2011 TOUR - SUPERTRAMP Victoria, May 31

The show was sold out 6000 people. They started at 8:13 & played 2 hours. Caution - My review is mixed....

It was an intersting start... They opened with You Started Laughing. It felt so slow, like extra slow, like Rick was playing to an old folks home slow.It was still good, though, just not a high energy start at all! The sound was crisp, but the lights in the first half of the show were blue, pink & fairly dim. 

SET LIST
You Started Laughing
Gone Hollywood
-Jessie on electric guitar and really seemed in his element.
Put on your old Brown Shoes - crowd into it - clapping along. Jessie on acoustic guitar.
Aint Nobody But Me
John didnt talk until here. He forgot where he was, as he said it is great to be back in & he paused... Western Canada....
Breakfast in America - Jessie on Grand Piano - very good!
Cannonball - Jessie on percussion showing off by twirling his drum sticks. :o) The horns were AWESOME, but the lighting was so dim!! The lights should have been way brighter!!
Poor Boy - Carl almost forgot his back up vocals here - so funny! He was laughing away! :o) The crowd was singing along, it was very good, but a very slow tempo... that Old Folks Home tempo again.
From Now On - I noticed that Rick wasnt wearing a wedding ring, however, I did see Sue standing to the side of stage. :o) John spoke again & mentioned Victoria. :o)
Give a litte bit- just Jessie on guitar until the drums & all kicked in. The floor section was on their feet.
Downstream
Rudy
- Lots of lighters being lit - cool that is still done! However, maybe those lighters were being used for something else, as the smell of BC Bud was very strong during this song! Gabe did Rogers part & his voice is super high - he was very good.
Its Raining Again - Gabe sang & he only uses one hand when he plays keyboards. :o)
Another man's woman - The umbrella man was young, wearing light blue shorts and holding a Canadian beer & reading our local paper with the headlines Its a Beautiful Day... I think that was in reference to our hockey team going to the playoffs! :o) Jessie was awesome on the snare drum & as always Ricks piano solo rocked, although not as in depth as the last tour. On the last tour, I think the solo was longer, and he stood up & played last time for part of it. Hey, he is 66, so it was still amazing!!!!!!!!!!!!!!!!!!!!!!!
Take the long Way Home - Gabe sang. Audience was singing along.
Bloody well right - awesome energy - 6000 people singing, wicked trumpet solo by Lee & killer sax solo by John. He is so fricking good, eh! This song also brought out more lighters & more wafting smells of BC Bud. :o)
The Logical song - Jessie sang & he smiled after he hit Rogers high notes - he looked relieved. :o)
Goodbye Stranger - crowd singing & clapping. The lights were way better about half way through the show! They got brighter. I saw Sue backstage smiling during this song.
They got a standing ovation - the crowd was amazing.

ENCORE
School - Jessie on electric guitar & Jessie & Carl were awesome with the double guitar solo!!!!!!!!!!!!!!!!!!!!! Lee was on grand piano.
Dreamer - they started singing softly, Come on and dream, dream along for a few bars... a different opening... Gessie & Gabe sang this together- very good harmonies.
Crime of the century - what can I say. AMAZING!!!!!!!!!!!!!Jessie & Carl on guitar rocked this! John on sax was just stellar. WOW! At the end, Rick, Jessie, Lee & Gabe were all on piano & keys doing the ending.... super powerful.

It is cool that the crowd knows it is the end after this song.
So, overall, the 1st half of the show was lower energy, slow & dim lights. The last half was way better - energy, brighter lights, faster tempos.

There was a point where it sounded like an amp blew. God help the person who heard that in his ear piece. It was LOUD!

In all honesty, I didnt feel Cassie was a great addition. They could do without her. ( Sorry, Lee!) She is good, but how many back up vocals does a band need..... she doesnt play any instruments... she just looks pretty. :o)

Gabe was very good, but Jessie could have handled all of Rogers songs.

I left with mixed emotions. I am glad that I went, but I am one of those Roger people, where it is really hard for me to see other people do his tunes.

There were some parts of the show that were 10 out of 10 -BWR, AMW, and some that were a 3 for me ( You started Laughing & the tempos of some other songs as mentioned)

I still would recommend the show, I think I am just a hard critic! :o)

Rogers songs did receive the most audience appeal.

Cheers & I look forward to hearing other Canadian reviews!
Lorna :o)!!

 

2011 TOUR - SUPERTRAMP Victoria, Press Review, May 31

THE VICTORIA TIMES COLONIST

Supertramp gives it everything they've got
  
By Mike Devlin, timescolonist.com May 31, 2011


What: Supertramp

Where: Save-on-Foods Memorial Centre

When: Tuesday

Rating: Four stars (out of five)


Back in March, Rick Davies played his 1,000th show with Supertramp since 1970.

One. Thousand. Shows. That's a lot of performances, for which a tremendous amount of inspiration must have been summoned by Davies, night in, night out, for decades on end.

