Breakfast In Spain - Roger Hodgson and Supertramp website - Supertramp Discography & Albums Breakfast In Spain - Roger Hodgson and Supertramp website - Since 1996 http://breakfastinspain.com/index.php/supertramp-discography-albums-works Wed, 28 Jun 2017 03:54:32 +0000 Joomla! - Open Source Content Management - Version 2.5.8 en-gb Crime of the century DELUXE EDITION http://breakfastinspain.com/index.php/supertramp-discography-albums-works/1641-crime-of-the-century-deluxe-edition http://breakfastinspain.com/index.php/supertramp-discography-albums-works/1641-crime-of-the-century-deluxe-edition

December 8, 2014

New Double CD  40th Anniversary Crime of the Century DELUXE EDITION

crime vinylbox

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mac@breakfastinspain.com (MAC) Discography - Albums Wed, 10 Dec 2014 13:53:07 +0000
Breakfast in America http://breakfastinspain.com/index.php/supertramp-discography-albums-works/467-breakfast-in-america http://breakfastinspain.com/index.php/supertramp-discography-albums-works/467-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
 
 
 
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mac@breakfastinspain.com (MAC) Discography - Albums Fri, 07 Jan 2011 15:09:00 +0000
Even in the quietest moments http://breakfastinspain.com/index.php/supertramp-discography-albums-works/466-even-in-the-quietest-moments http://breakfastinspain.com/index.php/supertramp-discography-albums-works/466-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"

 

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mac@breakfastinspain.com (MAC) Discography - Albums Fri, 07 Jan 2011 13:45:23 +0000
Crisis ? What Crisis ? http://breakfastinspain.com/index.php/supertramp-discography-albums-works/465-crisis-what-crisis http://breakfastinspain.com/index.php/supertramp-discography-albums-works/465-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"

 

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mac@breakfastinspain.com (MAC) Discography - Albums Fri, 07 Jan 2011 13:19:10 +0000
Famous Last Words http://breakfastinspain.com/index.php/supertramp-discography-albums-works/435-famous-last-words http://breakfastinspain.com/index.php/supertramp-discography-albums-works/435-famous-last-words

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

FamousCoverSmall

To know more about this album, see this INTERVIEW
Para saber más sobre el album, mira esta ENTREVISTA

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...

 

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mac@breakfastinspain.com (MAC) Discography - Albums Tue, 16 Nov 2010 14:58:53 +0000
Extremes - Original Soundtrack http://breakfastinspain.com/index.php/supertramp-discography-albums-works/433-supertramp-extremes-original-soundtrack http://breakfastinspain.com/index.php/supertramp-discography-albums-works/433-supertramp-extremes-original-soundtrack 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.

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web@breakfastinspain.com (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:50:04 +0000
Crime of the Century http://breakfastinspain.com/index.php/supertramp-discography-albums-works/432-discography-supertramp-crime-of-the-century-album http://breakfastinspain.com/index.php/supertramp-discography-albums-works/432-discography-supertramp-crime-of-the-century-album CRIME OF THE CENTURY - 1974 - A&M

Release 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.]]>
web@breakfastinspain.com (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:47:12 +0000
Indelibly Stamped http://breakfastinspain.com/index.php/supertramp-discography-albums-works/431-discography-supertramp-indelibly-stamped-album http://breakfastinspain.com/index.php/supertramp-discography-albums-works/431-discography-supertramp-indelibly-stamped-album

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

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web@breakfastinspain.com (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:45:10 +0000
Supertramp (Selftitled Album) http://breakfastinspain.com/index.php/supertramp-discography-albums-works/430-discography-supertramp-supertramp-selftitled-album http://breakfastinspain.com/index.php/supertramp-discography-albums-works/430-discography-supertramp-supertramp-selftitled-album SUPERTRAMP - SELFTITLED - 1970 - A&M


CLICK THE IMAGE TO BUY THE ALBUM IN AMAZON.COM (US)

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

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web@breakfastinspain.com (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:41:20 +0000
BREAKFAST IN AMERICA, the making off http://breakfastinspain.com/index.php/supertramp-discography-albums-works/239-breakfast-in-america-the-making-off http://breakfastinspain.com/index.php/supertramp-discography-albums-works/239-breakfast-in-america-the-making-off

breakfastcover

Source: SOUNDandSOUND

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

 

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

Richard Buskin


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

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

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

Going South

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

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

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

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

breakfastbackcover

Village Life

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

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

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

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

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

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

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

 classicsupertramp3diagram

 

A Relaxed Schedule

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

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

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

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

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

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

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

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

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

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

 Breakfast

 

Soft And Bright

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

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

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

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

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

Crystal Balls

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

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

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

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

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

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

 classicsupertramp2lineup

 

A Moment Of Doubt

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

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

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

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

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

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

What a business.


