his old group, John Anthony Helliwell. The group was wonderfully closed with the addition of the great drummer from Los Angeles, Bob Siebenberger, that reluctant at first to join the half 'supergroup', became convinced when he heard the awesome songs from Roger and Rick, when rehearsing in Furniture Cave, Kings Road.

But, what would happen with A&M ?. Providence was the hand of Supertramp. The executive Derek Green nominated an artistic director of CBS, who had signed to Gary Moore and he loved the music of Supertramp. So with fresh money from a small payroll advance from the company, musicians, wife, girlfriends, dogs, and cats, were installed on a small farm in Southcombe in Somerset, by paying £ 20 a week. That was the place for starting playing and arranging the wonderful songs of Roger and Rick. "We started to know each other. I pushed Rick singing. He didn't like his voice. We began writing separately. And a good song by one pushing the other trying to improve it."


'Ziggy' Scott

The great Ken Scott was the engineer and producer of 'Crime of of the Century'. And the engineer himself told me: "Somehow they reminded to me the John Lennon and Paul McCartney "fights" in my days, when I recorded the Beatles during the 'White Album' and 'Abbey Road'. Ken, who interviewed shortly ago by the publication of his memoir, didn't want to remind that refused to record and produce Supertramp in its 'santa santorum', the Trident studio in London. For him it was only a small group with two tremendous failures. It was the company with his money and his rotundity those who managed to convince Ken Scott for him to come to a rehearsal to listen to songs. Since then, Ken became the very architect for the sound of one of the wonderful albums of the seventies. Something that had already achieved Bowie Albums 'Hunky Dory' 'Ziggy Stardust' and 'Aladdin Sane' plus 'Transformer' by Lou Reed. All of them recorded as an engineer and co-producer. Ken was the new Midas King for the sound, with these masterpieces. The Wizard of Trident A Range console, his magic equalizers, and its new 16-track tape.

"Really, if you listen today 'Crime of the Century', you stay petrified. It sounds incredibly spectacular. Ken was a very meticulous, very specific, but wonderfully technical and positive. He managed to give us the typical sound of Supertramp the same that we developed in the following albums. "


"More budget, this is good"

Roger remembers clearly how some things were recorded, even in Ramport studio, owned by the Who , although almost everything was done in the Trident. But with Leninism gestation process. Since late February to near June 1974. So many months that was exorbitant. The budget for the creation of 'Crime of the Century' was like an important band. So I ask to Roger how the company might want to follow with a brutal budget for an almost unknown group. "Well, there was a very delicate time of recording. But, yes, it's true. Jerry Moss, ie the 'M' of A&M Records, appeared one day in the studio. I remember he heard 'Dreamer' and 'Crime of the Century' and liked very much. Time after we knew we had twenty thousand pounds sterling spent on the album, almost five times more than the budgeted, and Jerry Moss told to our artistic director that we go forward, "carte blanche". Today this perspective would have been impossible. it's another piece of luck, in the history of 'Crime of the Century', from birth ".

Roger and Rick finally decided name the album "Crime of the Century". And I tell to Roger that was a very generous and honest decision, precisely because the song was not Roger's. "Never mind. It was a wonderful title and I think the best of the album, with those stunning string arrangements by Richard Hewson. Also, they decided 'Dreamer' as the single, to be broadcasted in the radio. After all, my song was the first Supertramp hit in the charts. I felt very proud, I remembered that I make it in my mother's house, with my piano Wurtlizer, and an absolutely homemade percussion, recorded in a simple Sony tape. But Wurtlizer became the distinctive sound of Supertramp.


The abduction of the universe

Crime of the century 'is also the "abduction of the universe," as Roger Waters said (Pink Floyd). That terrible combination of "lust, greed and glory" that encircles the world. "I feel more than proud of the album. Forty years have passed, but is more alive than ever. It is true that 'Breakfast in America' was the Supertramp most successful album , but to me, 'Crime of the Century remains the best, unique, divine. "

Almost at the end of the conversation, I wonder if it is possible that someday Rick and he start a conversation, return to play together and revive Supertamp. Roger said. "I do not need it. To tell you the truth. I never wrote with Rick until the very early days.  And for the Supertramp reunion, no, that ship has sailed long ago.  A reunion without Dougie Thompson and me is not a reunion that people want to see". I speak with him (Rick) many times, he is a difficult person, he is more introverted. He is very deep in himself. "Yes, he’s a difficult person to understand…" says Roger. It’s impossible for Supertramp to go with you?. "yes, it’s impossible".

One more crime of the XX century.

 

 

 

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mac@breakfastinspain.com (MAC) Supertramp Press and Media Tue, 16 Dec 2014 13:21:02 +0000
Bob and Jesse Siebenberg in Ventura County Star 2012 http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/539-bob-and-jesse-siebenberg-in-ventura-county-star-2012 http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/539-bob-and-jesse-siebenberg-in-ventura-county-star-2012

Fathers have effect on kids' careers, often without knowing it
Following in dad's footsteps


By Kim Lamb Gregory
Ventura County Star

Posted June 16, 2012 at 3 p.m., updated June 16, 2012 at 5:03 p.m.

 

Source: http://www.vcstar.com/news/2012/jun/16/following-in-dads-footsteps/

 

Ventura Superior Court Judge Colleen Toy White spent years riding shotgun with her dad as he enforced the law in the tiny Oklahoma town where she grew up.

"My dad was the chief of police for a while and then the constable," White said. "We did an early version of the ridealong before it even had a name. The main street was only a block long and I don't remember a lot of heinous crimes being committed."

Dr. Stacey Fine of Thousand Oaks used to accompany her physician dad on hospital rounds. Her doctor's bag was filled with crayons.

And Ojai musician-composer Jesse Siebenberg's toys were his dad's musical instruments, which he mastered to the point that he went on tour with his dad, Supertramp drummer Bob Siebenberg.

CSU Northridge psychology professor Dr. Mark Stevens said dads can have considerable clout when it comes to career choices.

"Kids are really curious and there's a little bit a mystery about what dad does," Stevens said. "One of the critical pieces here is, how much does Dad enjoy the work he does? Kids will watch their dad and know a lot about Dad's work, even if things have been unspoken. They will see Dad's mood when he comes home. Often kids will fill in images of what Dad is doing for a living."

When a dad enjoys what he does for a living and communicates about his work world to kids, it can help pave the pathway to a successful career for kids, said Stevens, who deals with many men's issues in private practice.

"Often men don't talk about what they do," Stevens said. "They hold it inside of themselves so that story isn't there for their children when it comes time for them to choose their own careers. It's about giving permission for dads to talk about the real story of how they chose their career and how they feel about work."

When dads love what they do, and involve their kids with their career choices, the result can be a successful adult who enjoys his or her line of work. In honor of Father's Day, we spoke with some Ventura County residents in a variety of careers to find out how Dad helped set their career trajectory.


LAW AND ORDER

Judge White stepped up under the Great Seal of California and sat down at the bench in Courtroom 37.

To her right, behind bars, sat a row of jailed defendants in blue cotton jail uniforms and orange rubber clogs. Behind the courtroom, court clerks carrying sheaves of paper scurried among tired folding chairs holding about 15 defendants.

After some paper shuffling and a call to order from the bailiff, White began listening to attorneys plead their clients' cases. "I'm gonna stay your jail time," White told one defendant with a lilt that sweeps back decades to her childhood in Oklahoma.

White grew up one of five children in the town of Wetumka, Okla., which had a population of about 1,000. White, now 67, got her nickname "Toy" from her brother, who is six years her senior.

"Mom anticipated some sibling rivalry, so she said, 'When the baby comes, you can name the baby,' " White said. "So when I was born, he looked at me and said 'She looks just like a toy.' "

White's dad, Bass Moore, had a sense of compassion and justice that he showed White, rather than told her.

"He had a real keen sense of fairness. He treated everyone the same," White said. "He'd talk to the banker and the town alcoholic always the same. He treated everyone with respect. Those are the kind of lessons you learn when you don't know you're learning them."