To his credit, a sense of routine didn't befall the singer-keyboardist on Tuesday night, the first of 12 dates in Canada for the group. Though a man of almost no between-song words, Supertramp's leader ran the show with a quiet confidence and exemplary support from a crack seven-piece band.

This gig was a long time coming, to say the least. Supertramp last played Victoria in 1977, during the tour to support Even in the Quietest Moments. Much has happened in the years since, including the departure of Roger Hodgson, who was a key member in the eyes of many.

Not only did Hodgson co-write with Davies the bulk of the band's material, he fronted the biggest of Supertramp's hits: The Logical Song, Breakfast in America, Take the Long Way Home, Give a Little Bit, and It's Raining Again.

His presence is missed, and made worse by the fact that he and Davies can't come to terms on a reunion. That said, times change. Though he was was a key cog in the classic era of Supertramp, he isn't integral to the modern-day version. Sure, it would be nice to have him there. But it isn't essential.

The audience of 6,000 clearly appreciated the effort put forth by Davies and Supertramp, which includes two players (multi-instrumentalist John Helliwell and drummer Bob Siebenberg) who have been there since 1973. The production was slight (points for recreating the cover of Crisis? What Crisis?, with a guy on stage in a lawn chair, under a beach umbrella, reading a copy of the Times Colonist) but fans didn't wait 34 years to trip on the laser light show.

They came for Supertramp.

The most purely musical moments were the deep album cuts favoured by Davies, jam-band journeys that were thrilling to behold if you were a diehard fan. The band locked into a groove on Put On Your Old Brown Shoes, a lesser-known song that was well worth unearthing. With a slight southern touch, Davies — a 66 year-old Brit — managed to sound like southern gent Leon Russell, both in voice and on the piano.

However, the biggest bangs, for the most part, came via Supertramp's hits. Davies rocked hard during Bloody Well Right, even though his voice lacked a little power at the lower register, and turned moody but effective on Rudy. His verses on Goodbye Stranger were solid, as was his epic performance on Crime of the Century.

Hodgson's cuts were a mixed bag. They were handled best by Jesse Siebenberg, whose vocals on Give a Little Bit, School and Breakfast in America were spot on. His run-through of The Logical Song, it should be said, caused a few cringes, as did the consistently flat interpretations by Gabe Dixon, who bungled It's Raining Again, Dreamer, and Take the Long Way Home.

By the show's end, when it was all said and done, fans left knowing the band gave everything they had. Supertramp made sure it was as close to the real thing as possible.

Sometimes two hours of close is perfectly fair enough.


Source:
http://www.timescolonist.com/Supertramp+gives+everything+they/4871077/story.html

2011 Supertramp 70-10 Tour

Supertramp7010

 

SUPERTRAMP ANNOUNCES SPRING AND SUMMER 2011 TOUR DATES
 

Supertramp has announced the continuation of their acclaimed 70-10 TOUR, which celebrates forty-plus years since the release of their first album, “Supertramp”, in 1970.
The next leg of the tour will begin on May 31, 2011 in Victoria, Canada and will include stops in twelve Canadian cities including Vancouver, Calgary, Toronto, Montreal, and Quebec City. In July, Supertramp will return to France visiting, Rouen, Strasbourg and more.
The band will also perform a couple of nights at the legendary Monte Carlo Sporting Club.

 

Read more

Breakfast in America

BREAKFAST IN AMERICA - 1979 - A&M

Release Date: 29 March 1979
Recording Date: December 1978 at The Village Recorder/Studio B, Los Angeles, California
Label: A&M        Time: 46:12
Producer Peter Henderson, Supertramp
 
 
 
breakfastcover   breakfastbackcover
 
  
The most sucesful Supertramp album.
El album más vendido de Supertramp
 

The album cover design was completed by including a photo of the band on the back. For the location they chose Bert’s Mad House on La Brea Avenue in LA, located literally just across the street from the studios (sadly it’s now gone, rumoured to have been turned into a parking lot). Look carefully and all the musicians are reading a newspaper from their own home towns. John’s Manchester Evening News represents his nearest city to Todmorden.

Studio B only had one recording booth (Studio A was occupied by Steely Dan) and as the backing for tracks such as The Logical song were recorded live, John was dispatched to the toilet to play his solos. Engineer Pete Henderson bemusedly recalled, “He used to complain about it a lot, but I think he was actually quite happy being in there."
He was allowed out to contribute backing vocals to some of the tracks and is even the “heavy breather” heard exhaling at the start of every bar in the introduction to “The Logical Song”.


El diseño de la portada del álbum se completó mediante la inclusión de una foto de la banda en la parte posterior. Para la ubicación eligieron el bar Bert Mad House en La Brea Avenue en Los Ángeles, ubicado literalmente al otro lado de la calle frente a los estudios (por desgracia, ya no existe, se rumorea que se han convertido en un estacionamiento). Fijaros cuidadosamente y observaréis que todos los músicos están leyendo un periódico de sus propios lugares de origen. El Manchester Evening News de John representa a su ciudad más cercana a Todmorden.