Photo: Grammy's awards

Supertramp1979b

 

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mac@breakfastinspain.com (MAC) Discography - Albums Thu, 09 Sep 2010 14:19:04 +0000
SUPERTRAMP BBC PEEL SESSIONS http://breakfastinspain.com/index.php/supertramp-discography-albums-works/237-supertramp-bbc-peel-sessions http://breakfastinspain.com/index.php/supertramp-discography-albums-works/237-supertramp-bbc-peel-sessions

22/08/1972 - Supertramp
TX - 12/09/1972
Pony Express
School
Everyone Is Listening
I Can See

LINE UP
Richard Davies (Organ, Vocals)
Frank Farrell (Guitar, Vocals)
Dave Winthrop (Saxophone, Vocals)
Kevin Currie (Drums)
Roger Hodgson (Bass, Vocals)


20/11/1972 - Supertramp
TX - 23/11/1972
Summer Romance
Rudy
Pony Express
Dreamer

LINE UP
Richard Davies (Organ, Vocals)
Dougie Thompson (Bass)
Dave Winthrop (Saxophone, Vocals)
Kevin Currie (Drums)
Roger Hodgson (Bass, Vocals)


25/06/1973 - Supertramp
TX - 05/07/1973
Chicken Man
Down In Mexico
Just A Normal Day
(& Land Ho, 2/3/74, Rock On)

LINE UP
Richard Davies (Organ, Vocals)
Dougie Thompson (Bass)
Dave Winthrop (Saxophone, Vocals)
Kevin Currie (Drums)
Roger Hodgson (Bass, Vocals)


23/05/1974 - Supertramp
TX - 06/06/1974
TRACKLIST
If Everyone Was Listening
School
Bloody Well Right

LINE UP
Richard Davies (Organ, Vocals)
Dougie Thompson (Bass)
John Anthony Heliwell (Saxophone, Clarinet, Vocals)
Bob C. Benberg (Drums)
Roger Hodgson (Bass, Vocals)


You can also check the Official website

 

]]>
mac@breakfastinspain.com (MAC) Discography - Albums Thu, 09 Sep 2010 13:05:42 +0000
SUPERTRAMP AUDIO rare recordings http://breakfastinspain.com/index.php/supertramp-discography-albums-works/236-supertramp-audio-rare-recordings http://breakfastinspain.com/index.php/supertramp-discography-albums-works/236-supertramp-audio-rare-recordings

OFFICIAL Recordings

supertampstudio


You started laughing
Despite you can listen a live version of this song in the "Paris" album (1980) this song was released as a single in 1975, just the B-side of the song "Lady" (Crisis ? What crisis? album ), but not included in the album due to no room enough in the vinyl. (in order to do not decrease the sound quality of the album, just a technical problem).
This studio version is a very interesting listening.

Auténtica joya para los fans incluida solo en el album Paris de 1980, en realidad existe una versión en estudio editada en 1975, pues era la cara B del single "Lady" (Crisis ? What Crisis?) y no pudo ser incluida en el disco por problemas de espacio para no hacer perder calidad al resto del disco.
Esta versión de estudio es muy interesante de escuchar.

 

Land Ho
Despite you can listen a new version in the "Hai Hai" album (1987) of Roger Hodgson, this song was released as a single together with the song "Summer Romance", in 1974, when Roger was in Supertramp.
Both original songs were included for the first time in CD in the "Retrospectacle" album year 2005 (Supertramp compilation)
The versions of "Land Ho" and "Summer Romance" on Retrospectacle are the 1975 re-mixes which the band intended to use on Crisis? What Crisis? but left off at the last minute.

Aunque Roger grabó una versión en 1987 para su disco "Hai Hai", en realidad ya la había grabado con Supertramp años antes en 1974, en un single junto con el tema "Summer Romance".
Ambas canciones del single se incluyeron en el recopilatorio "Retrospectacle" por primera vez en CD en 2005.
Estas versiones de "Land Ho" y "Summer Romance" del Retrospectacle son las re-mezclas de 1975 que la banda pretendía usar en el album Crisis? What Crisis? pero que fueron descartadas en última instancia.

 

Summer Romance
Released as a single by Supertramp in February 1974 together with "Land Ho" and included in the "Retrospectacle" album for the first time in CD in year 2005.

Publicada en single por Supertramp en Febrero 1974 junto con "Land Ho" e incluida en el album "Retrospectacle" por primera vez en formato CD en 2005.