There was no budget for a police car, and no uniforms, so Moore wore khaki pants, a white shirt and tie.

"He drove the family car as a police car," White said. "It was an old Chevy. On the side was a spotlight."

When she was old enough to help drive sentenced prisoners to the county seat, White would be at the wheel and Moore would ride in back with the prisoner.

When Moore transferred the prisoners from the Wetumka holding cell to the jail in the county seat, he would always give the prisoners a little money out of his own pocket so they could buy candy and cigarettes, she said.

"He'd wink at me and say, 'Don't tell Mom,' " White said. "We had five kids at home and he had a very meager income."

White said her dad was a "prince of a guy" who would often take young people home after a lecture, rather than landing them in jail.

"He knew justice sometimes had nothing to do with going to jail," White said.

Bass Moore lived long enough to see his daughter go to law school, but he never got to see her as a judge, White said. But she has tried to show the compassion and justice that her father exercised every day.

"You realize that a child really does become what they see," she said. "Your actions speak so loudly."


IN PRACTICE WITH DAD

Dr. Stan Silverman knew one of his two daughters, Stacey, was always interested in medicine, but he tried to discourage her.

"I just don't think medicine is the field it used to be," said Silverman, an OB-GYN in Thousand Oaks. "Liability, regulations, reimbursements."

But Dr. Stacey Fine, now 41, was determined. So determined, in fact, that she took her medical board examinations two days after giving birth to the first of her two children.

"It was very crazy, but it's kind of the way I tend to do things," Fine said. "I had to hook up a breast pump in the middle of my boards. I also had to explain to them (the others taking the boards) that I was sitting on a doughnut."

Silverman, 75, now shares a practice with his daughter in Thousand Oaks. His other daughter, Beth Silverman, is a prominent district attorney in Los Angeles.

"I think my father always pushed his children to be self-sufficient and have careers and strive and never back down in times of adversity," Fine said. "We couldn't have done that without a model figure who worked hard every day and never complained."

"I always told my daughters anytime they wanted to do something, do it 100 percent," Silverman said.

When she was a child growing up in Westlake Village, Fine recalled going on medical rounds with her dad.

When Fine started going to medical school, she would observe her dad in the operating room, wondering how she could ever stand the sight of blood without passing out. Her dad told her it would get better, and eventually it did.

"The first few times I was in surgery, I had a stool tied to my foot so I could sit down," she said.

When Fine got her medical degree and passed her boards, they went into practice together.

"He devoted himself tirelessly to this," she said. "There are many nights we get up together to go in for a C-section. He still absolutely loves what he does."

Being in practice together has worked out well, she said, but they are family, and there are disagreements.

"We certainly have our moments. We're very vocal. We're not uncomfortable with telling each other how we feel," Fine said.

Now that Fine is married with a daughter, 8, and a son, 6, Grampa watches them one day a week while Mom and Dad work. "That's my day," he said with a grin.

For Father's Day, Silverman said his greatest gift is to be able to take the whole family out to dinner, and dinner's on him.


EDUCATION AND THE MILITARY

If it weren't for his dad, Conejo Valley Unified School District Superintendent Jeff Baarstad would never have gone into education, he said.

"When you grow up as an educator's kid, you're exposed to lots of friends who are also educators," said Baarstad, 57.

Baarstad's dad, David Baarstad, 88, went into special education in the Ventura Unified School District while Jeff was growing up. His mom also was a teacher.

When Jeff was a junior at Buena High School, David spent a semester on campus at Brigham Young University so he could earn his Doctor of Education degree.

"I was on the varsity football team and they had a tradition of dads and sons being introduced together," Jeff said. "I had to do that with one of my dad's really good friends. I wish my dad was there, but I understood."

David worked in the still-emerging field of special education between 1960 and 1985. Jeff would often come home and find gifts from parents of special-needs kids who finally had a learning program for their child, thanks to David.

"From time to time I'd come home and there would be flowers and a cake on the porch," Jeff said.

Jeff became a teacher and eventually a school district superintendent. To this day, he and his dad talk shop.

"He loves to have conversations about my job. What am I doing. How am I approaching this," Jeff said.

The legacy continues, Jeff said. His daughter is a high school teacher.

Christine McCloskey, Hueneme Elementary School District assistant superintendent of business services, also credits her career decisions largely to her father, former U.S. Marine and now Ventura Unified School District board member John Walker.

"He's definitely been the most influential person in my life," said McCloskey, 43. "When I was growing up he was going to school on the GI Bill. As a young child, I saw him going to school at night."

It was a turnaround for Walker, 65, who admits he was a bit of a slacker until he joined the Marines during the Vietnam War.

"In high school, I was kind of average," he said. "It kind of turned me around and made me ultrapatriotic."

The military also instilled a sense of tireless discipline in Walker as he pursued a master's degree. It took him nine years while he worked full time as an installer at GTE, which eventually became Verizon.

"My wife and I are both very strong in our faith. Faith combined with patriotism and discipline and the value of education," Walker said. "She became a very black-and-white little girl. It was either right or wrong."

On the night Walker received his master's degree, McCloskey was heartbroken that she couldn't attend. She was part of the Buena marching band and there was an event she couldn't miss or it would erode her grades.

"I remember specifically his saying that getting good grades was more important than my being there," she said.

McCloskey became a teacher, a principal, and finally joined the district as an administrator.

Walker influenced his other daughter, Rhonda Grant, 40, who followed in her dad's earlier footsteps by going to work for Verizon.


MUSIC A TIE THAT BINDS

Ojai musician-composer Jesse Siebenberg, 35, was steeped in his dad's music from an early age.

"When he was about four, I bought him a Toys R Us drum set for Christmas," said Siebenberg's dad, Bob Siebenberg, 62, drummer for the British rock band Supertramp. "He demolished it in a day."

Jesse ultimately got the hang of the drums and many other instruments, including guitar and keyboard.

"I had a studio in my home and lots of instruments around," Bob said. "He was playing piano at 6. It was always pretty obvious he had this gift."

"It was a stimulating scene for a kid. It was a bunch of top-notch musicians even making music or listening to records," Jesse said.

Jesse, who now co-owns a recording studio in Ojai, toured with his dad and Supertramp for 14 years after he turned 20.

Jesse was about 5 or 6 when he and his dad were listening to rhythm and blues saxophone giant King Curtis at Fillmore West in Northern California. Jesse remembers watching his dad's face as Bob listened.

"It was a different look than I'd ever seen," Jesse said. "I think it hooked me into music for life, right there. I think it was because he was really in it, but in a humbled way. We listened to all sorts of stuff, but only certain albums made you really just stare and block everything else out."

Jesse made a few "rookie mistakes" when they first went on tour, Bob said, but he's seen his son blossom.

"To see him standing up in front ... and performing some of our tunes so well and to great reception and applause has been a source of great pride," Bob said.

Jesse said his dad has always been an active participant in his and his sister Victoria's lives."We talk and see each other often, mostly due to his efforts, I'm not proud to say," Jesse said, adding: "I'll call soon, Pop!"