El Estudio B sólo tenía una cabina de grabación (el estudio A estaba ocupado por Steely Dan) y como las pistas para la canciones como The Logical Song fueron registradas en vivo, John fue enviado al lavabo para interpretar sus solos. El ingeniero Pete Henderson recordó irónicamente, "Él se quejaba mucho de ello, pero creo que era en realidad se lo pasaba bien  allí." 
John también pudo contribuir en los coros de algunas de las pistas y es suya incluso la "intensa exhalación" que se escucha al comienzo de cada compás en la introducción de "The Logical Song".

 
To know more about this album, see this INTERVIEW
Para saber más sobre el album, mira esta ENTREVISTA
 
 
To know more about the recording, see this deep ARTICLE
 
 
 
Side ONE
"Gone Hollywood" – 5:20
"The Logical Song" – 4:10
"Goodbye Stranger" – 5:50
"Breakfast in America" – 2:38
"Oh Darling" – 3:58
 
 
 
Side TWO
"Take the Long Way Home" – 5:08
"Lord Is It Mine" – 4:09
"Just Another Nervous Wreck" – 4:26
"Casual Conversations" – 2:58
"Child of Vision" – 7:25
 
 
 

Even in the quietest moments

EVEN IN THE QUIETEST MOMENTS - 1977 - A&M

Release Date: April 1977
Recording Date: November 1976 - January 1977 at Caribou Ranch, Nederland, CO and Record Plant Studios, Los Angeles   Label: A&M     Time: 43:24

EvenCoverSmall

The album was recorded mainly at Caribou Ranch Studios in Colorado with overdubs, vocals and mixing completed at The Record Plant in Los Angeles.
Even in the Quietest Moments became Supertramp's first Gold (500,000 copies or more) selling album in the US thanks to "Give a Little Bit". (still on tha radios few decades later)

The great cover photo: a real grand piano was placed on a mountain top near Caribou Ranch Studios, covered with snow and photographed. The sheet music on the piano, though titled "Fool's Overture", actually plays the "Star-Spangled Banner". What an ironical joke....pure Supertramp :-)

Friends of the band in L.A. were invited to provide the background vocals on “From Now On” but the normally mild mannered perfectionist lost the plot a little when the assembled group persistently sang out of tune. In exasperation John’s alleged to have yelled “Why can’t these bastards sing in tune?”

This album is unique in the Supertramp discography as none of the songs feature the band's trademark Wurlitzer electric piano. However, a Fender Rhodes piano, was used during a short section of "From Now On".

To know more about this album, read this INTERVIEW

El album fué grabado en los estudios Caribou Ranch en Colorado, y completado con algunas voces y mezclado en Record Plant en Los Angeles.
Even in the Quietest Moments fué el primer Disco de oro de Supertramp (500,000 copias o mas) en USA gracias al super-éxito "Give a Little Bit". (todavía sonando en las radios décadas después)

La genial foto de la portada: un auténtico piano de cola fué puesto en lo alto de una montaña cerca de los estudios, y esperaron a que una nevada lo cubriera con un manto de nieve para hacerle la foto, sin trucos !. La partitura sobre el piano, con el titulo "Fool's Overture", en realidad es el himno americano "Barras y estrellas". Ironía total al puro estilo Supertramp :-)

Durante las mezclas en Los Angeles se invitó a varios amigos de la banda para proporcionar los coros en "From Now On", pero tras diversos intentos y mientras el grupo reunido cantaba persistentemente fuera de tono, el normalmente educado y perfeccionista John, exasperado, llegó a gritar "¿Por qué no pueden estos memos cantar en el tono?"

El album fué el primero de su discografía que no contenía el  piano eléctrico Wurlitzer (marca de la casa) en ninguna canción, pero si que fué usado un piano eléctrico Fender Rhodesen una corta sección de "From Now On".

Side ONE
"Give a Little Bit"
"Lover Boy"
"Even in the Quietest Moments"
"Downstream"

Side TWO
"Babaji"
"From Now On"
"Fool's Overture"

 

Crisis ? What Crisis ?

CRISIS ? WHAT CRISIS ? - 1975 - A&M

Release Date: November 1975
Recording Date: summer through autumn 1975
A&M Studios, Los Angeles, CA Label: A&M     Time: 47:24

Producer Ken Scott, Supertramp

CrisisCoverSmall

The album was Supertramp's first album to be recorded in America in Los Angeles. Initial title for the album was "Second offence". Funny tittle after first hit "Crime ...". But during the oil-crisis at that time the final title was even better !

For many fans, and for Roger Hodgson too, this album is voted as their favourite. The song "You started laughing" was not included in the album, due to lack of phisical space withot affecting the quality of sound, but was released as B-side of "Lady" single.

