Tim Tjernlund's Time Line PART 2
- Post by Press Review - Press Article
- On 17 November 2010
- Hits: 13541
1977
January
June
October
1978
1979
1980
1981
Tim Tjernlund's Time Line
- Post by Press Review - Press Article
- On 17 November 2010
- Hits: 15228
The Supertramp Time Line by This email address is being protected from spambots. You need JavaScript enabled to view it.
Revised 3/21/97
1944
1945
1947
1948
1949
1950
1951
1956
1959
Rick joins "Vince & the Vigilantes" featuring Ginger Frantic.
1960
1962
1963
1964
John joins "The Dicemen".
1965
1966
Bob joins The Expressions.
THE ALAN BOWN SET MK I
THE LONELY ONES
1967
May 1
July
1968
PEOPLE LIKE US
Jeff Bannister - Keys, vocals
1969
Roger records "Mr. Boyd"/"Imagine" on Congress Records (C-6013) US. Elton John and Nigel Olsson playing on the "Mr. Boyd" session. He is backed by studio musicians whom the record label names "Argosy"
ARGOSY
REDEYE
Alan Bown release "Gypsy Girl" on Deram records.
1970
Bob fronts a new band "Benbecula" with Scott Gorman & Derek Beauchemin.
1971
SUPERTRAMP MARK II
BEES MAKE HONEY
ALAN BOWN MKIII
1972
1973
SUPERTRAMP MARK III
1974
1975
January 23-City Hall, Sheffield, S. Yorks
- END OF TOUR -
"Bloody Well Right " @ #74
November 24- Birmingham
December
8- Liverpool
- END OF TOUR -
1976
November
December
1- Leicester, DeMontfort Hall
Move to Caribou Studios, Colorado to record "Even In The Quietest Moments"
CLASSIC TRACKS: Supertramp‘s 'Logical Song'
- Post by Press Review - Press Article
- On 17 November 2010
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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
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."
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.
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."
From left to right: Roger Hodgson, Peter Henderson and Rick Davies at
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.
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
Famous Last Words
- Post by MAC
- On 16 November 2010
- Hits: 4011
FAMOUS LAST WORDS - 1982 - A&M
Release Date: October 1982
Recording Date: November 1981 to summer 1982 at Unicorn, Nevada City, CA; The Backyard, Encino, CA; Rumbo Recorders, Canoga Park, CA; Bill Schnee's Studios, North Hollywood, CA / Label: A&M Time: 47:35
Producer Peter Henderson, Russel Pope, Supertramp
The last album of the golden decade. After that, Roger left the band. It was not a happy experience making this album, Roger living in north California and Rick living in Los Angeles, rest of the band moving from one place to another for the recording sessions, and even worst, having Rick and Roger opposing ideas about the future of the band. They tried to make the best album on their hands, according the situation, but they rejected some good songs, thinking on next albums, were might fit better. Songs like "Brother were you bound", "Had a dream" and "Only because of you" for exemple.
El último album de la decada dorada, tras el cual se separó la banda. No fué una experiencia feliz la grabación de este disco, Roger viviendo en el norte de California y Rick en los Angeles, con desplazamientos del resto de la banda a ambos estudios para realizar las grabaciones, y con ideas irreconciliables sobre la dirección a tomar. Se hizo un album de compromiso y se reservaron temas de Roger y Roger para próximos albumes en donde pudieran encajar mejor, como los temas "Brother were you bound", "Had a dream" u "Only because of you" por poner solo unos ejemplos.
CRAZY (Roger Hodgson)
Here's a little song to make you feel good
Put a little light in your day
These are crazy times
And it's all been getting pretty serious
Here's a little song to make you feel right
Send the blues away
Well it's a crazy game
Tell me who's to blame, I'm kind of curious.
Right if you win, wrong if you lose
Nobody listens when you're singing the blues
Well something's the matter, but nothing gets done
Oh everyone's waiting for a place in the sun
Well something is wrong now
Can something be wrong with me
Oh brother, why's it got to be so crazy...
Gimme little left, gimme little right
Gimme little black, gimme little white
Gimme little peace, gimme little hope
Gimme little light 'Cause you know it seems that the situation's getting serious.
Right if you win, wrong if you lose
Nobody listens when you're singing the blues
Well something's the matter, but nothing gets done
There's no use in waiting for a place in the sun 'Cause something is wrong now
Can something be wrong with me
Oh brother, why's it got to be so crazy...
Oh something is wrong with me
Oh brother, why's it got to be this crazy...
PUT ON YOUR OLD BROWN SHOES (Rick Davies)
Put on your old brown shoes
Right on your feet
Time to move on, get away
You know you paid your dues
Did all you could
Time to move on, no more to say
You and me, we're helpless can't you see
We've got to get away, get away
Got to move on, 'til the madness around is gone
And the rest of our lives we'll be free
Kick out the morning blues
Who needs a job
Who needs pain and oppression
You know it can't be beat
Stand on your own two feet
Goodbye rain and depression
You and me, we're helpless can't you see
We've got to get away, get away
Got to move on, catch the next train and we'll be gone
And the rest of our lives we'll be free
Get your blue jeans right on babe
Get your blue jeans right on babe
You know a friend is a friend
You don't leave him in trouble
He got a little drunk so now he's seeing double
Don't you see him there yeah lying in the rubble
But you have to lend a hand
'Cause you know he's on the level
You and me, we're helpless can't you see
We've got to get away, get away
Got to move on, catch the next train and we'll be gone
And the rest of our lives we'll be free
IT'S RAINING AGAIN (Roger Hodgson)
It's raining again
Oh no, my love's at an end.
Oh no, it's raining again and you know it's hard to pretend.
Oh no, it's raining again
Too bad I'm losing a friend.
Oh no, it's raining again
Oh will my heart ever mend.
Oh no, it's raining again
You're old enough some people say
To read the signs and walk away
It's only time that heals the pain
And makes the sun come out again
It's raining again
Oh no, my love's at an end.
Oh no, it's raining again
Too bad I'm losing a friend.
C'mon you little fighter
No need to get uptighter
C'mon you little fighter
And get back up again
Oh get back up again
Fill your heart again...
BONNIE (Rick Davies)
Your silver nights and golden days
I try to reach you in a million ways
I'm crazy 'bout you Bonnie Can you tell?