 

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mac@breakfastinspain.com (MAC) Supertramp Press and Media Tue, 19 Jun 2012 12:46:59 +0000
Supertramp as Ricky & The Rockets - 1986 http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/527-supertramp-as-ricky-a-the-rockets-1986 http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/527-supertramp-as-ricky-a-the-rockets-1986

Supertramp as Ricky & The Rockets - 1986 live in Mannheim im Flic Flac

It was more a party then a concert. After their big concert in Ludwigshafen (Twin City of Mannheim) in front of 5000 people Supertramp was playing in a little Club-Restaurant called Flic Flac in Mannheim. Only 10 people knew what is coming on that night. So in the little sideroom probably 50 people are sitting and waiting (they did not know who is coming ). Around 11pm Supertramp has arrived - that means RICKY & THE ROCKETS are on stage. This was their name for this night. Ricky and his boys were :
Mark Hart - k
Marty Walsh - g
Dougie Thompson - b
John Helliwell - sax
Ben Siebenberg - dr
Scott Page - sax
Carl Verheyen - g
Rick Davies - k,v
Beside them sometimes also on stage 3 musicians of the Herbert Grönemeyer Band -
Alfred Kritzer - k
Norbert Hamm - b
Gagey Mrozek - g
--- also on stage, with the earphone Wichtel a technican from Radio RPR. Sometimes you see Affendaddy standing in the door in the back always grinning. Sometimes 12 guys (and a grand piano !!!) standing on 12 square meters !!
The setlist for Supert....er Ricky & The Rockets was :
Happy Birthday To You , In The Midnight Hour, Don't You Lie To Me, Walking The Dog, Treat Her Right, Route 66 , Stormy Monday , My Babe - from Ron Holden - + Lucille. When they finished a song some of them asking what is the next song, but nobody knew that, so Rick says - have you ever heard a song called Midnight Hour ? Everybody is thinking - and then they said - yes we have heard that song. So Rick says : Let's play it.
For all the people in that little room - musicians + audience it was a unforgettable night.
Normally on this stage was my Discotheque equipment. That means Recordplayer, Reciever and a - Cassette deck - and with such an engine you can do pretty good recordings.....:-))))

See Ricky & The Rockets in 1986

 

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mac@breakfastinspain.com (MAC) Supertramp Press and Media Fri, 18 May 2012 11:55:21 +0000
CLASSIC TRACKS: Supertramp‘s 'Logical Song' http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/436-article-classic-tracks-logical-song-pete-hernderson http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/436-article-classic-tracks-logical-song-pete-hernderson

Producer and engineer Peter Henderson spent nine months recording an album that neither he nor the A&M label could afford to fail. Yet when he handed in the masters, Henderson was convinced that Supertramp's Breakfast In America would finish his career...
Richard Buskin



breakfastcover

Source: SOUNDandSOUND

CLASSIC TRACKS: Supertramp‘s 'Logical Song'
Producers: Supertramp, Peter Henderson
Engineer: Peter Henderson
Studios: The Village Record, Crystal Studios

 

Producer and engineer Peter Henderson spent nine months recording an album that neither he nor the A&M label could afford to fail. Yet when he handed in the masters, Henderson was convinced that Supertramp's Breakfast In America would finish his career...

Richard Buskin


Peter Henderson started out as an assistant at AIR Studios on Oxford Street in 1973, and quickly teamed up with Grammy Award-winning engineer Geoff Emerick, who served as his mentor over the next couple of years. During that time, Henderson also worked with other seasoned pros such as Bill Price and John Punter, yet it was Emerick who taught him the fundamentals, from recording vocals to entire orchestras, while working with artists such as America and Robin Trower.

"When I began working with Geoff the standard was 16-track," Henderson recalls. "He would put two [Coles] 4038 ribbon mics over the drums and wouldn't even mic the toms. There'd be [an AKG] D90 on the snare and probably [an AKG] D12 on the bass drum, and that was it. There wasn't even a hi-hat mic. We had Neve consoles and Fairchild limiters, and everything leaned towards performance. I remember one of my first engineering jobs, working with Paul McCartney on Wings At The Speed Of Sound [1976] — he'd do two vocal takes and ask, 'Which is the better one?' And when he played guitar, he'd really lean into it and give it everything he got. Well, Geoff was very much like that. Everything had to be performed, and he'd always say that he liked the sound to jump out of the speakers."

That having been said, Peter Henderson's very first engineering gig was alongside another Beatles alumnus, producer George Martin, on the 1976 Jeff Beck album Wired. "I listened to that a few years later and it sounded like it had been recorded direct to cassette," Henderson remarks. "I don't think it was one of my finer moments. The thing is, when you started off at AIR, you'd usually spend about 18 months assisting and then overnight you would become an engineer. You'd do adverts and record orchestras, and as time went on you'd be trusted to work with better and better artists."

Going South

After engineering Supertramp's Even In The Quietest Moments and Frank Zappa's Sheik Yerbouti, Henderson went freelance in 1978 and co-produced the Climax Blues Band's Gold Plated and a Tubes live album. The following year he nabbed his biggest album production credit to date, collaborating with Supertramp on Breakfast In America. "Geoff Emerick had been asked to engineer Even In The Quietest Moments, and when he couldn't do it I ended up doing the recording and he ended up doing the mix," Henderson explains. "Then I was asked to engineer the follow-up, and ended up co-producing with the band."

By 1978, Supertramp — then comprising keyboardist/vocalist Rick Davies and his songwriting partner, guitarist/keyboardist/vocalist Roger Hodgson, together with vocalist/saxophonist/woodwind player John Helliwell, bass player Dougie Thomson and drummer Bob Siebenberg — already had five albums behind them, and hit singles like 'Dreamer', 'Bloody Well Right' and 'Give A Little Bit'. Courtesy of producer Ken Scott and concert sound engineer Russell Pope, the British five-piece had established a reputation for lush, catchy, carefully crafted pop, and it was in the middle of a post-tour break that Roger Hodgson wrote the lyrics to 'The Logical Song', a wistful four-minute ode to separation from the simple, innocent joys of childhood and the confusion this engenders. It was just one of nine new compositions demoed at Southcombe Studios, a rehearsal space within the band's management office in Burbank, California, during late April and early May of 1978.

"I went to LA thinking we were going to start recording, but nothing was quite ready, so we ended up doing very, very basic eight-track demos for the whole album," Peter Henderson recalls. "As it turned out, this was a good opportunity to work out the arrangements for most of the backing tracks — 'Take The Long Way Home' wouldn't arrive until much later in the project — and we even assembled the running order for the album. We were pretty organised.

"The home demos of each song were pretty much all keyboard-based — vocal and piano or vocal and Wurlitzer — and then [at Southcombe] the whole band would run through them. However, by the time we completed the eight-track demos, we didn't have any of the parts that would be overdubbed on the finished record. We just worked on the live backing tracks and overdubbed the guide vocals."

breakfastbackcover

Village Life

Next stop was Studio B at the Village Recorder in West LA, housed within a Masonic temple and featuring a 48-channel Harrison console, as well as two Ampex 1200 24-track machines. The band members all gathered there on the first day, yet Peter Henderson didn't show — while driving to the studio from Topanga Canyon, he and his new wife were involved in a head-on collision with a drunk driver. Fortunately, nobody was too badly injured, and Peter eventually turned up at the Village Recorder with two enormous black eyes. "I looked like I'd been in the ring with Muhammad Ali," he says. "It wasn't the best of starts, but we were very lucky to get off so lightly."

The delayed start was then compounded by a week-long effort to determine the desired sound setup, which involved positioning the drums in various parts of the room, experimenting with mics and even trying out three different grand pianos.

"We weren't going to start recording until everything was just right," Henderson says. "No one was prepared to compromise on anything, and although I remember the management raising their eyebrows, I really think it paid off in terms of the results. That having been said, we took this approach because we didn't want to spend a lot of time on the mix, but as it happens the mixing process was quite laboured and we did actually run into some difficulties."

In 1978, the Village Recorder's Studio B comprised a control room facing the wooden-floored live area and adjoining drum booth at the far end. For 'The Logical Song', the backing track consisted of Bob Siebenberg's drums, positioned close to the main room's left-hand wall; Dougie Thomson playing bass, also in the live room; Rick Davies on the right side of the live room, playing a Clavinet part that was subsequently mixed out; Roger Hodgson's Wurlitzer electric piano, placed in the drum booth; and John Helliwell's sax, played in that smallest room of all, the toilet.

"John kept moaning about his lot, but I think he actually quite enjoyed it," asserts Henderson. The same setup largely applied to all of the tracks, and about two or three days were expended on each song.