Fué el primer album grabado en América, concretamente en los estudios A&M de Los Angels. El titulo inicial para el album era "Second offence". ("Segundo delito"), gracioso titulo tras el primer "Crimen..." que les llevó a la fama, pero es que en plena Crisis del pertróleo el título definitivo fué incluso mejor !

Para gran cantidad de fans, y para el propio Roger Hodgson también, es el album favorito. El tema "You started laughing" no pudo ser incluído en el album por falta de espacio físico sin perjudicar la calidad del disco (el surco del vinilo hubiera sido más estrecho), pero se publicó en la cara B del single "Lady".


Side ONE

"Easy Does It"
"Sister Moonshine"
"Ain't Nobody But Me"
"A Soapbox Opera"
"Another Man's Woman"

Side TWO
"Lady"
"Poor Boy"
"Just a Normal Day'"
"The Meaning"
"Two of Us"

 

JOHN HELLIWELL in Excalibur, July 2010

JOHN HELLIWELL from SUPERTRAMP to EXCALIBUR

Exclusive Interview
By Elise Valère and Michèle Laurent
Excalibur Trilogy Journal

Excaliburtrilogy01

Photo: John Helliwell and Alan Simon got together in studio to record Excalibur III The Origins, the last part of the french composer's trilogy.


CAMOGLI, July 18th - That day we were going on a date with the "Super-tramp", gentleman and saxophonist, Sir John Anthony Helliwell himself. Our journey, the day before had, taken us after eleven hours of a long trip to a big stone house, not far from Portofino, in Sesta Godano, behind the hills of Liguria. The powerful notes of a saxophone welcomed us and as we entered the studio, we could see on a screen an elegant silhouette inclined on its instrument. Although the tiredness and the oppressive warmth, John Helliwell was working hard at about ten tunes from the last part of Alan Simon's folk rock saga. "Excalibur III The Origins" was in progress and we had the privilege to attend recording of the precious contribution of John. Alan and sound engineer Marco Canepa stayed inclined on the console, attentive and respectful in front of the performance of the famous saxophone of Supertramp. What we had the privilege to hear sounded like an eager invitation to discover very soon the last chapter of that musical trilogy. With a broad grin, John and Alan enjoyed staying together again and we could hear it!! Appointment was made and it was with pleasure and early in the morning that we met John Helliwell which gladly accepted to answer our questions.

 

Q: After forty years of career, you have done, lived and heard so many things, what is your opinion about the actual musical world?

John Helliwell: Today it’s very diverse because of all the new technologies, the internet… Recording is very easy. When I was younger, if you wanted to record you had to go to a studio and record. Everything is more fixed and more diverse now; but it’s nice for me because I’m at an age now where I’m kind of some retired and just do projects which I like. So I enjoy it and enjoy this musical world, it’s very very open.

Q: You have a very particular sound with your saxophone, which have been your models?

J.H.: When I first started, I started on clarinet and my model was one particularly English man who played it called Monty Sunshine; I heard him play this tune by Sidney Bechet called “Petite fleur” and I was very entranced by this. It made me think: “Oh I would love to play the clarinet”. So it interested me enough. I saved my money for two years and I bought a clarinet, which cost fifteen pounds when I was thirteen. And then later I heard some saxophone players, most notably Cannonball Adderly, Sonny Rollins and Charlie Parker, John Coltrane and I thought maybe I would like to learn the saxophone as well; so, I was fifteen, I manage to buy my first saxophone. So those were my inspirations, and the main inspiration then and now really is jazz because for saxophonists jazz is obviously very big.

Q : What kind of jazz?

J.H.: Well the jazz I gravitated to was modern jazz – but modern jazz then, which was in the late fifties, early sixties – that’s remained my period but I really like this soul sixties jazz, acoustic, normal. But I do like fusion when using electric instruments, so I really like one of the first big or successful fusion bands with jazz and rock that was Weather Report, which I really liked too. I am a very opened person when one comes to music in general: I listen to all the guitarists, to jazz, to classical… all sorts… what I don’t listen too much is today’s pop music! Because there’s so much music, you know, I can’t listen to everything!

Q: What do you think about the actual musical industry? Have the things changed or evolved?

J.H.: Yes, I think it’s much harder to be successful as a group now; when for example Supertramp was trying to promote themselves and make good music we had a lot of really good backing from the record company which then was A&M records, and they promoted us and they helped us financially as well and to nurture the talent over a long period whereas nowadays the record companies are more interested in short returns and so there’s not a much of nurturing and it’s hard for someone to make a mark.  Although it is easy to someone to make music, a track, an album in his own home, put it out on the internet, it’s easier to disseminate but it’s not easy to have a big push with a good company.

Q: Is the definition of the word « artist » still the same?