Your diamond rings and fancy clothes
Do I want you babe, well heaven knows
I'm wild about you Bonnie Can't you see
Hey Bonnie I've love you oh so long
I know we'd get along
Hey Bonnie will you ever notice me
Yes I know you oh so well
Just one look and I fell
Please tell me that our love will always be
I've seen your films and all your plays
I read about you every single day
I'd like to get my lovin' arms 'round you
KNOW WHO YOU ARE (Roger Hodgson)
Know who you are
There's a world wants to know you
Know where to go... There's a world wants to touch you
Feel all you can... Let your heart speak and guide you
Don't be afraid... Of the love deep inside you.
Bring it out for everyone
When you smile we can see the sun
Bring it out for all to hear
Because you've so much to give
And there's so much to know
But if you wait for your moment
Well, it may never show.
Know who you are...
There's a new song inside you.
Weep if you can...
Let the tears fall behind you.
Bring it out for everyone.
When you smile we can see the sun,
Sing it out for all to hear
Because you've so much to say
And you've so much to do
And everyone's waiting,
Yes, it's all up to you.
Know who you are...
There's a world deep inside you,
Trust me if you can...
There's a friend to guide you.
MY KIND OF LADY (Rick Davies)
Let me tell you what I want to say
You're the only one who can make me feel this way
My kind of lady
No better love could I embrace
No better heart, no other face
Can quite compare with you
You came along and then you mend my broken dreams
I was so down and then as foolish as it seems
You gave me your affection
Yeh baby you came through
We'll make it you'll see
In spite of those who say it's wrong
This time we feel that we belong
Now we can truly say
We'll be together and that's all we'll ever need
We'll love each other, that's the way it's gonna be
And nothin' under the sun of moon
Can make us be apart
Oh my honey
You know I'll love you every day
When things go wrong we'll find a way
I'm so glad I met you
Much more than I can ever say
We're making plans and holding hands just like before
We'll try again, we'll make amends along the road
It's fellin' good, just like it should, this time we know
We'll share each other's happiness for now and evermore
I've been wastin' my life away I've got a message for you today
To tell you that you are
My kind of lady
I'm not the same since I met you
All of my dreams had fallen through
And then you came along
One magic night when things went right it was so fine
Looked in your eyes and realized that you were mine
And nothin' under the sun of moon
Can make us be apart
Oh my baby
You know I'll love you all the way
When times get hard we'll smile and say
I'm so glad I met you
I'll love you more and more each day
We're making plans and holding hands just like before
We'll try again, we'll make amends along the road
It's fellin' good, just like it should, this time we know
We'll share eachother's happiness for now and evermore
C'EST LE BON (Roger Hodgson)
I never knew what a man was supposed to be
I never wanted the responsibility
I still remember what they tried to make of me
They used to wonder what they couldn't get through to me,
'Cauce all that I had as this music
A-coming to me
And all that I had was this rhythm
A-running through me.
I took a tip from the man in the ministry
He said, "My son, better work in the factory"
Well there were days I can tell you quite honestly
I saw myself winding up in the military
So lucky to have all this music
A-coming to me
I'm lucky to have all this rhythm
A-running through me
I'm watching the movie go down
Around, about me
I'm watching the marry-go-round
Go down about me.
I said, "Lovers, you're needed in the garden
'Cauce there's a lot of crazy people
Who've forgotten where their heart is
And they don't give a damn
About hurting those flowers and those trees."
C'est le bon, sailing on and on...
Sometimes I wonder where my life is taking me
Sometimes I wonder what they all expect of me
Well there were days I can tell you quite honestly
I saw myself winding up in the monastery
'Cauce all that I have is this music
A-coming to me
And all that I have is this rhythm
A-running through me
I'm watching the movie go down
Around, about me
I'm watching the marry-go-round
Go down about me.
I said, "Lovers, you're needed in the garden
'Cauce there's a lot of crazy people
Who've forgotten where their heart is
And they don't give a damn
About hurting that small child in me."
C'est le bon, sailing on and on...
WAITING SO LONG (Rick Davies)
Did you get all you want?
Did you see the whole show?
So where's all the fun
That we used to know?
As the memories fade
Way out of view
I'd love those old days
To come back to you
I've been waiting so long
I'm not feeling so strong
Did you say what you mean?
Did you mean what you say?
About this new scene
Is it really that way?
But the blindness goes on
You say it's not so
But what do you know?
I've been waiting so long
I'm not feeling so strong
Ain't nothing new, it's just the same old thing
You got me singing those old blues again
Angry music, words of fire
Painted faces filled with rage
Even then they sound so tired
I must be set in my old ways
If this world is unimpressive
It's been that way for quite a while
I don't need no heavy message
Just turn me on and make me smile
Yes I've been waiting such a long time
Just for something to ring true
Now I'd rather taste the old wine
Than mess around with something new
And the blindness goes on
The blindness goes on
DON'T LEAVE ME NOW (Roger Hodgson)
Don't leave me now
Leave me out in the pouring rain
With my back against the wall
Don't leave me now
Don't leave me now
Leave me out with nowhere to go
And the shadows start to fall
Don't leave me now
Don't leave me now
Leave me out on this lonely road
As the wind begins to howl
Don't leave me now
Don't leave me now
All alone on this darkest night
Feeling old and cold and grey
Don't leave me now
Don't leave me now
Leave me holding an empty heart
As the curtain starts to fall
Don't leave me now
Don't leave me now
All alone in this crazy world
When I'm old and cold and grey and time is gone...
JOHN HELLIWELL in Pennyblackmusic, October 2010
- Post by Miguel Angel Candela MAC
- On 12 November 2010
- Hits: 8694
Supertramp : Interview
Author: Lisa Torem
Published: 06/10/2010
Kate Murtagh, dressed as a waitress, holds a glass of orange juice high above her head; a stand-in for the Statue of Liberty’s flaming torch. Her friendly smile glimmers from the window of an airplane soaring over the New York City skyline. But, a further glance reveals that this modern island is made of a cardboard cereal box, silverware and condiment containers spray painted white.
The breakfast plate reveals Battery Park, the gateway to Staten Island; a historical hub for thousands of immigrants. If you’re excited, about your journey, you’re not the only one. Supertramp’s sixth album, 79’s 'Breakfast in America' ultimately sold six million copies in the US alone and over 18 million worldwide.