"We'd get the sound, do a couple of takes and then take half an hour off while Russell Pope and I would tune the drums with Bob," Henderson recalls. "Russell was another ear, almost part of the band, so we'd go in there while Bob was having a breather and change a few things. The whole idea was to get a really good band performance, and I think the backing tracks we got were terrific. Everything was fresh, and that's what I liked about the album — even though it ended up taking about nine months to complete, there's still a really, really vibrant, fresh feel to the tracks. For instance, on the song 'Child Of Vision' the entire grand piano solo was live, and across the whole record we did get to keep a lot of stuff that never needed to be redone. It was just five people playing in a room. There were no click tracks and there was no splicing of the backing tracks."

DIAGRAM
The layout of Village Recorder Studio B during the
band recordings for Supertramp's Breakfast In America.

 classicsupertramp3diagram

 

A Relaxed Schedule

After each backing track had been completed, a slave reel was made with the drums bounced down from nine tracks to four, comprising bass drum, snare, cymbals and toms. Within four weeks, the live band sessions were at an end and the multitracks were put away until the mix. However, since said mix would take about four weeks and the overall project about nine months, that leaves seven months for overdubbing... That's right, seven months.

"Considering how much we'd actually managed to achieve, I do have to say the overdubbing took a long time," Henderson admits. "After we'd bounced down and made a slave for all the songs, we then began working on the missing parts. With vocals, we would try one, and if it worked that was great, and if it didn't, we'd come back to it later. Again, it was always about trying to get a fresh performance and not over-labouring. We'd spend a lot of time getting sounds, particularly guitar sounds, and then return to a vocal and try doing it again."

Again, the Neumann U47 came into play for Roger Hodgson's lead vocals, recorded through an 1176, and although Peter Henderson would have normally opted to use a Fairchild limiter, none was available at the Village Recorder. Hodgson double-tracked his vocal lines and took care of the backing harmonies, and this was the case for the choruses and third verse of 'The Logical Song' while verses one and two remained single-tracked. Still, he felt that something extra was needed to lift the number. He just didn't know what. Only towards the very end of the project did the answer come his way.

"Rick came up with the answering vocal on the second chorus and Roger was really pleased with that," Henderson recalls. "Roger himself was a really good singer and he was brilliant at double-tracking, although you had to catch him on the right day. Sometimes he would over-sing and he'd have to make the effort to sing a little bit quieter. When he did that, it was more natural and it kind of helped the sound. And we also did some punching in with the vocals."

In the meantime, the song's percussion intro combined John Helliwell's heavy breathing with Bob Siebenberg hitting a small cymbal and playing the castanets... after a fashion. It took some time for Siebenberg to master the little clickers, but master them he did, and he also played cowbell and timbales for the song's outro, which was further embellished with overdubs of Rick Davies' wah-wah Clavinet and the 'd-d-digital' sound emanating from a Mattel football game that belonged to English producer/engineer Richard Digby-Smith, who was working in the next room.

On the choruses, the arpeggiated guitar part was created via two Les Paul electrics going through Leslies and miked with a couple of Neumann U87s top and bottom, compressed with two 1176s, as well as a pair of double-tracked Guild 12-string acoustics miked with U87s. Synth strings comprised 'cello in the form of an Oberheim Four-voice, and an Elka Rhapsody string ensemble fed through the Boss chorus pedal for the high parts. "We did that pretty much throughout the whole album," Henderson states. "We used a lot of Oberheim Four-voice, and the Elka just sounds brilliant going through the Boss chorus."

The normal working day during the Breakfast In America sessions was 2pm to 11pm, Monday to Friday, yet while these hours contributed towards the lengthy timeframe for overdubbing, everything was on course and going according to plan.

"Sometimes, for inspiration, we'd go down to SIR — Studio Instrument Rentals — and see what was lying around," says Henderson. "I remember we rented a calliope and various percussion instruments, and some of these things helped inspire ideas. We might spend a whole day just doing one part — getting the sound for it and then working on the performance — so it was a slow process, but an interesting one, and it was a very, very joyous experience for everybody."

Then came the mix. Suddenly, it was as if everyone had lost the plot.
"We spent three or four days trying to mix at the Village, but the Harrison EQ was so harsh, it was impossible to brighten things without making them sound electronic," says Henderson. "The funny thing was, before we started mixing I spent a couple of hours doing rough mixes of the whole album on that Harrison desk, and for a long time afterwards a lot of people really liked those mixes, even after we finished the main mixes as well. However, part of the problem we had was that, over a long period, you get so used to hearing things a certain way, you almost need to go somewhere else to re-evaluate."

PHOTO: Rusell Pope
From left to right: Roger Hodgson, Peter Henderson and Rick Davies at
the Village Recorder during the recording of the Breakfast In America album.

 Breakfast

 

Soft And Bright

For the recording of Breakfast In America, Bob Siebenberg's Ludwig drum kit — featuring a more pop-oriented 24-inch bass drum in place of his usual 26-inch kick, Superphonic snare, and Fiberskin-covered 13, 14, 16 and 18-inch toms — was accorded an unconventional miking setup that Peter Henderson has never used again: a Sennheiser 421 on the bass drum, 421s on the toms, a Neumann KM84 on the snare, and AKG 451s overhead and on the hi-hat.

"The main thing about the drum sound was probably the KM84 on the snare, influenced by Alan Parsons' work on [Pink Floyd's] Dark Side Of The Moon," Henderson explains. "It's very soft-sounding, but it's also right in your face, very bright, and it added so much energy. It was just a weird combination of mics, and although one could use it again, these days I think people want more power from the drums."

Meanwhile, Dougie Thomson's brand-new Music Man Stingray bass, DI'd with plenty of EQ, was, according to Henderson, "one of the best basses I've ever recorded. He played with flat-wound strings, and while I wasn't a big fan of the Harrison desk, it really worked well for bass. We put a ton of EQ on it — literally +10dB at 100Hz and +10 at 200Hz — and then put it through a [Urei] 1176. The console had a really good low end, and the way Dougie played it, the bass also had so much depth. Dougie was very underrated as a bass player, even within the band, but I think his contribution was great. He'd always play the right thing for the song and I particularly like his bass parts on 'Take The Long Way Home' and 'Child Of Vision'. What's more, because Bob played the bass drum very lightly, we had the bass guitar very, very loud in the mix."

Roger Hodgson's Wurlitzer, fed through a Roland Jazz Chorus on previous albums, was DI'd and the signal then split through a Boss chorus pedal to create a semi-straight, semi-modulated sound. "Roger's a naturally gifted musician — everything comes very easily to him — but he always employed a very heavy-handed style for the Wurlitzer," Henderson says. "John used to refer to him as 'Hammer hands'. He was also singing the entire track, miked with a U47, and we ended up keeping his vocal on the end section from the original track."

Not that this was sufficient excuse for John Helliwell to find himself with nowhere else to play sax but the loo. Still, he plunged on, so to speak, his instrument recorded with an STC 4038 ribbon mic in the bell and a U87 about two feet away. "Everyone was playing together on the track, and we couldn't have John's sax bleeding onto the drums," says Henderson. "As I've said, he made a song and dance about it, but in a nice way. The live sax solo from the backing track was fantastic, so we kept that except for one small punch-in and re-recorded the end section."

Crystal Balls

Thus, the decision was made to relocate to Crystal Studios, famous as the Hollywood facility where Stevie Wonder had recorded Songs In The Key Of Life, and now called Barefoot Studios. Back then, Crystal had two studios: the one in which Stevie had recorded and a small mix room that had just opened, housing a custom 56-channel console with no automation. It was here that the problems really kicked in.

"Having worked on the record for so long, everyone had different ideas as to what it should be," Henderson explains. "For some reason we weren't pressurised, although we should have been pressurised because it was a very tough time for A&M and this was kind of a pivotal album for them. Some band members wanted it to be a little bit more hi-fi and ultra-clean, while the others kind of liked the way it was sounding, which was a more full sound. As a result, we ended up going around in circles — when we tried to clean it up, it lost a little bit of the energy, and then we went through the process where we had the drums too loud. After that we had a big meeting, and then we started again. This was nearing the last week of February '79, and now we were up against a really, really tight deadline to get the album mastered by the 22nd.