J.H.: To me, yes! You pursue your “métier”, your area where you’re a painter, a writer, a musician; It’s very important then you take the work you’ve got and you try to better at it and some people are successful some not but it doesn’t necessary mean that there’s not good, they just do something which is not popular, people don’t like it, I mean a lot of painters, for example, never sold any paintings in their lives and then millions and millions, Van Gogh for example. He was not recognized but he must have a passion to do what he wants and you talked about my sound but I’m trying to get better all the time. I know I’m lazy sometime but I try to get my sound better, I try to play better. And now I’m trying to get my sound better and countering it against the effects of getting older and older so perhaps sometime my sound is any better but maybe it is time to retire, who knows? 

Excaliburtrilogy02

Q: What's your feeling about the public and its relation to live music today?   Do you feel that?

J.H.: When I’m in a situation where I’m performing in front of people where there is, with Supertramp or in the past with all the groups or where there are the same old ones or my small jazz group, every audience is different in a different size, they are fifty or thousand, I really enjoy the rapport with the audience. And I think the audience – artist relationship is the same, it has always been the same in my career. I think it is important to have some little connection with the audience and not to be too back from them. I believe in talking to the audience, not talking down to the audience but talking to relax them and relax you and get a good feeling. But there are some artists who don’t talk, Bob Dylan; I don’t think Bob Dylan talks to the audience. I think it would be difficult to me; I like to talk to the audience. And I think it’s important and I also think it’s important for the artists to look good too.  Whatever genre yours is, if you are a punk, look like a punk and feel smart… but I think when an audience see this artist first come onto the stage, they’ll look and will say “oh yes, they must be good” before they’ve played. If they look right… image is important but I think it must be honest.

Q: People see and hear so many things, with internet and the new technologies, they have so much choice; do you think it’s difficult for the artists to make a choice for their live performances?

J.H.: It is but the public go physically to your concert, obviously they are prepared, they want to be entertained for, we think, two hours is proudly enough, not five hours or half an hour but two hours it’s a good time for someone to sit and listen. And I think that relationship is important and obviously only people don’t cheat on stage with tapes, machines, they have to play, and they have to be able to play.

Q: How did you meet Alan and how have you been involved in the project Excalibur?

J.H.: My first communication with Alan was when Alan was with Roger Hodgson and he telephoned me to ask me if I could play on Roger Hodgson’s album, “Open the door”. And I said: “No” [laugh] And Alan said: “Oh John! You must play!” And I said: “Oh I’m sorry I’m in another country, I don’t have time”… or whatever… But later, I think, Alan called me, ‘cause he likes my playing, for his Gaia project. That was very nice, very interesting. One big concert we did was in Cannes with Billy Preston and a lot of different people, I think this is quite interesting and exciting to get all those different people, different genres and blend, sort this is an orchestra, a rock drummer, a jazz violinist… it was really good, I was really happy to be part of it. There was an interesting spectacle of me, white, saxophone player in a black suit, a dark suit, standing next to Manu Dibango, a black man in a white outfit and a white saxophone, there was me and him, he is tall and I’m not too tall and I found that was very funny…. So I enjoy working with Alan… then we did some concerts with Gaia, we did a good season in Zürich, Art on Ice, I think there were 7 concerts and then Excalibur II and now Excalibur III but the Excalibur Tour we did earlier this year was very nice. I like touring and I like the company of all the different people; we were on a bus together and travel together: it was a great experience! In the cold…!! [Editor's note: Germany, January 2010, temperature about -15°C]

Q: So Excalibur is the actuality. There will be a tour…

J.H.: There is a tour starting in January 2011 of course and I should be there in January. I may have some other commitments to do more concerts in the spring but I think I’ll be there later in the year 2011 as well so I should do it if I can.

Q: It’s an opportunity to stay with so many musicians of different style. You seem to be very comfortable with all the kind of music: progressive rock with Supertramp, jazz with Crème Anglaise and Celtic folk rock with Excalibur: how could you explain this fact to be so open minded?

J.H.: I like the diversity, now… maybe twenty years ago I didn’t have time to do all the different projects; now I have time, now I can do. I have the jazz, I play with my own group Crème Anglaise and I play with the Saxophone Orchestra and I play with Alan sometimes, I have played with Alan Parsons, just other projects… Chris de Burgh… just things I like and the people I like, some people that I know, it’s nice to go on visit them, it’s just a quiet life…

Q: And what’s the actuality of your group Crème Anglaise?

J.H.: Well, it’s a jazz group, it’s more difficult to get concerts; we play occasionally in England, we have played France, we’ve played Giverny, a little festival in Giverny, we played it twice and we played in Geneva; so we just do it occasionally. We have a CD as well which is called “Crème Anglaise”.

Q: And there will be a Supertramp’s tour…

J.H.: Oh, yes, for the first time since 2002, Supertramp will be touring again this year, 2010, all September-October, all over Europe : France, Germany, Spain, Italy, Holland, Belgium, England, Ireland… just only one date in England… but we are very happy to do it because it will be eight years since the last tour, we don’t tour very often.