That comical album cover won a Grammy for Best Recording Packaging and Best Engineered Album, Non-Classical. It featured the Wurlitzer electric piano which was soon to be recognized as the band’s trademark sound. The theme song, was very bouncy, very British and clocked in at 2:30. The longest track, ‘Child of Vision’ was a whooping 7:25
The album included: four major hits; ‘The Logical Song’, ‘Take the Long Way Home,’ ‘Goodbye Stranger,’ and ‘Breakfast in America’.
The band is currently reissuing this groundbreaking album which will include a second disc of previously unreleased live recordings from the late seventies. Sleeve notes by MOJO editor, Phil Alexander will also be added. In addition, the band is commemorating the date of this first release, 40 years ago, with their current European ’70-10’ Tour.
Woodwind player, John Helliwell, is speaking to Pennyblackmusic from Frankfurt, Germany, where the band is half-way through their ambitious European tour. Helliwell initially joined up in 1974, and helped created the dynamic tracks of 'Crime of the Century'. Though he claims he’s being treated quite well on this leg of a very exclusive tour, Helliwell seems unaffected by the pampering, eager to reminisce and extremely affable. Ironically, even after playing arenas filled with 10,000 fans, what really motivates this man is a chance to socialize and a decent breakfast.
PB: Your line-up is pretty much the same as when Supertramp toured in 2002, except now you have Gabe Dixon on keyboards.
JH: Yeah. We got Gabe and we’ve still got Jesse Seibenberg on percussion and vocals. They’re the two voices that can do Roger Hodgson’s songs and we’ve also got a trumpet player from ’97 back, Lee Thornburg, and we’ve also got a girl singer to help with the background vocals, Cassie Miller. Mark Hart, who has been playing with Supertramp for twenty years or so, he couldn’t make it because he’s busy with Crowded House.
PB: Lee was with Etta James and Ray Charles. Isn’t there a lot of blues and jazz influence in your line-up?
JH: Well, there is. Yeah, our bass player, Cliff Hugo, played with Ray Charles for two years, way back. Yeah, there is a jazz influence, but we’re still playing our music. We’ve got the trumpet and sax player which is quite nice. We’re playing Supertramp music, but it’s very sophisticated in the way that we can put it across, especially with the extra vocals that we’ve got now.
We’ve got it really good on the background singing. It’s really made a difference. We’re able to do some numbers now that we couldn’t really do properly before. One example would be ‘Gone Hollywood’ from 'Breakfast in America'. We’re doing a really good version of that now. We haven’t been able to in the past. We tried it once, but – I think it was in 1983 – it didn’t work properly.
PB: Would you consider touring another Supertramp album, for example, 'Crime of the Century'?
JH: We haven’t done a concert which specifically promoted 'Crime of the Century' since 1974 or 1975. But, it’s just included and it’s a very, big part of our oeuvre, and we do quite a few numbers, from 'Crime of the Century'.
We do ‘School’, we do ‘Dreamer’, we do ‘Rudy’ and ‘Crime of the Century’ itself. So, it’s always been a big part of our set.
PB: You dressed as Spiderman for ‘Fool’s Overture’ with a speech of Winston Churchill blaring in the background. What is the stage presentation like these days?
JH: Ah, right. You were talking about ‘Fool’s Overture.’ Actually, a lot of members of the crew, or whatever, they would dress up as a banana or a gorilla; all sorts of things were happening in ‘Fool’s Overture.’ So our presentation. Nowadays, we don’t use those kinds of props, now.
We have bits of film; some of which we’ve been using for years and years.
There’s a film of a speeded-up train journey in ‘Rudy.’ We still use that. We also have a presentation where you go sort of flying through space and you come on the bars from ‘ Crime of the Century’. There are a few visual aids.
PB: I had read a review of your 1975 alabum ‘Crisis, What Crisis?’ in which critics had said it left a lot of room for instrumentals. How are instrumentals being received live? Are they received as well as tunes that primarily revolve around vocal lines?
JH: Oh, yes. No, we don’t do any song that’s completely instrumental – they‘re all songs, you know. But, there are solo parts, especially there are some guitar solo parts. There’s a big solo from Rick when we do ‘Another Man’s Woman.’
There are quite a few solos in different numbers from me on the sax. There’s a little trumpet solo in some numbers, which we haven’t done for many, many years and it’s called: ‘Poor Boy.’ That’s from ‘Crisis’ and, on the original recording, that is Rick singing, playing and making a noise like a trumpet, but now we have a real trumpet; Lee Thornburg can play that.
PB: I love the combination of the keys and the sax. But, you don’t hear that much these days. It’s a great combination.
JH: It is. I have to say that. I play the saxophone. It’s more unusual in a rock group to have a sax player. You know, Springsteen did, Roxy Music. There are quite a few that have. But, the majority of rock groups are guitar and/or keyboard oriented. It’s just another voice that you can have, you know?
One of our trademarks, I guess, just having me in the band, especially if I’m playing clarinet because that’s very unusual.
PB: That is unusual.
JH: …in rock music. There are little bits in about six numbers, but it’s quite prominent in the song, ‘Breakfast in America,’ for example.
PB: How do you come up with the brass arrangements? Do you read charts?
JH: No, we’re not reading charts. We just work it out at rehearsals, just play together, whether it’s in unison or harmony. We like to keep it reasonably simple. I think that’s the thing with Supertramp. We don’t really go overboard and bore people with playing things too long. We like to keep it a bit more succinct.
PB: Yet, back in the day, it was fairly common to play lengthy songs. You couldn’t get away with that on the airwaves now. I think the audience loves hearing this during the live performance where there’s the freedom to get into the number.
JH: Yeah, it’s good. We like to tell a story. You know.
PB: What’s your favourite song on the set list?
JH: Of the songs. Yeah. ‘Rudy’s’ good, because I mentioned about the train journey that takes place at the end. There’s an instrumental section and that’s nice visually. There’s a song ‘From Now On’ that comes over really well. Stories? Hmmm. Interesting. I think the tunes are more observational than telling a complete story like a saga.
PB: Then, what songs give you the most latitude as a sax player?
JH: Just physically, ‘Bloody Well Right’ does because I have a solo with Lee Thornburg at the end and also a piece again at the end where I’m playing completely on my own, so it’s completely up to me, and ‘From Now On’ is quite good. I get a nice, improvisation section there and at the end of ‘Gone Hollywood’ it’s quite good and, in between in ‘It’s Raining Again,’ I get some blowing there. I do several other numbers, too, but these seem to be the ones that are slightly lengthier.