"We were mixing half-inch but we were doing the mixes in sections. We'd mix a verse up to the chorus, and then, because we didn't have enough hands on deck, we'd mix the chorus, mix the next verse, and literally do the whole song like that. In the end, we mixed each song three or four times, and we were losing our objectivity as well as our patience. I mean, the stuff generally sounded pretty damned good as it was, but over the months we'd developed different ideas as to how the record should sound and now we were each trying to get back to that point. It was really confusing. What's more, there was a lot of concern over the effect this was having on the budget and whether or not somebody else would be brought in. No one could decide which was the final mix, and there was tremendous pressure on us during the last three days. In fact, on the final day we literally worked through the night remixing four songs and pretty much went straight to the mastering. It seems that when you're doing something by instinct, you can do it really quickly, whereas when you go into mix mode you quite obviously start thinking about things. Well, as time ran out and we got down to the wire, the instinct came back in a hurry and we just got on with it. Thank God it all kind of worked out."

He can say that again, and the A&M execs certainly did when Breakfast In America topped the US charts for a month and went on to sell 18 million copies worldwide. Thereafter, Supertramp would make one more studio album, 1982's ...Famous Last Words..., before mounting tensions between Rick Davies and Roger Hodgson would come to a head and Hodgson would depart to pursue a solo career. However, there was evidently no such animosity between the two men during the Breakfast sessions.

"They got along fantastically well and everyone was really happy," says Peter Henderson who, in addition to Supertramp, has since produced and/or engineered records by Paul McCartney, Rush and the Raindogs, among others, and has most recently been working on an updated version of Harry Smith's Anthology Of American Folk Music and Toontrack's Custom & Vintage virtual drum instrument with drummer Chris Witten. "There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M's response to them. The only contention I remember had to do with the first track, 'Gone Hollywood', which originally had different lyrics. Roger and the other guys in the band thought they were too downbeat and not very commercial, so they asked Rick to rewrite them and, although he wasn't too happy, he did go along with it."

PHOTO
Supertramp: left to right, Dougie Thompson, Roger Hodgson, 
John Helliwell, Rick Davies and Bob Siebenberg.

 classicsupertramp2lineup

 

A Moment Of Doubt

'The Logical Song' became one of the fastest-breaking singles in A&M's history, reaching number six on the Billboard singles chart, and Breakfast In America spawned other hits in the form of 'Goodbye Stranger' and 'Take The Long Way Home', turning out to be Supertramp's finest hour; critically, commercially and artistically.

"The success of that record was basically down to its great songs," Henderson comments. "I never tired of hearing them over the entire time, and I think the album has a very uplifting feel to it. To my mind, it still sounds fresh, the tracks have a real energy and a real vibrancy to them, and it doesn't sound dated. Despite the time we spent on it, [Breakfast In America] still sounds like a band album. At one point, there was a discussion as to whether or not we should use sound effects — because they'd used them on their previous albums — and real strings, but I personally preferred the intimacy of the band feel, and fortunately that's what we went for."

It was a wise decision. As for Peter Henderson, he scooped the Grammy for Best Engineered Album of 1979. However, when he accepted the award, it wasn't without a sense of irony.

"The album was mastered by Bernie Grundman at A&M," he recalls. "Russell and I arrived there having had virtually no sleep following the final mix, and when Bernie first listened to the tape there was a lot of chin-scratching going on, along with worried looks. Then, I remember we did a test pressing and it was taken up to a guy called Marv Bornstein who was in charge of quality control at the time. Again, there was all this shaking of heads and discussions between the two men. Bernie was saying 'You've put a lot of bass on here,' and I said 'Well, actually, that's the way we do it in England. We like a lot of bass on our records.'

"Still, the head-shaking continued along with the worried looks and negative comments. They were kind of intimating 'I'm not sure about this,' and by the time I left that mastering session I was convinced that the whole thing had been totally fucked up. It was literally a 'This is the end of my career' situation, and the next day I got on a plane and was out of there.

"Well, when I won the Grammy, I made my speech and said thank you to the members of the band, their management, Russell Pope and also to Bernie Grundman. Then I saw him afterwards and he said 'Thank you for mentioning me. I always knew, from the first time I heard that album, that it was going to win a Grammy.' I don't know if he remembered all the shaking of heads, but he was dead serious, and that was a sweet moment, I guess."

What a business.


Photo: Grammy's awards

 

Supertramp1979b

 

Producer and engineer Peter Henderson spent nine months recording an album that neither he nor the A&M label could afford to fail. Yet when he handed in the masters, Henderson was convinced that Supertramp's Breakfast In America would finish his career...
Richard Buskin
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press@breakfastinspain.com (Press Review - Press Article) Supertramp Press and Media Wed, 17 Nov 2010 18:57:03 +0000
Supertramp in Catalan TV - TV3 - Video - CATALAN http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/332-supertramp-in-catalan-tv-tv3-video-catalan http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/332-supertramp-in-catalan-tv-tv3-video-catalan

Vuit anys després de l'última actuació a Barcelona, Supertramp ha exhibit el seu repertori de clàssics al Palau Sant Jordi. La gira mundial commemora el 40è aniversari del primer disc que van gravar i no compta amb la presència de Roger Hodgson, intèrpret i compositor de bona part dels èxits de la banda.

LINK TO THE VIDEO  (0:41)

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web@breakfastinspain.com (Miguel Angel Candela MAC) Supertramp Press and Media Sun, 19 Sep 2010 17:12:58 +0000
Supertramp, viviendo de las rentas - Deia - SPANISH http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/325-supertramp-viviendo-de-las-rentas-deia-spanish http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/325-supertramp-viviendo-de-las-rentas-deia-spanish

img.logoDeia

Supertramp, viviendo de las rentas

El mítico supergrupo celebra sus 40 años de carrera con un concierto en el BEC en el que tocará todos sus grandes éxitos

ANDRÉS PORTERO - Viernes, 17 de Septiembre de 2010 - Actualizado a las 12:54h.


NO fueron los únicos. También Genesis abandonó los postulados del rock sinfónico de los 70 tras la deserción de Peter Gabriel y se pasó descaradamente al mundo del pop. Pero le fue todavía mejor, económicamente hablando, a Supertramp, la bicéfala banda que convirtió en un superventas mundial el disco Breakfast in America, que se reeditará con extras a principios de octubre. También sin uno de sus líderes, Roger Hodgson, desde hace décadas, el grupo se ha embarcado en una gira en la que conmemora el 40º aniversario de su carrera. El tour recala hoy en el Bizkaia Arena del BEC de Barakaldo, donde el grupo, con su fundador Rick Davies al frente, ofrecerá todos sus grandes éxitos a su veterano público. “Queremos recordar la historia de la banda sobre el escenario. No sólo sonarán las canciones más conocidas, sino también algunas de nuestras favoritas”, explica Davies.

Supertramp es el grupo más vendedor de aquel movimiento denominado rock sinfónico que copó la música popular en los 70 gracias a bandas como Emerson, Lake & Palmer, Genesis, Camel o Yes, entre otros. Eso sí, los millones de copias llegaron ya cuando el punk había lanzado un escupitajo contra aquel virtuosismo instrumental que, para muchos, se fue aburguesando hasta ir desfalleciendo y convertirse en tedio. ¿Solución? Supertramp se pasó descaradamente al mundo del pop.

No hace ni dos semanas que el grupo británico acaba de poner en marcha su (posiblemente) última gira europea, denominada 70-10 Tour, diseñada para celebrar los cuarenta años que se han cumplido desde la publicación de su primer disco homónimo, en 1970. Vale, y para llenar los bolsillos tirando de viejos éxitos, porque el grupo no edita material nuevo desde hace casi una década, en 2002, cuando sacó Slow motion. El tour comenzó el 2 de septiembre en Halle (Alemania) y tiene previsto recalar en 35 ciudades de Francia, Alemania, Austria, Suiza, España, Italia, Portugal, Bélgica, Holanda, Inglaterra e Irlanda antes de saltar a Estados Unidos. Hoy lo hace en el BEC de Barakaldo.