 

Gold Rush
This song was the "opening song" in the Supertramp shows during the early years.
Lyrics by R. Palmer and music by Rick Davies and Roger Hodgson, was included finally in the "Slow Motion" album year 2002.

Con esta canción abría Supertramp sus conciertos en los primeros años, cuando aún no eran conocidos.
Finalmente la han grabado e incluido en el album "Slow Motion"de 2002
.

 

Fegefeuer/Purgatory
This is a soundtrack Supertramp recorded in Germany in 1970 for a 20 minutes film. Just 8 tracks, instrumental. (no vocals)
The dramatic start is very very similar to "School" song (harmonica), but also a percussion slow rythm like Pink Floyd style imitating the sound of the heart.
Recently was released as a Limited edition in DVD (Supertramp do not appears in the movie) You can order it artundsale@gmx.de

Esta es una banda sonora que Supertramp grabó en Alemania en 1970 para un corto de 20 minutos. Solo 8 temas, instrumental.(no cantan)
El intrigante comienzo es muy muy similar a "School" (la armónica), pero con el añadido de una percusión lenta y potente al estilo Pink Floyd en Dark side of the Moon, imitando los latidos del corazón.
Recientemente ha sido publicado en edición limitada en DVD (Supertramp no aparece en el film) Podeis solicitarlo a artundsale@gmx.de 

 


 BOOTLEGS. UNOFFICIAL recordings

During the 70's and 80's it was easy to find some unofficial recordings in the music shops (first in vinyl and later in CD) from the 1975-1976 tours.
The name of the albums: Dreamer, Dreamers, Lady tour, Easy guitar, etc, ...
It's not too clear the exact source of these recordings, there are songs from different shows, and even some songs are from the "Paris" album (believe it......)
But one thing is sure: Dreamers album was recorded in Hammersmith (London) in 1975, due to some "clues" you can find just listening the John's speeches.

In 2001 other unofficial CD was released called "Is everybody listening", but this recording is nothing but the old "Dreamers" album.
You can read "Recorded live in Cleveland, Ohio, 1976", but that's not true, as I explained before.

In December 2014, this concert is included in the "Crime of the Century DELUXE EDITION".

Unfortunatelly there are not too good unoffical recordings from the next tours, cause most are audience recordings.
But the recordings of Munich, Milwaukee and Dallas are pretty good.
Below, the summarize of the best.


En los 70 y 80 no era difícil encontrar en las tiendas una serie de grabaciones piratas (primero en vinilo y luego en CD) de las giras 75 - 76. Los discos se llamaban: Dreamer, Dreamers, Lady tour, Easy guitar, etc, ...
Es difícil saber el contenido exacto de dichas grabaciones, pues se mezclaban conciertos diferentes e incluso se incluyen grabaciones del Paris, aunque no os lo creáis ....
Lo que si es seguro es que el disco Dreamers contiene la grabación del concierto en Hammersmith (Londres) de 1975, por las pistas que se pueden obtener de las presentaciones de John durante el concierto.
En 2001 salió al mercado un disco pirata llamado "Is everybody listening" que no es más que el album Dreamers reeditado, a pesar de que en la portada podais leer que se trata de un concierto grabado en Cleveland, Ohio en 1976, lo cual no es cierto.

En Diciembre de 2014 dicho concierto es incluido en la edición "Crime of the Century DELUXE EDITION".

Desafortunadamente no existen muy buenas grabaciones piratas de las giras siguientes, pues la mayoría son grabaciones caseras, aunque las grabaciones de los conciertos de Munich, Milwaukee y Dallas que circulan por ahí son más que aceptables.
Aqui teneis un resúmen de lo más destacado
:


Concerts:

Supertramp live 1977 Seattle
Supertramp live 1979 (double) Milwaukee
Supertramp live 1983 (double) Munich
Supertramp live 1985 Dallas
Supertramp live 2002 several audience recordings


BBC sessions

Around 1972 - 1974 Supertramp performed some numbers live for the BBC. This versions are a bit different from the final ones (studio version), mainly the song Dreamer, but the copies I've found are in not good quality sound:

- Dreamer
- Rudy
- Summer romance
- Ponny express
- School
- And other songs.

See the full info about these sessions: BBC Peel Sessions

 

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mac@breakfastinspain.com (MAC) Discography - Albums Thu, 09 Sep 2010 12:42:58 +0000
SUPERTRAMP VIDEO Footage http://breakfastinspain.com/index.php/supertramp-discography-albums-works/234-supertramp-video-footage http://breakfastinspain.com/index.php/supertramp-discography-albums-works/234-supertramp-video-footage

OFFICIAL VIDEO FOOTAGE

supertramp1975_little

The only "official" is "The story so far" and the promotional videoclips. The rest is unofficial, like several concerts aired on TV, good quality some of them and easy to find and download in the Internet, or exchanging material with other fans in the Roger's and Supertramp's forums.