Q: It’s a kind of celebration…

J.H.: Yes I thought it might have been over, because Ric Davies, who is the founder, has the name, so it’s really up to Ric to decide if he wants to tour. So I thought he retired but few months ago he called and said “Let’s do it!” [Laugh]

The Supertramp one is a quite big commitment of time, you know, but it’s truly enjoyable. I love playing. We come back to play for our favorite people: Europeans. [Laugh]

Q: Talking again about the past, what’s your best memory?

J.H.: There’s been some good memory… maybe of concerts, rather than recording, because there’s a good empathy, you know… big concerts like the Park of Sceaux in Paris in 1983, where it rained and everybody was covered and we played “It’s raining again” and just place friends crazy… that was a good one…Oh ! Just concerts … we did a very big concert, I think just because it was so big, it was the best concert we’ve done, in Sao Paulo, in Brazil. In a big stadium, 135 000 people, that’s a lot of people! But then we played in Paris too, 6 people! In a place I think called Bataclan… [Laugh]…way back in the 70’s [laugh] it’s always interesting.

Q: And maybe, to finish, your worst memory about those 40 years of music…?

J.H.: Yeah, I know what it was: I was playing in London in 1972, I think… I was playing in a club. It was a club where men went to drink champagne... And there was a band, a trio - piano, drums and saxophone only used to play; we had to play all the time from 9 p.m. to 3 a.m. and sometimes strippers would come and go behind the band and get changed and when they were ready to come out they would knock on the wall behind, we had to stop the tune we were playing and play another tune. That was quite interesting, that was ok but… one New Year’s eve… the pianist could not come but he said would come another pianist and he called this man for one gig but he came and he could only play in the key of C which is very restricting and he could only play boogie woogie piano what is only one style so we had to do 6 hours of music on New Year’s eve in C and in boogie woogie and it was really horrible. It’s the worst music that I have ever had to do. So I was really thankful when 3 o’clock came that night in the New Year [laugh]

 

SUPERTRAMP: Did you know ? - ¿ Sabías qué ?

Photo: David Gilmour and Supertramp in 1985, during the recording of "Brother were you bound"
 
Gilmour Supertramp
 
 
 
Rick Davies and Roger Hodgson have played with Chick Churchill
in 1973 when they already were in Supertramp, for the album "You & Me", Roger on bass and guitar on 4 tracks. And Rick Davies on drums.
Rick Davies y Roger Hodgson han tocado con Chick Churchil
en 1973, estando en Supertramp, tocaron en el album "You & Me", Roger al bajo ya la guitarra en 4 temas. Y Rick Davies a la batería
.

 

David Gilmour (Pink Floyd) has collaborated with Supertramp
in 1985 for the album "Brother were you bound", David performed a guitar solo in the title-song
David Gilmour (Pink Floyd) ha colaborado con Supertramp
en 1985 en el album "Brother were you bound", interpretando un solo de guitarra en la canción del mismo nombre


John Helliwell has collaborated with Pink Floyd
in 1987, album "A Momentary Lapse Of Reason", playing saxophone. As a return-favour for the previous Gilmour collaboration.
John Helliwell colaboró con Pink Floyd
en 1987, album "A Momentary Lapse Of Reason", con su sonido inconfundible de saxofon
. Como una especie de devolver el favor de la colaboración previa de Gilmour
 
 
Roger, Rick and John performed couple songs, years after the split
in a special event for Jerry Moss, co-funder of A&M Records, in the Beverly Hills Hilton, in 1993. (Logical song and Goodbye stranger, together with Jeff Daniel) After that Rick and Roger started a short-term musical work together, recording demos of "You win I lose" and "And the light", but they finally parted company again. Both songs were included years later in Supertramp albums, but without Roger.
Roger, Rick y John tocaron juntos tras la separación
un par de canciones durante un evento especial para Jerry Moss, co-fundador de A&M Records, en el Beverly Hills Hilton en 1993. (Logical song y Goodbye stranger, con la ayuda de Jeff Daniel ) Y tras eso Rick y Roger comenzaron una tímida colaboración en la que se llegaron a grabar demos de "You win I lose" y "And the light", pero que finamente no llegó a buen puerto. Ambos temas fueron incluidos años más tarde en dos discos de Supertramp, pero sin la voz de Roger

 

John Helliwell has collaborated with Excalibur project by Alan Simon
Read more
John Helliwell ha colaborado con Excalibur project de Alan Simon
Leer más
 
 
John Helliwell has collaborated with Alan Parsons
Read more
John Helliwell ha colaborado con Alan Parsons
Leer más
  

Supertramp got several Grammys awards
Read more
Supertramp ha recibido varios Grammys
Leer más

 

Don't miss this "water gong" used in "Crime of the century"
This amazing sound effect (piece of metal in water) was used by Bob in the second part (instrumental) of the song "Crime of the century". This effect is used in several orchestral pieces.
See the video 
No te pierdas el sorprendente "gong de agua" usado en "Crime of the century"
Este ingenioso invento (una placa de metal introducida en agua) fué usado por Bob para dar inicio a la segunda parte (instrumental) del tema "Crime of the century". Podían haber hecho algo similar con sintes, pero prefieron experimentar con sonidos nuevos como este, que es usado en algunas piezas orquestales.
 