Rick Davies, cantante y teclista, es el único miembro fundador omnipresente de los Supertramp más recientes tras la deserción del otro líder, Roger Hodgson (cantante, pianista y guitarrista), que abandonó la formación en 1983. De hecho, en algunos círculos se especuló con la posibilidad de una posible reunión para esta gira, que no ha fructificado. “Hemos estado negociando durante quince meses para poder llevar a cabo la gira, pero al final las conversaciones quedaron en un punto muerto y Roger decidió no participar en el tour”, ha comentado Davies a la revista alemana Morgenmagazin. Hodgson, por su parte, baraja la posibilidad de demandar al grupo por tocar sus canciones y, dice, por no contar con él para esta reunión.

La gira estatal, que ha pasado ya por A Coruña, Madrid y Barcelona, concluye hoy en Bizkaia 8 años después de su concierto vasco anterior.

En esta ocasión, Davies vuelve a contar con dos miembros veteranos de la formación como John Anthony Helliwell (saxos y flautas) y Bob Siebenberg (batería). Completan la formación habituales en giras anteriores como Jesse Siebenberg (voces guitarras y percusión), Cliff Hugo (bajo), Carl Verheyen (guitarras) y Lee Thornburg (vientos). “Debo admitir que salir a la carretera a los 66 años es algo que me da un poco de miedo, pero que también resulta muy tentador. No tengo ni idea de cómo resultará la gira, pero todos los miembros de la banda hemos estado ensayando duro para ofrecer lo que se espera de nosotros”, ha explicado Davies.

Los éxitos... y más

El grupo recupera sus canciones más populares desde ‘Crime of the century’
LA gira, aunque se montó en homenaje a los 40 años de la edición de su debut homónimo, mostrará, a lo largo de unas dos horas y media de recital, casi todos los grandes éxitos del grupo.

No sonarán clásicos de su primer disco como la meliflua Words spoken, la sinfónica Try again, con sus largos 12 minutos y cambios de ritmo, la acústica Home againo Shadow song, que la mayoría de quienes acudan al BEC seguro que ni conocen.

Davies jugará a caballo ganador. Por algo la gira se denomina All the hits and more. Porque sonarán todos sus grandes éxitos desde el álbum Crime of the century, sin reparar en sus tres últimos discos, que pasaron desapercibidos para el mercado, ni siquiera en que al menos media docena de temas del repertorio los firmara en su día Hodgson. Son canciones como Gone Hollywood, Breakfast in America, Poor boy, Give a little bit, Rudy, It´s raining again, Take the long way home, Bloody well right, The logical song o Goodby stranger. Para los bises suelen dejar el trío ganador formado por School, Dreamer y Crime of the century.

“Nuestra intención es recordar toda la historia de la banda sobre el escenario, lo que significa que interpretaremos muchos de nuestros éxitos y utilizaremos una producción en directo similar a la de siempre, con muchas películas y una gran iluminación”, anuncia Rick Davies.

Reedición Esta semana se ha sabido que Universal tiene previsto para el 5 de octubre reeditar remasterizado Breakfast in America.

El que fuera su disco más vendido, superando la cifra de los 18 millones de copias, se acompañará de un segundo disco, Breakfast around the world, con grabaciones en directo inéditas registradas en diciembre de 1979 en Londres, París y Miami.]]>
web@breakfastinspain.com (Miguel Angel Candela MAC) Supertramp Press and Media Sat, 18 Sep 2010 11:50:41 +0000
Supertramp: This Could Be The Last Time - Classic Rock Article http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/312-supertramp-this-could-be-the-last-time-classic-rock-article http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/312-supertramp-this-could-be-the-last-time-classic-rock-article

Supertramp keyboardist/vocalist/co-founder Rick Davies says the band’s October 6 show at London’s O2 Arena might be their last ever UK appearance. Come inside for an exclusive interview with Davies – and get to hear his perspective on the ‘war’ with Supertramp’s other co-founder, Roger Hodgson. Hodgson tells Supertramp: “Don’t play my songs!”

How do you feel about touring at age 66?

Rick Davies: Well I have to say, it’s both scary and pleasant to think of going on the road at 66. I really don’t know quite what to expect but we’ve been training very hard, put it that way, to deliver the goods.

Tell us about the production, what people can expect to see on stage.

Rick Davies: Well, what we intend to deliver is tthe full gamut of Supertramp history. A lot of the most popular songs along with the production that we’re used to. We have to kind of start from scratch from the production but I think we’ve got it all down, we’ve got the lights, we’ve got the movies. You know, a real sort of show is what we’re trying to deliver and really to please the fans and please ourselves.

What songs will be in the set?

Rick Davies: Well, for most places the tour is called ‘All The Hits And More’. And that about sums it up. We’ve got most of the popular stuff that we’ve had through the years and then, of course, we’ve got some more sort of album type of songs. But we’re pulling out all the stops, put it that way.

Tell us about who is in the band.

Rick Davies: There’s actually a mix of new and familiar faces. Obviously we have Mr. John Helliwell, our MC and saxophonist extraordinaire. We have Mr. Bob Seibenberg playing drums. His son, Jesse, is gonna help us out, Jesse being the band historian who knows every single part that was ever put on a Supertramp record or in the show, whatever. And we have old-time favorite Lee Thornburg, who plays great trumpet and tuba and sings. And we also have a wonderful singer this time. For the first time we have a lady: his wife, Cassie, is gonna sing, who’s a wonderful singer. But she’s gonna be backing up this time. We have a new guy, Gabe Dixon, who is from Nashville and he’s a wonderful musician. He sings great, plays keyboards and he’s a great addition to the line-up. And, of course, we have Carl Verheyen, who tours Germany lots with his own band, and Cliff Hugo on bass. So we have a lot of old boys from Supertramp playing for you and they’re playing very well. I can vouch for that from the rehearsals.

Why is Roger Hodgson not a part of this tour?

Rick Davies: Roger left the band… I believe it was 27 years ago. I mean, that’s hard to believe. At the time nobody really understood exactly why. He claimed he wanted to, you know, do his own thing, find himself and play with other people. And as much as we tried, we couldn’t really stop him from going. So that’s what he did. The whole initial idea of the tour really was to get back together with Roger one more time. I mean, it’s conceivably the last time we go out. I’m not gonna say it is or it isn’t. But we had quite a few negotiations and talks about it. It lasted about 15 months of back and forth and it got to the point where really we had to, you know, let people know who wanted to run this tour what was gonna happen. Unfortunately, for reasons that we probably didn’t get to hear about from Roger, he declined to commit to the tour.

Have you ever thought about launching a solo career?

Rick Davies: Not consciously, no. I have a big affinity with the blues and I figure that one day sooner or later I’m gonna do something along those lines. I have quite a few arrangements and blues tunes floating around that I’d like to, to put out one of these days.

Did you have an agreement with Roger not to play any songs that he wrote?

Rick Davies: Well, I mean how far back are we going, 1983? All I know is that there was about 600 pages of documents and agreements to negotiate this thing. As far as I’m concerned, we’re playing Supertramp music. I mean, anything that was made at that time is Supertramp music to me.

Which albums are featured in the set?

Rick Davies: Well I think we pretty much go back to Crime Of The Century, which is  when Supertramp really kicked into gear. And so we go back that far and we work our way through many of the albums over the years, taking the, the most popular songs and some of our favourites, right up until fairly recently.

Is your show at the O2 in London a 40-year homecoming?

Rick Davies: I imagine when we play in London, there’s gonna be a lot of people that used to follow us many years ago and I’m sure that it’s gonna be a lot of nostalgia, you know, déjà vu, whatever. And we’re gonna be there, right there with them. It’s gonna be an emotional time because, you know, it could well be the last time, I don’t know for sure – but certainly on a tour of this size. Hopefully everybody’s not gonna cry too much –including ourselves.