PB: Does the band have plans to record after the tour?
JH: There aren’t any plans at the moment. Nothing specific, but there’s talk of touring late next spring, but I’m not sure where or whether it’s going to be North America or not. I would like that. Canada is a potential place that I would like to go, but there are no plans yet. Next summer, doing some of the festivals, either in Europe or North America, would be good.
It would be good to keep this band going because it’s beginning to sound really good.
PB: You’ve got a really loyal group that keeps coming back to tour. What did you do in early 2002 when the band was not playing?
JH: Me, personally? In 1992 I moved back to the UK, to do some studying. Then, I got involved with two Supertramp albums, etc., etc., After 2002 I carried on with my music. I have a jazz group.
PB: Crème Anglaise? I hope I’m pronouncing it correctly.
JH: Yeah. I made a CD. There is a CD also called 'Crème Anglaise' which I’m very proud of. I play with that group, occasionally, not always with Mark Hart, who is in it, because he’s so far away, but because jazz gigs don’t pay much.
They don’t even pay enough to get him to Pasadena rather than from LA to Manchester, or wherever (Laughs).
But, I’ve also enjoyed playing in recent few years with people on the continent, too; Germany, France and Italy. I play some small jazz venues in Italy, occasionally and I’ve been playing with Alan Simon who kind of writes gigantic rock operas.
PB: 'Excalibur'?
JH: You know about that?
PB: Yeah. That sounds fantastic.
JH: So, I’m going to do some more in January. That was touring in Germany last January. There are some more projects with Alan Simon. Then, I work with the German drummer called Leslie Mandoki who has a group called Soulmates – where he gets together major rock performers and jazz performers, and does concerts.
So, I’m quite happy just doing what I like, really. It’s quite nice to go and play with someone like that because I don’t have the responsibility. I just go and play and get treated well and come away again.
PB: Will 'Excalibur' come to the States?
JH: I don’t know. I have no idea. There was an 'Excalibur' ten years ago and now it’s 'Excalibur II' or 'III', but the last tour was just Germany. They’re trying to expand it. We’re doing some German dates, and if I can do it, while working with Supertramp, some dates in France and Switzerland, in the spring and then taking it from there.
But, that’s quite spectacular; 80 people on stage, including lots of dancers, orchestra, vocalists, knights in armour, two horses, aerial artists, and a German narrator. There’s so much going on in that it’s quite a lot of fun.
PB: Supertramp has worked with a number of producers; Geoff Emerick, Ken Scott. How did you decide each time which one to use?
JH: It started off when we were doing 'Crime of the Century', For some reason, it was very difficult to get Ken Scott; he said no. Our manager persisted and got him down to where we were rehearsing and he liked the music.
He was very instrumental in getting our sound down on discs. He was very meticulous with the sounds. It was a really good relationship and we continued that in 'Crime of the Century'. For our 1977 album 'Even in the Quietest Moments' there was, I think, and I might be wrong, but I think that his manager was asking for too much money, or something, and we thought, let’s just try somebody else and, interestingly enough, we found Geoff Emerick, but when we were doing the recordings, Geoff Emerick couldn’t come. He was doing another project.
He sent Pete Henderson, who was his young assistant. We got on really well with Pete and then Geoff Emerick came for the mixing of 'Even in the Quietest Moments' in LA.
He was okay and he was there, but it was mostly Pete that we did the work with.
So, when it came time for the next album, which was 'Breakfast in America', we just went to Pete and not Geoff, just because we had this relationship with Pete Henderson.
So, we did 'Breakfast in America' and he did the live album and then he did the next album, 'Famous Last Words', so that was a good relationship. And, he was instrumental in getting the sound that I always say, it sounds good anyway, we continued our hi-fi approach, but he got the sound that sounded really good on the radio, which was very helpful for getting all those hits, and getting it out to people. So, we’ve had good relationships with him, less so with David Kirshenbaum; he worked on a couple of our albums.
We’d gotten more mature and Rick was doing more producing by then. And, then, more or less, the last few albums have been self-produced.
PB; Has that been the right decision?
JH: Yes, it’s been alright. Things have progressed, but those two, Ken and Pete, were very much responsible for the Supertramp sound.
PB: John, there has recently been some controversy about the usage of songs during concert performances. Are you willing to talk about that?
JH: Yeah, sure.
PB: People in a band work out material; they work very closely. What is your feeling about that?
JH: Right. The songs that Supertramp recorded and performed in the 70s, all the songs were written by Rick and Roger. But, as in those relationships, they’ve got both the names on the song and, in fact, some were written together and some were written separately and then brought to the group to have their final, how to dress them, how to put them out. The group’s involvement was very strong, in all those songs of Rick and Rogers.
And, Roger Hodgson is not happy at the moment with the fact that Supertramp now is going out and doing some of these songs. He thinks it’s a betrayal and my take on it is this. If I were playing with Crème Anglaise or if Bob Dylan went out, or Chicago, as a group, whatever, they could play a Supertramp song.
Anyone in the world can go out and perform a Supertramp song if they want. No one can stop them and it’s quite valid if some singer, if Joni Mitchell wants to go sing, ‘Dreamer,’ or (laughs). You know what I mean?
So, anyone can play a Supertramp song. So, my point is why can’t we play? Who better to play a Supertramp song than Supertramp? We do now play Roger’s songs, although, when we first went out with the 195 album, 'Brother, Where You Bound', the first album after Roger left, then we didn’t play any of Roger Hodgson’s songs and we got a lot of criticism then from the fans. ‘Why aren’t you playing ‘Dreamer?’ Why aren’t you playing ‘The Logical Song?’ So, we put a couple in and Mark Hart sang them.
So, we’re just continuing in the tradition and we are playing, I think seven, might be six of songs at least, by Roger and we think that that’s entirely valid because it’s Supertramp going out there and the fans come to the concert and they want to hear some Supertramp numbers. So, that’s basically it.
PB: Do you see Roger, at some point, showing up on tour, and performing some songs with you or will you both maintain separate careers?