 
John Helliwell "playing" wine glasses in the BBC, Autumn 1974
John is memorable in these clips for “playing” water-filled wine glasses by rubbing the rims. (at the last part of "Dreamer")
This was supposed to be providing some of the sustained synth sounds but was merely an eye catching stage device.
John Helliwell usando vasos de cristal en la BBC. Otoño 1974
Es memorable la aparición de John en los clips que grabaron del tema Dreamer en la BBC, donde John hacía rodar sus dedos por la parte superior de unos vasos de cristal medio llenos de agua, imitando el sonido de los sintetizadores, que es lo que suena realmente en la canción, y no lo vasos. Se trataba solamente de una estratagema comercial para llamar la atención del espectador

 

The song "Land Ho" from the album "Retrospectacle" year 2005
was recorded in 1974, and published as a single that year, together with "Summer romance". In 1987 Roger Hodgson released a version, almost identical, on his album "Hai Hai", because he's the composer.
El tema "Land Ho" del album "Retrospectacle" en 2005 fué grabado en 1974 por Supertramp y publicado como single dicho año junto con "Summer romance". Y es practicamente idéntica a la que Roger ya publicó en solitario en su disco "Hai Hai" en 1987, ya que es el compositor del tema.


The song "You started laughing"
surprised to all of us in the album Paris in 1980, because most of us didn't know that song, not included in any previous album. Actually was released as B-side single of "Lady" in 1975 . It was not included in the album "Crisis, what crisis ?" due to lack of physical space in the vinyl, without affecting the quality of sound.
La canción "You started laughing"
que tanto nos sorprendió a todos en el album Paris de 1980, ya que no la conocíamos de ningún album anterior, fué en realidad publicada en single como cara B de "Lady" en 1975, ya que no cabía físicamente en el disco "Crisis, what crisis ?", sin perjudicar la calidad del sonido (surco del vinilo mas estrecho)

 

The song "Give a litle bit" is souding in certain moment during the "Superman" movie (1978)
La canción "Give a little bit" suena unos instantes durante la pelicula "Superman" de 1978

 

Initial title for "Crisis ? what crisis ?" album
was "Second offence". Funny tittle after first hit "Crime". But during the oil-crisis at that time the final title was even better !. And the initial name for "Breakfast in America" album was "Hello stranger".
El titulo inicial para el album "Crisis ? what crisis ?"
fué "Second offence". ("Segundo delito"), gracioso titulo tras el primer "Crimen" que les llevó a la fama, pero es que en plena Crisis del pertróleo el título definitivo fué incluso mejor ! 
Y el título inicial para el exitoso "Breakfast in America" fué "Hello stranger".

 

The song "Gold rush" from the album "Slow Motion"
released in 2002, is actually an old Supertramp song. It was the opening number in all their concerts in the early times (circa 1970-72) and it was composed by R. Palmer (lyrics) and Rick & Roger (music-melodies)
La canción "Gold rush" del album "Slow Motion"
publicado en 2002, es en realidad una vieja canción de Supertramp, que usaban siempre para abrir sus conciertos en los primeros tiempos (sobre 1970-72) y fué compuesta por R. Palmer (letras) y Rick & Roger (musica-melodia)

 

Supertramp in Court
Time ago, the band members John Helliwell, Bob Siebenberg, Dougie Thomson, along with manager Dave Margereson, claimed to Rick Davies productions for the rights of exploitation of the discography of Supertramp between 1974 and 1983 (the golden era). .... and they won! The odd thing is that, time later, Rick offered them an employ for tour 2010 , and they accepted. Money is so powerful  .....
Supertramp en los tribunales
Los componentes de la banda John Helliwell, Bob Siebenberg, Dougie Thomson, junto con el manager Dave Margereson, demandaron hace unos cuantos años a Rick Davies productions por los derechos de explotación de la discografía de Supertramp entre 1974 y 1983 (la decada dorada)..... y Ganaron ! Lo curioso del caso es que posteriormente en 2010 Rick les ofreció salir de gira como músicos asalariados y aceptaron. Poderoso caballero es Don Dinero .....