Can you think of a really memorable career moment to share?

Rick Davies: Well I guess the biggest moment from a career standpoint would be the day we got to number one in America with Breakfast In America [1979]. We were in a crummy hotel in Ft. Worth, Texas. As we played those shows, you could actually see the record sales spike with every single show. It was quite amazing. And we actually go to number one when we were in Ft. Worth, staying at a… well I won’t say it, but the hotel was pretty funky.

What are you listening to these days?

Rick Davies: I just listened to an album by Dave Brubeck called Gone With The Wind, which was probably made in about 1959 or 1960 and it sounded absolutely great.

Do you keep up with current music?

Rick Davies: To be quite frank, I really don’t. I keep a very, very sort of sketchy eye on what’s going on.

Would you say that you’ve been semi-retired?

Rick Davies: Actually, I’ve been probably working as hard as I ever have. I’m still fascinated by music and I play a little bit with local people. Again, more on the blues line. I just take an interest in getting better [as a musician]. You can always improve.

Would you ever think of publishing your autobiography?

Rick Davies: I find it very difficult to think of sitting down and talking about myself for, you know, 600 pages of a book, to be honest, even though I do like to read them. I think it would be quite tough for me to do it. So I think the answer is probably no, I probably wouldn’t do it.

ROC150.cover_

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web@breakfastinspain.com (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 17 Sep 2010 12:44:45 +0000
El culebrón de Supertramp - SPANISH -El Pais Tentaciones http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/308-el-culebron-de-supertramp-spanish-el-pais-tentaciones http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/308-el-culebron-de-supertramp-spanish-el-pais-tentaciones

El culebrón de Supertramp

Roger Hodgson y Rick Davies, los cabecillas de la banda británica se distancian mientras actúan en España por separado

LINO PORTELA - Madrid - 29/07/2010

Si cada periodista o político donara un euro cada vez que ha (hemos) utilizado en un titular el nombre de su disco más conocido -Crisis? What Crisis?-, Supertramp superaría en fondos a Bill Gates. "No es mala idea", bromea al teléfono desde su casa de California (EEUU) Roger Hodgson , ex cantante y ex 50% del grupo británico. "Déjame que lo proponga..."

La historia de Supertramp , uno de los grandes grupos de los setenta, es una golosina. Un culebrón de principio a fin. En 1969 un empresario millonario holandés, Stanley August Miesegaes, alucinado con el talento musical del joven pianista Rick Davies, se convierte en su mecenas. Davies pone un anuncio en una revista musical británica al que responde Roger Hodgson y juntos forman lo que un año después, en 1970, se convertiría en Supertramp. Una fructífera mezcla de rock progresivo, pop, pelos largos y éxito comercial. Sus canciones The logical song, Dreamer, School o Breakfast in America se convierten en parte del subconsciente colectivo de varias generaciones, incluida la del presidente Zapatero, que ha reconocido a Supertramp como su grupo favorito. "Sí, lo sé, alguien me lo dijo", confirma Hodgson. "Se nota que vuestro presidente tiene, por lo menos, buen gusto musical".

Hodgson y Davies formaron un tándem perfecto. Un interesante contrapunto entre la sensibilidad y la voz aguda del primero con la armonía del segundo. Pero tras el éxito de los setenta, los años ochenta se presentaban cuesta arriba. Sobre todo para Roger que dejó el grupo. "Fue una aventura maravillosa. Aprendí mucho de la vida", recuerda. "Estoy muy orgulloso de Supertramp. Puse todo mi corazón y alma en aquello. Fue un viaje mágico. Pero llegó un momento en el que el cuerpo me pedía un descanso de la industria musical. Lo Necesitaba. Quería ser padre (tengo dos hijos). No fue fácil ni popular pero fue la decisión correcta". También fue una decisión que sentó mal a su compañero Rick, que siguió con el grupo mientras Hodgson se marchaba a vivir a una casa en el campo, en California, a poner en orden su relación "con la naturaleza y con Dios".

Hodgson dejó la música durante 20 años. "Casi no tocaba la guitarra. Fue un cambio total. Me convertí en un hombre de familia. Y lo que me gustaba era ver crecer a mis hijos y llenar mi casa de buena energía. Perdí la relación con Rick". ¿Y ahora? ¿Cómo es esa relación? "Nos comunicamos, pero no tenemos relación", responde Roger. "He intentado que volviésemos a girar juntos pero él no quiere. Me alegra que haya vuelto a la carretera pero no de la forma que lo ha hecho: utilizando el reclamo de mi voz y mis canciones para promocional su gira actual".

Aquí empieza realmente el culebrón. Roger Hodgson está haciendo una gira mundial donde canta muchos grandes éxitos de la banda, que en realidad eran sus composiciones como The logical song o Dreamer. Esta noche actúa en Madrid (Veranos de la Villa) y el 2 de agosto en Gerona. Al mismo tiempo Rick Davies sigue actuando con el nombre de Supertramp, y también estará en España: el 11 de septiembre en La Coruña; el 15, en Madrid; el 17, en Bilbao y el 18, en Barcelona.

"Cuando me fui del grupo llegamos a un acuerdo: Supertramp sería el vehículo de su música y yo iría en solitario", quiere dejar claro Roger. "Quedamos en que él no cantaría mis canciones. Fue un pacto entre caballeros. En aquel momento éramos amigos y confié en él. Ahora ha traicionado ese acuerdo y canta las canciones que yo compuse. Soy un hombre de naturaleza pacífica, pero Rick está equivocado. Supertramp es su banda ahora y debería utilizar sólo sus canciones, que son maravillosas, y no engañar a los fans con mis temas. Lo curioso más curioso es que a Rick nunca le gustaron mis canciones", añade con pacífica sorna Roger. "Y ahora las utiliza".

ElPaisLogo

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web@breakfastinspain.com (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 17 Sep 2010 09:37:57 +0000
SUPERTRAMP in the GRAMMY's Awards http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/238-supertramp-in-the-grammys-awards http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/238-supertramp-in-the-grammys-awards

Supertramp1979b

 

1. Best Selling International Album -- WINNER
1980 11th Juno Awards
Breakfast in America - Supertramp


2. Best Music Video - Short Form -- Nominee
1986 29th Grammy Awards
"Brother Where You Bound - Supertramp. Rene Daalder,
director"


3. Best Engineered Recording -- WINNER
1979 22nd Grammy Awards
Peter Henderson - Breakfast in America (Supertramp)


4. Best Engineered Recording -- Nominee
1974 17th Grammy Awards
"Ken Scott, John Jansen - Crime of the Century
(Supertramp)"


5. Album of the Year -- Nominee
1979 22nd Grammy Awards
Breakfast in America - Supertramp


6. Pop Vocal Group -- Nominee
1979 22nd Grammy Awards
Supertramp - Breakfast in America


7. Best Album Package -- WINNER
1979 22nd Grammy Awards
"Mike Doud, Mick Haggerty - Breakfast in America
(Supertramp)"


8. "Favorite Band, Duo or Group - Pop / Rock" -- Nominee
1979 7th American Music Awards
Supertramp

 

SUPERTRAMP_group SUPERTRAMP_piano

 

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mac@breakfastinspain.com (MAC) Supertramp Press and Media Thu, 09 Sep 2010 13:10:06 +0000
Restoration of PARIS tapes http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/235-restoration-of-paris-tapes http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/235-restoration-of-paris-tapes

September 2006

Supertramp co-producer Russel Pope recently visited Cups N' Strings Studios in Santa Monica, Calif. to supervise the delicate restoration of 24-track analog tapes recorded at the multi-Platinum band's renowned 1979 Paris concerts. The tapes were recently discovered in the Northern California barn of the band's drummer, Bob Siebenberg.

"The condition of these tapes was appalling," explains Pope, who co-produced the original project with Peter Henderson, the live engineer for the Paris concerts. "And the film footage has been sitting in the vaults since the day it was shot. Everything was stashed away and now it's all being re-assembled. I've worked with Bruce Maddocks on a number of restoration projects here at Cups 'N Strings and without his expertise we could have been in big trouble."