JH: I don’t think that will happen, because before this tour ever got going, there were talks between Rick and Roger about doing a tour, which apparently were going along fine for a while and they just completely broke down and so there’s a kind of rift appeared there between Rick and Roger, and I don’t know whether it’s insurmountable or not but it doesn’t look likely that Roger will join us on this tour. He’s doing his own thing and playing in Europe at the moment. But, we haven’t seen him.
PB: After all of these years touring, can you share any of the great moments?
JH: The great moments? I’ll tell you the great moments. There’s a breakfast gang, people who stay in bed, have their breakfast in bed. There’s a breakfast gang of about six of us. The accountant and the tour manager, Carl Verheyen, Cliff Hugo, Lee Thornburg, myself, are the ones who would get up and have breakfast, like we’ve done today, and have a hang in the breakfast room about this and that, that’s good.
Then, typically, there’ll be a little time off, go walk or something. Mid-afternoon, we set off to drive to the airport during this tour, in the highest sort of style that we’ve ever done, or any tour, and that’s by private jet.
PB: Nice.
JH: So, we drive to the airport, which might be half an hour, get on the jet, go to the next city, which usually only takes about half an hour, drive straight to the gig, and get there a quarter of an hour before sound check time, do the sound check, which is good, and then have a small bit to eat - some fantastic food. These people that are travelling with the band and doing the food at all the concerts are called 'Eat Your Heart Out'.
PB: That says it all. It’s a good name for an album, too.
JH: Yeah. And, then, wait an hour or two and do the show, and then, unusually, we call it “doing a runner” and it’s immediately after the very last number, the end of the encore, we just go straight to the cars; four cars, and straight to the airport and back to the city, and we’re usually back by midnight. It just depends where the show is. We’re usually back before the bar closes, have a drink and then go to bed. It’s quite a nice day normally. We don’t hassle having to get up seven in the morning to get on the bus to go to the next place, or whatever. It’s very civilized. So, that’s good.
PB: At what point during the show do you feel the energy of the audience? Is it immediate?
JH: It’s quite good and I like it this way. It’s a two-part question. The audience alter by country. They’re very much a different character in Spain, than Germany. For example, they’re very excitable in Spain and they sing along. The Germans are a bit slower to get motivated. But, when they do, they get quite enthusiastic. They’re usually sitting down and we play in arenas, anything from 5 to 10,000; something like that, normally.
We start off with ‘You Started Laughing’ which is half-instrumental and we kind of ease into the set. And, we don’t play a sort of big hit until about a third of the way through.
So, actually, the beginning of the set is more like a classical music concert, where they clap and then they get quiet and we start the next number.
But, for the whole of the two hours, it really builds up. At the end, they’re all down at the front, clammering and clambering; “more, more,” and we do do an encore. Haven’t missed doing an encore, yet. It’s a big build-up for two hours, really, which is quite nice, and they get excited when they hear the hits. Sometimes they stand up and start to dance around. So, it’s nice because we build it.
PB: So, John, what would you have done besides having a career as a rock star?
JH: Well, I started out 47 years ago being a computer programmer. That’s what I did for a few years before I turned professional.
PB: I remember reading that you got two job offers at the same time, which is pretty cool.
JH: Yeah, I did. (excited). This is ancient history. I had to choose then. Well, I turned professional with one group. I had to either decide to carry on with one group or go back to programming and I chose the music.
PB: Pretty smart.
JH: (Laughs). Well, I was just following my heart. But I did enjoy programming. I think I would have made a good postman, too.
PB: A little bit of travel there, too.
JH: Yeah.
PB: Did you read that book, 'The Autobiography of a Supertramp?'
JH: I tried. I’ve tried a couple of times. The most I’ve got is half-way through. It’s a bit boring actually.
PB: So, you’re living it instead..
JH: Oh, yes. I’m living that life. It’s quite interesting, but it lost me about halfway. I think maybe he’s a better poet, than a prose writer. Davies.
PB: What are your favorite movies?
JH: I just downloaded my first movie to watch on my IPAD last night.
PB: What was that?
JH: 'Some Like It Hot'.
PB: And we just lost Tony Curtis…
JH: That’s what reminded me of that. I’ve seen it lots of times, but it’s so great. I only watched half an hour because I was really tired, but it’s really, really good. I watched it until Marilyn came and sang a song. I had to stop it.
She’s so amazing looking and Tony and Jack are so great made up as women. It’s such a fabulous film.
A great, big coffee table book that my wife bought me about 15 or 20 years ago, was all about Billy Wilder. It might be a Tashcen book. It’s a really good book all about the films and photographs. There’s a reproduction of Marilyn Monroe’s notebook in there, which is really interesting to look at.
And, my other favourite films are mostly by the Coen Brothers, 'The Big Lebowski' is one of my favourites, as is 'Fargo'. I do like a good movie.
PB: And books?
JH: They’re not my favourite books, but I just couldn’t seem to put one series down and that’s 'The Girl with the Dragon Tattoo'. I quite like Dickens. I used to exclusively read science fiction from age 12 to 22 or 25. I got into that. I read all sorts now a days.
PB: Will you tour with Supertramp in the years to come?
JH: (Laughs I don’t know how much time there is left. I guess if we play again; it’s kind of up to Rick, really. He’s got the name and he sings most of the songs. It’s up to him, really. I don’t know whether we’ll go out, maybe next year. After that, I don’t know. We’re not getting any younger.
PB: It can be tiring.
JH: No, as I’ve explained, because of the private plane, we get treated great. The only sort of tiring, not tiring, you’ve got to get yourself ready for show time, you know?
We’ve done three in a row and then a day off. That’s the most. That’s pretty good. It’s good to have a day off after you’ve done three shows, even after our fabulous way of travelling. You know, it still can be quite demanding, for different people, in different ways, for instance, Bob, the drummer…
We come off stage and we get in the car and I always travel with him and he’s absolutely soaking and I’m not. I don’t have that physical job, you know? But, mentally, I’m probably wringing wet, you know?
PB: What advice would you give to one starting out in the business; someone who wants to be like you?
JH: You must keep practicing and you must keep trying to improve. And, if you want to succeed in a group you must make sure that everybody in the group is pulling their weight.
You can’t carry any passengers and you must get a manager who’s going to be good and you must have written contracts between you even if you’re the best of friends. Those are little bits of advice I can give.
PB: Thank you.