 

Supertramp and Beatles
There are certain similarities between the two bands. There are also many differences, but that's another story ...
Both bands are based on two composers (Lennon / McCartney - Davies / Hodgson)
The end of Beatles coincided with the beginning of Supertramp, keeping a similar progressive-rock style.
In the beginning, when they were unknown, both bands played in bars and clubs in Germany (Hamburg / Munich).Both Roger and Paul, both guitarists began playing bass because no one else wanted to do it.They have different songs with the same name as "Two of us", "Free as a bird", "Oh Darling".
Supertramp y Beatles
Hay ciertas similitudes entre ambas bandas, curiosas de citar, sin necesidad de pensar mucho. Diferencias también hay muchas, pero eso es otra historia...Ambas bandas se basan en dos compositores (Lennon/McCartney - Davies/Hodgson)El fin de Beatles coincidió con los inicios de Supertramp, con un estilo rock-progresivo que parecía mantenerse.En sus inicios, cuando eran desconocidos, ambas bandas tocaron en bares y clubs de Alemania (Hamburgo/Munich).Tanto Roger como Paul, ambos guitarristas, comenzaron tocando el bajo porque ninguno otro quería hacerlo.
Tienen diversas canciones con el mismo nombre como "Two of us", "Free as a bird", "Oh Darling".

 

Supertramp and Pink Floyd, twin stories ?
Let's see: the early Pink Floyd in 1967 and Supertramp in 1969, both in London, just a couple of years gap.
Their first successful album was Pink Floyd "Dark Side of the Moon" in 1973 and Supertramp's "Crime of the Century" in 1974, very close in time (one with references to the Moon, and the other one to the Universe, mythical covers ....)
In both bands there's a prominent composer of the hits, called Roger (Roger Hodgson / Roger Waters)
After this first success, they published two more albums rather than increased their fame, coincident in time (1975 -> "Wish you were here" vs "Crisis what crisis?", 1977 -> "Animals" vs "Even in the Quietest moments ")
In 1979 both bands released their most successful album ("The Wall" vs "Breakfast in America")
The tour that followed these releases, with all its pressures and constraints, caused great tension that later would lead to the break years later.
The next album released, in both cases, it was the end of the story..... and very similar titles in concept ("The Final Cut" 1983 vs "Famous Last Words" 1982)
After that, both "Roger" took to their solo careers, and the bands have continued with the rest of members.

Supertramp y Pink Floyd, historias paralelas ?
Veamos: los inicios de Pink Floyd en 1967 y los de Supertramp en 1969, ambos en Londres, con solo un par de años de diferencia.
El primer álbum con gran éxito de Pink Floyd fué "Dark side of the moon" en 1973 y el de Supertramp fué "Crime of the Century" en 1974, muy cercanos en el tiempo (uno con referencias a la Luna y otro al Universo, portadas miticas ....)
En ambas bandas destaca como compositor de los grandes éxitos el nombre de Roger (Roger Hodgson / Roger Waters)
Tras ese primer éxito, publicaron un par de albumes más que aumentaban su fama, coincidentes en el tiempo (1975 --> "Wish you were here" vs "Crisis? what crisis?", 1977 --> "Animals" vs "Even in the Quietest moments")
En 1979 ambas bandas publicaron su disco de más éxito ("The Wall" vs "Breakfast in America")
La gira que siguió dichos lanzamientos, con todas sus presiones y condicionantes, provocó grandes tensiones que posteriormente desembocarían en la ruptura años después.
El siguiente disco que lanzaron ambas bandas fué el último en ambos casos, y con unos titulos muy similares ("The Final Cut" 1983 vs "Famous last words" 1982)
Tras ello los dos Roger se lanzaron a sus carreras en solitario, y las bandas han continuado con el resto de miembros. Nunca se han vuelto a reunificar ambas bandas.

 

Supertramp Barcelona

2010 TOUR - SUPERTRAMP Stuttgart, October

Photos: Uwe Nessler

UweStutt01

UweStutt02

UweStutt03

UweStutt04

UweStutt05

 

2010 TOUR - SUPERTRAMP Paris, Oct. 28

SUPERTRAMP in Paris, October 28, 2010

Hi there !

Yesterday, a special celebration took place in Paris for the last concert of Supertramp's European Tour: Supertramp was playing live for the 1000th time ! Exclusive T-Shirts were printed for the occasion.

Before the show, the 'ambiance' backstage was excellent : Bob was playing darts, John was laughing with friends etc...

The concert was better than the first time in Paris (astonishing version of "Another Man's Woman")

For the encore, Rick asked Jessie to move on from the piano and started to play "Don't You Lie To Me" ; the band didn't even know that Rick was going to play that song !

After the show, Rick came backstage to welcome all the guests to go to the after-show that took place at le Réservoir, a small parisian club (Supertramp played there in 1997 for a private gig too). About 50 people were there, a cosy atmosphere, a really special event. It's one o'clock and Supertramp suddenly became "Ricky & The Rockets" and played a great set of jazz-blues classics including 'Route 66'. Many 'Rockets' sang : Gabe, Jesse, Cassie and a special guest : John Andrews from "The Lonely Ones" / "The Joint" (the band Rick Davies played in before creating Supertramp). At around 3 am, the after-show was over, the magic has come to conclude the Supertramp European Tour. What a special night....

The Dude

More: See Ricky & The Rockets in 1986

 

More Articles...

Subcategories

You are here: Inicio Supertramp