"The 2-inch analog tape masters were a bio-hazard," adds Cups 'N Strings owner/chief engineer Bruce Maddocks. "They were covered with cow dung. We cleaned them up as best we could before putting them in the convection oven for baking, which produced some very penetrating odors. Luckily, we were able to salvage all of the tapes and transfer them successfully to Pro Tools."

After transfer to digital, the tapes will be shipped to London where they will be mixed by Peter Henderson. The final editing and post-production will take place at director Peter Clifton's studios in New Zealand. Clifton is known for such concert films as Led Zeppelin's The Song Remains the Same.

"With today's technology, I think the final results will be even better sounding than the original double album," says Pope. "Everyone thinks we did all sorts of overdubs, but we did only two. There was a buzz on a synthesizer that we had to replace, and there was one harmony by the sax player, John Helliwell, that was redone. The rest was left as it was recorded originally."

For more information, visit www.cupsnstrings.com.


March 2011

From Roger Hodgson management to fans:

"In regards to the Paris DVD, Roger really doesn't like that fans keep getting promised this Paris DVD for all these years because there have been legal problems with the release of it.
We just found out that since December Rick and Sue Davies' attorneys have been in conflict with the band's attorneys on the release of the DVD and basically, bottom line, Rick & Sue Davies don't want it to be released and that is what has held it up all this time.
Roger, John, Bob and Dougie have wanted it to be released for years now, though it seems since Rick and Sue Davies trademarked the Supertramp name they can still do a lot of things that Roger and the rest of the band are not in agreement with."

paris_2_cover

 

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mac@breakfastinspain.com (MAC) Supertramp Press and Media Thu, 09 Sep 2010 12:26:16 +0000
Presentación de Some Things Never Change en Paris - SPANISH http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/106-presentacion-de-some-things-never-change-en-paris-spanish http://www.breakfastinspain.com/index.php/supertrtamp-press-media-releases/106-presentacion-de-some-things-never-change-en-paris-spanish Han pasado 10 años desde que publicaron su último trabajo - Mark Hart (de Crowded House) sustituye a Roger Hodgson - Su gira mundial les traerá a siete ciudades españolas

Las penúltimas palabras de Supertramp


El grupo presentó ayer en París su disco «Some things never change»

IÑAKI GIL
PARIS.- Supertramp vuelve. Diez años después, uno de los grupos punteros de los 70 ha vuelto a grabar. Y volverá a recorrer Europa en una gira que hará escala en siete ciudades españolas (La Coruña, Madrid, Murcia, Málaga, Zaragoza y Valencia). El disco, presentado ayer en París, se titula, simbólicamente, Algunas cosas nunca cambian (Some things never change). Bueno, algunas cosas sí han cambiado. En el mundo, en la música e incluso en Supertramp. Así que las preguntas pertinentes eran quiénes vuelven, con qué intenciones y por qué. La cuestión del millón de dólares es si Supertramp cosecha 97 suena como el Supertramp de Even in the quietest momments o Breakfast in America. Vamos por partes. Esta formación incluye tres veteranos: Rick Davies (compositor, cantante y teclista), John Helliwell (viento) y Bob Siebenberg (batería). A ellos se han sumado el percusionista Tom Walsh (antes con Joe Cocker), el bajo Cliff Hugo (oficialmente con Ray Charles), el guitarrista Carl Verheyen y Lee R. Thornberg (trompeta, voces, teclados y trombón que estuvo con Rod Steward y Tower of power). Mención aparte para Mark Hart, que forma parte de Crowded House y que además de tocar guitarra y teclados aporta su voz. No está obviamente Roger Hodgson que formó con Rick Davies el alma del Supertramp de las grandes horas. La ruptura del dúo que firmó todas las canciones importantes de la banda parecía haber reducido al silencio a Supertramp. Hacer olvidar esta ausencia es el mayor reto de esta reaparición.

RESPUESTAS.- Su sombra planeó ayer en la presentación parisina. Davies no quiso responder a preguntas sobre él. Helliwell mencionó el nuevo trabajo de éste y se esforzó en dar sensación de que la herida está cerrada. Hay quien ha visto en la letra de la canción que da título al álbum una clara alusión al ausente, discípulo de la Iglesia de la Cienciología: «Puedes escuchar esas cintas lavacerebros, abrazar la fe judía, católica o budista pero estoy seguro de que será en vano porque tú sabes que algunas cosas nunca cambian». Davies no dio muchos detalles sobre esta espera de 10 años: «Nos lo tomamos con calma», dijo. Pero reconoció que todo lo que compuso en su soledad le sonaba a Supertramp. Y puesto a hacer algo que «sonaba a Supertramp» porqué no hacerlo con el grupo cuyo nombre es propiedad suya. Además la marca Supertramp vende. Hasta el punto que la nueva grabación -cuya venta comienza el 24 de marzo- es ya disco de oro en Francia. Gracias a las preventas ya confirmadas, 100.000 ejemplares. Eso dio para adornar la presentación con la correspondiente entrega de trofeos.

 

NEGOCIO.- Supertramp vuelve rentabilizando su nombre, su imagen y su público y buscando abrir hueco entre los que tomaban biberón durante su pasado esplendor. De ahí una conversación en Internet ayer mismo, aunque Davies y Helliwell reconocieran que no han usado nunca en su vida un ordenador. La imagen de la portada del disco entronca también con la estética clásica del grupo. Una pareja de abueletes toma el té en la Luna. Davies dijo con toda la razón que ilustra bien el título del álbum porque si algo no cambiará nunca es la costumbre de los (viejos) ingleses de tomar el té a las cinco donde quiera que estén. El grupo exhibió en su presentación a Bogie un perro canela que Davies paseó hasta que los flashes le parecieron demasiado (al perro). El chucho sale también en las imágenes lunares ladrando a la Tierra que se dibuja en el cielo. Pero quizá quien mejor ha descrito las intenciones del grupo haya sido el productor Jack Douglas, que trabajó antes para John Lennon y Aerosmith: «Es un trabajo muy honesto y muy "supertramp"». Cada uno podrá hacerse su propia idea desde la salida del primer single -You win, I lose (Tú ganas, yo pierdo)- que las radios programarán, sin duda, con entusiasmo. Dicen que los viejos rockeros nunca mueren. Pero envejecen. Ayer John Helliwell reconoció 52 tacos. Rick Davies admitió a regañadientes «seis meses más».

Reencuentros distintos

SILVIA GRIJALBA MADRID.- Hay muchas incógnitas sobre el regreso de Supertramp, pero lo que casi todo el mundo se pregunta, lo que a la mayoría le importa de verdad es si Some things never change hace de verdad honor a su nombre. Si el disco mantiene inalterable el sonido que hizo popular a los autores de Even in the quietest moments o si el cambio de formación (con el ex Crowded House Mark Hart sustituyendo a Roger Hodgson) habrá supuesto una revolución musical dentro de la banda. La experiencia de otros grupos, que han decidido seguir la corriente tan de moda últimamente de recomponer bandas triunfadoras durante los años 70, demuestra que la tendencia general consiste en perpetuar los sonidos que les han llevado al éxito. El intento más descarado ha sido el de los Sex Pistols, pero no todo el mundo tiene agallas como para confesar que se reunen para ganar dinero, sin ofrecer un tema nuevo. Los supervivientes de grupos inscritos en lo sinfónico, como Yes, King Crimson o, en España, Triana, sí tienen el detalle de componer nuevos temas y, a pesar de estar avalados por un nombre que consiguió batir records de ventas hace 20 años y que muchos dudan que les corresponda mantener, asumen un cierto riesgo lanzando discos que, como ocurrió con el disco anterior de Supertramp, Free as a bird, pueden ser un fracaso o, como pasó en su momento con Aerosmith, suponer el renacimiento al éxito.]]>
web@breakfastinspain.com (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 13 Aug 2010 10:23:02 +0000