Extremes - Original Soundtrack
- Post by Miguel Angel Candela MAC
- On 08 November 2010
- Hits: 4052
EXTREMES (Original Soundtrack) Extremes (1971)
Directed by Tony Klinger & Mike Lytton
Writing credits : Tony Klinger
Produced by
Barry Jaco .... executive producer
Tony Klinger .... producer
Mike Lytton .... producer
Runtime: 82 min
Country: UK
Language: English
Color: Color (Eastmancolor)
SOME INFO ABOUT IT:
1.- FromTim Tjernlund TIMELINE:
Soundtrack of "Extremes" (SML-1095)(U.K.) released with two songs from the first Supertramp album.
Not on the album, but in the movie, the only live recordings of Supertramp Mark II.
2.- From an interview with Roger Hodgson by Jerry Van Kooten:
A long time ago I read about a soundtrack album that Supertramp once did.
Extremes?
So that's what it's called... A Polish release, was it? I've never seen it. I don't think it was ever an album. It was the very early days, we did it in Munich.
Does the recording still exist?
I don't have it.
Do you regret that?
That I don't have it? No! But there's a lot of stuff at home that I'd like to put out on the website.
Crime of the Century
- Post by Miguel Angel Candela MAC
- On 08 November 2010
- Hits: 3358
CRIME OF THE CENTURY - 1974 - A&MRelease Date: 1974
Recording Date: Feb 1974-Jun 1974 Label: A&M Time: 43:25
CLICK THE IMAGE TO BUY THE ALBUM IN AMAZON.COM (US)
Review in AMAZON:NOT Their First Album, But Their First Breakthrough
by Alan Caylow (USA)
So many US fans of Supertramp still believe to this day that 1974's "Crime Of The Century" was the band's very first album. This is totally not true---it's actually their *third* album, following 1970's "Supertramp" & 1971's "Indelibly Stamped," both of which are only available on import, but they're both superb Tramp albums worth seeking out. Now that we've got THAT cleared up...."Crime Of The Century" was Supertramp's first commercial breakthrough, and it's a winner all the way. Many Tramp classics are on this one: "School," "Bloody Well Right," "Dreamer, "Rudy," and the title track. Singer/songwriter/ keyboardists Roger Hodgson & Rick Davies are in top form, as are their new recruits John Halliwell on sax, bassist Dougie Thomson & drummer Bob Siebenberg. The band's unique music is melodic, rocking, and catchy, and the production is supreme, as especially evidenced on this new remastered version.It wasn't their first album, but "Crime Of The Century" WAS Supertramp's first big splash in the music world. It's a terrific album, and a sign of things to come from this great band.
Title ······ Composer ······ Time
1 ······ School ······ Davies, Hodgson 5:34
2 ······ Bloody Well Right ······ Davies, Hodgson 4:31
3 ······ Hide in Your Shell ······ Davies, Hodgson 6:48
4 ······ Asylum ······ Davies, Hodgson 6:43
5 ······ Dreamer ······ Davies, Hodgson 3:31
6 ······ Rudy ······ Davies, Hodgson 7:19
7 ······ If Everyone Was Listening ······ Davies, Hodgson 4:04
8 ······ Crime of the Century ······ Davies, Hodgson 5:36
DREAMER - Song Review by Mike DeGagne
The Crime of the Century album marked an extremely important breakthrough for Supertramp, going to number 38 on the U.S. album chart and number one in Britain. The album represented a breakaway of sorts from their early progressive sound, and showed signs of a more solid pop/rock formula in both the songwriting and the music itself. Although "Dreamer," the first single from the album, cracked the Top 20 in the U.K. in 1975, it wasn't until October of 1980 that the song would dent the American charts, one year after three songs from the monumental Breakfast in America album, released in 1979, had made the U.S. Top 20. But statistics aside, it's the stern but congenial addition of the keyboards running through the body of the song that gives it a sound all its own. "Dreamer" utilizes a busy instrumental drive, starting off simple and light but constantly building as the song advances, falling in behind the philosophical intuitions of the lyrics. True, there are fragments of Supertramp's mild progressive rock beginnings sprouting up throughout, but the excellent interplay between Davies' synthesizer work and Helliwell's saxophone playing steals the show, establishing a perfect rock rhythm from start to finish. "Dreamer" closes with an explosive finale and tapers off with the lone chime of a xylophone fading into the distance. The addition of John Helliwell, bass player Dougie Thomson, and former Bees Make Honey drummer Bob Benberg gives this song, and the rest of the album, a more radio akin sound, which in turn led to greater recognition for the band, especially outside of England.
Indelibly Stamped
- Post by Miguel Angel Candela MAC
- On 08 November 2010
- Hits: 3435
INDELIBLY STAMPED - 1971 - A&M
CLICK THE IMAGE TO BUY THE ALBUM IN AMAZON.COM (US)
Review in AMAZON: Another 'Tramp Buried Treasure, written in April 29, 2003 by Alan Caylow
Like their 1970 self-titled debut, Supertramp's second album, 1971's "Indelibly Stamped," was critically-acclaimed but didn't exactly set the cash registers ablaze. Still, the band continued to evolve, as they stepped away from the psychedelic rock of the first album and honed their trademark jazz/pop/rock hybrid sound that would eventually sell millions, starting with "Crime Of The Century." "Indelibly Stamped" is a marvelous Supertramp album, and a definite sign of things to come. For the second 'Tramp album, singer/guitarist Roger Hodgson and keyboardist Rick Davies got themselves a new line-up: bassist Frank Farrell, drummer Kevin Currie, and Dave Winthrop on flute & sax. Also, Rick Davies finally stepped up to the microphone for the first time with his first batch of lead vocals. Every single song on "Indelibly Stamped" is an excellent one. "Your Poppa Don't Mind" is a fun keyboard-thumper. "Travelled" is a lovely acoustic number that reminds me of vintage Crosby, Stills & Nash, and "Rosie Had Everything Planned" is a fine, light & breezy tune about a woman who gets into trouble with the law. "Remember" is pure arena rock all the way (complete with cheering audience), and "Forever" is, in my estimation, one of the greatest love songs ever written, as it says everything you could ever want to say to your sweetheart in a song, and you can slowdance to it. I'm definitely playing it at my wedding, that's for sure! "Potter" is a brief but excellent blast of guitar rock. "Coming Home To See You" is a pure gem, the lyrics in the style of a phonecall from a rude boyfriend to his girl, with the band kicking into a delightful, chugging choo-choo train jam at the end, featuring some outstanding organ & harmonica from Davies. "Times Have Changed" is a classic Davies ballad, signaling his other great, piano-based compositions that would follow. "Friend In Need" is a short but appealingly playful number, featuring some nice 20's-style piano & sax. And finally, Hodgson leads the band in the tremendous "Aries," a breathtaking 7 1/2 minute acoustic whirlwind. It's a phenomenal piece, another unsung 'Tramp classic. Once again, Hodgson & Davies' singing, songwriting & playing are superb, and their musical chemistry with the rest of the band simply cooks.This second version of Supertramp quickly folded after the commercial disappointment of "Indelibly Stamped," but, without question, they undeniably laid down the blueprint for the third and most-famous version of the band that would follow with "Crime Of The Century," with the band's signature jazz/pop/rock sound now firmly in place. "Indelibly Stamped," like Supertramp's self-titled debut from 1970, is a wonderful buried treasure that no 'Tramp fan should do without.
Title ······ Composer ······ Time
1 ······ Your Poppa Don't Mind ······ Davies, Hodgson ······ 3:02
2 ······ Travelled ······ Davies, Hodgson ······ 4:28
3 ······ Rosie Had Everything Planned ······ Farrell, Hodgson ······ 3:05
4 ······ Remember ······ Davies, Hodgson ······ 4:11
5 ······ Forever ······ Davies, Hodgson ······ 4:57
6 ······ Potter ······ Davies, Hodgson ······ 2:23
7 ······ Coming Home to See You ······ Davies, Hodgson ······ 4:46
8 ······ Times Have Changed ······ Davies, Hodgson ······ 3:50
9 ······ Friend in Need ······ Davies, Hodgson ······ 2:07
10 ······ Aries ······ Davies, Hodgson 7:37
Supertramp (Selftitled Album)
- Post by Miguel Angel Candela MAC
- On 08 November 2010
- Hits: 3883
SUPERTRAMP - SELFTITLED - 1970 - A&M
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Review by Mike DeGagne
Progressive in texture for the most part, Supertramp's debut album became increasingly disregarded as they blossomed commercially through the '70s. The album was the only one on which drummer Bob Miller and guitarist Richard Palmer appeared, replaced by Kevin Currie and Frank Farrell for the Indelibly Stamped release which surfaced a year later. Quite a bit different than their radio and AOR material, Supertramp is inundated with pretentious instrumental meandering, with greater emphasis and attention granted to the keyboards and guitars than to the writing and to the overall effluence of the music. There are some attractive moments, such as the mixture of ardor and subtlety that arises in "Words Unspoken," "Surely," and "Nothing to Show," and some of the fusion that erupts throughout the 12 minutes of "Try Again" is impressive even though the whole of the track results in one of the most extravagant and overblown pieces the band has ever produced. Hodgson's use of cello, flageolet, and acoustic guitar is endearing in spots, and while both he and Davies had just recently formed their alliance, it was evident that their songwriting was going to be one of the band's strengths. Ultimately dissatisfied with the results of the album, they retorted with Indelibly Stamped, which disappointingly followed suit. It wasn't until 1974's Crime of the Century that things began to improve for Supertramp, replacing Farrell and Currie with saxman John Helliwell, bass player Dougie Thompson, and drummer Bob Benberg.
From:
Comment in Amazon : The Psychedelic Supertramp
Reviewer: Alan Caylow (USA)
This is the 1970 self-titled album that started it all for Supertramp (NOT "Crime Of The Century," which many U.S. fans mistake as the group's debut disc). Some fans may be in for a shock when hearing this album for the first time, as it's by far the most psychedelic, art-rock album in the band's catalog. There's no trace of jazz leanings or saxophone anywhere, OR any lead vocals by Rick Davies (though he does play), and lots and lots of organ. There's even a brief detour into avant-garde experimental noodling. It's a far cry from "Breakfast In America," but don't let that throw you off. This is an absolutely fantastic album, one of the band's best. Believe me, you've never heard Supertramp ROCK like this before. For the first line-up of Supertramp, singer/guitarist Roger Hodgson and keyboardist Rick Davies are joined by bassist Richard Palmer & drummer Bob Miller (and, as already mentioned, there's no sax player yet). This four-piece version of Supertramp is outstanding, and their 1970 debut album is a stunning one. After the short-but-sweet acoustic intro of "Surely," the band rip into "It's A Long Road," a totally cookin', punchy rocker that never fails to amaze. The instrumental bridge alone is mesmerizing, with the band locking into their instruments like a four-headed machine, but from the first note to the last, this song is a true unsung 'Tramp classic. After the brief organ intro of "Au Bade" comes "And I'm Not Like Other Birds Of Prey," a lovely Hodgson number. "Words Unspoken" is a simply dreamy tune, and "Maybe I'm A Beggar," featuring bassist Palmer on co-lead vocals with Hodgson, is another psychedelic gem. Hodgson's "Home Again" is brief but very nice. The band continue rocking out with gusto on "Nothing To Show," and "Shadow Song" is another winning ballad from Hodgson. Then comes the album's centerpiece, "Try Again," a 12-minute art-rock masterwork that, like "It's A Long Road," allows the band to really flex their muscles (and it also gives them a brief, experimental King Crimson-ish moment toward the end---strange, but it works). It's a jaw-droppingly great piece, another 'Tramp buried treasure. Finally, the band concludes with a longer version of "Surely," and it's a fine album-closer. From beginning to end, the band's chemistry here is superb. Hodgson's falsetto voice, like always, is wonderful, and he plays a mean guitar on this one. Rick Davies has yet to show the world his vocal abilities, but his keyboard/organ playing throughout is awesome. And, in their only album with the band, Richard Palmer's bass is big and firm (and his vocals on "Maybe I'm A Beggar" are quite good as well), while Bob Miller is a pure powerhouse on the skins.I love all of the band's music, but "Supertramp" really stands apart from the rest of their work, and in more ways than one. I sincerely hope that 'Trampheads who still think that the band started with "Crime Of The Century" will pick up this album (as well as the band's second disc, "Indelibly Stamped"). Until they do, they are totally missing out on something special here. "Supertramp" is Hodgson, Davies & company as you've never heard them before, and never will again. As the band's lone detour into psychedelic rock, it sure is different, but it is totally outstanding stuff.
Tracks Title ······ Composer ········· Time
1 ······ Surely ······ Davies, Hodgson, Palmer ······ 0:31
2 ······ It's a Long Road ······ Davies, Hodgson, Palmer ······ 5:33
3 ······ Aubade and I Am Not Like the Other Birds of Prey ······ Davies, Hodgson, Palmer ······ 5:17
4 ······ Words Unspoken ······ Davies, Hodgson, Palmer ······ 3:59
5 ······ Mayber I'm a Beggar ······ Davies, Hodgson, Palmer ······ 6:44
6 ······ Home Again ······ Davies, Hodgson, Palmer ······ 1:15
7 ······ Nothing to Show ······ Davies, Hodgson, Palmer ······ 4:53
8 ······ Shadow Song ······ Davies, Hodgson, Palmer ······ 4:23
9 ······ Try Again ······ Davies, Hodgson, Palmer ······ 12:02
10 ······ Surely ······ Davies, Hodgson, Palmer ······ 3:08
2010 TOUR - SUPERTRAMP, London Oct. 6
- Post by MAC
- On 07 October 2010
- Hits: 7550
Without the agile voice of Roger Hodgson, the newly rebuilt Supertramp just isn't the real deal. Rating: * *
By Adam Sweeting
Published: 4:04PM BST 07 Oct 2010
The legendary US pop-group "Supertramp" with founder and keyboarder Rick Davies (L) and saxophonist John Helliwell (R) Photo: EPA. Photographer GINDL BARBARA
In their 40-year history, Supertramp have been to prog and back, and weathered a telephone book of personnel changes. Their early-Seventies art-rock leanings were gradually overshadowed by a glittering streak of hit singles, the best-known ones featuring the agile falsetto voice, and songwriting skills, of Roger Hodgson. However, Hodgson hasn’t been part of the set-up since 1983, so for many fans this newly rebuilt Supertramp will never quite be the real deal.
Still, it does feature saxophonist John Helliwell, vocalist/pianist Rick Davies and drummer Bob Siebenberg, all key members from the band’s golden age, and though there was supposedly an agreement between Hodgson and Davies that the revived Supertramp wouldn’t play any of Hodgson’s songs, they do anyway.
“I expect Rick to honour the agreement he and I made that the band would not play my songs,” Hodgson growled earlier this year, as he set up a string of his own solo dates. You can see why Davies and co are doing it — Hodgson’s songs are the most recognisable and popular ones — and it’s a syndrome which has affected countless bands from ELO to the Searchers, but it casts a shadow over the enterprise.
Part of the price they pay is the blurred sense of identity that hovers over the performance. Rick Davies appears to be the dominant character, featuring prominently on piano and lead vocals, but it’s Helliwell who does the introductions and little chats to the audience.
Also, to compensate for the absence of Hodgson’s distinctive voice, the combo have compromised by using a pair of replacements. So, you get Gabe Dixon singing a surprisingly brief Dreamer, and Jesse Siebenberg (son of drummer Bob) tackling the breezy folk-pop of Give A Little Bit. It starts to feel like an outlandishly huge karaoke night.
Still, the audience wanted the hits, and screamed and jumped up and down for the 'Tramp classics Breakfast In America, The Logical Song and Bloody Well Right. In between, the band exhibited a wearisome enthusiasm for instrumental passages which over-compensated in length for what they lacked in melodic or harmonic interest. Davies and Helliwell are skilful musicians with detectable jazz leanings in their playing, but they were strait-jacketed by these dull slabs of pseudo-Genesis and ersatz Moody Blues. Not even the muscular heavy lifting of lead guitarist Carl Verheyen could break free.
For Supertramp’s superfans, a more satisyfing option may be to splash out on the new deluxe, expanded reissue of their 1979 bestseller, Breakfast In America.
Tim Cole, Deputy Editor
Thursday, 7 October, 2010 16:10 PM
Rock superstars Supertramp were in top form at the O2 last night.
GOING to a gig by a big name band who haven’t had a hit in 25 years is always a risk.
WIll they present a stack of songs from a new album that doesn’t carry the weight as they bid to sell their latest fan fodder.
Or alternatively will they recognise that their audience have come along to hear the songs that shipped shedloads of vinyl in their heyday.
Supertramp came to the O2 Arena last night and kept to the latter, remaining true to the title of their tour: 70-10 The Greatest Hits.
It was an exuberant celebration of their 70s stardom with every single they released plus half a dozen album tracks from the quartet of big sellers, Crime Of The Century, Crisis, What Crisis, Even In The Quietest Moments and Breakfast In America.
Only three of that ‘elite’ line-up remain. Richard Davies, one of the band’s founding duo, singer, songwriter and keyboard player, is the lynchpin.
Drummer Bob Siebenburg, usually billed on albums as Bob C Benburg is still there.
And John Anthony Helliwell, saxophonist and woodwind player, remains centre stage as the master of ceremonies to entertain and conduct the crowd.
You would think that without Rodger Hodgson, the band’s other singer songwriter who departed in the mid 1980s, they would struggle to recreate the classic sound.
He, after all, wrote The Logical Song, Dreamer, Give A Little Bit and Breakfast In America to name but four, and his high pitched voice was key.
But Davies and co have found the answer - or rather the answers to that problem.
When Siebenburg came over from the US in the early 70s to seek a rock and roll fortune he arrived with school classmate Scott Gorham, who was promptly recruited by Thin Lizzy.
Siebenburg married Gorham’s sister and together had a son who could be the future of Supertramp.
Jesse Siebenburg plays guitar, keyboards and sings like Hodgson.
The audience first jumped to their feet as he played Give A Little Bit - a remarkable sign of approval - and they were similarly in raptures as he performed the first encore, School.
The other half of the Hodgson replacement team is Gabe Dixon, a man with his own eponymous band and a pork pie hat.
He was received in similarly joyous fashion singing It’s Raining Again and Dreamer, among others, and playing keyboards.
But Davies is at the heart of the band and many of the highlights were his.
A stunning piano solo in Another Man’s Woman, A wonderful version of Bloody Well Right. Show closer Goodbye Stranger. And to finish it all, as ever, the final encore Crime Of The Century.
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- 1983 Famous last words Tour
- 1979 Breakfast in America Tour
- 1977 Even in the quietest moments Tour
- 1975/76 Crisis? What crisis? Tour
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- KEN SCOTT, interview
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- John A. Helliwell BIO & NEWS
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