Ther's a unofficial DVD called "Inside Supertramp", part of a collection of musical technics, that could disappoint to you if you are looking for documentaries or concerts of Supertramp.
I also want to point a fantastic DVD from the BBC that includes the song Dreamer in 1975 performed by Supertramp in the TV studios. I attach the reference to this DVD below in the unofficial Supertramp section, but that's a real BBC recording. 
John is memorable in these clips for “playing” water-filled wine glasses by rubbing the rims.
This was supposed to be providing some of the sustained synth sounds but was merely an eye catching stage device.

 

NEW ! August 2012: After many years through legal issues, Supertramp Paris '79 was released, in DVD and Blu-Ray formats
Related:
Video Interview with John Helliwell & Peter Henderson, about the Paris'79 DVD and Blu-Ray

ParisDVDweb


El único video oficial hasta el momento es el "The story so far" (muy buen video, la versión en DVD incluye algunos videoclips) y los videoclips promocionales de los discos.
El resto de cosas que podais encontrar son piratas, o conciertos emitidos por TV (algunos de muy buena calidad), que son fáciles de encontrar gratis por la red o en intercambios con otros fans en foros de Roger y Supertramp.

Hay un DVD pirata llamado "Inside Supertramp" de una colección de técnicas musicales que os defraudará si estáis buscando un documental sobre Supertramp o conciertos. Además es bastante flojo y superficial.

Apuntar que existe un DVD oficial de la BBC que contiene un aparición de Supertramp interpretando Dreamer en 1975, una auténtica joya para fans acérrimos, pues solo hay esa canción de Supertramp en el DVD, como parte de un importante programa de TV que se emitió durante años. Lo especifico más abajo junto al material no oficial de Supertramp, aunque es auténtico material de la BBC que vale la pena tener.
Es memorable la aparición de John en esos clips de Dreamer, usando unos vasos de cristal medio llenos de agua haciendo rozar sus dedos por la parte superior imitando el sonido del sintetizador, que es lo que realmente suena, y no los vasos. Se trata sólo de una estratagema comercial para llamar la atención del espectador.
 
 
NOVEDAD ! Agosto 2012: Tras varios años de disputas legales, el video Supertramp Paris 79 ha visto finalmente la luz, en DVD y Blu-Ray.
Relacionado:
Video Entrevista con John Helliwell & Peter Henderson, sobre el Paris'79 DVD y Blu-Ray

 


THE STORY SO FAR

Available in VHS and DVD formats. Very good and interesting video.

"The Story So Far" is a revealing film that traces the birth of a supergroup. In their own words the members of Supertramp share with us their memories of the band's formation and development.

Featured highlights are performances from their massive 1983 World Tour (Munich and Toronto). Included are these acclaimed hit songs:

Crazy . Ain't Nobody But Me . Breakfast In America . Bloody Well Right . Give A Little Bit . From Now On . The Logical Song . Goodbye Stranger . Dreamer . School . Crime Of The Century

Available for the first time and only on this DVD are the bonus videclips:

My Kind Of Lady . Cannonball . Better Days . Free As A Bird . I'm Beggin' You


BROTHER WERE YOU BOUND

Available in VHS and Laser Disc formats. (years ago....)

Only contains three videoclips according the songs:
- Cannonball
- Better Days
- Brother were you bound


VIDEOCLIPS

Aired on TV around the world

- It's raining again
- My Kind Of Lady
- Cannonball
- Better Days
- Free As A Bird
- I'm Beggin' You
- You win I lose
- Listen to me please

  

PARIS LIVE '79

Available in DVD and Blu-Ray formats, August 27 , 2012
133 minuts

1  School
2  Bloody Well Right
3  The Logical Song
4  Goodbye Stranger
5  Breakfast In America
6  Hide In Your Shell
7  Asylum
8  Even In The Quietest Moments
9  Give A Little Bit
10 Dreamer
11 Rudy
12 Take The Long Way Home
13 Another Man's Woman
14 Child Of Vision
15 The  Fool's Overture
16 Two Of Us
17 Crime Of The Century
18 From now on (Credits)

BONUS TRACK
Featured remixed Audio with newly created visuals: (due to the lack of the original film from that songs)
Montaje de fotos de la banda mientras suenan las grabaciones de: (debido a la falta de filmacion original de esos temas)
Ain't nobody but me (5 min), You started laughing (when I held you in my arms) (4 min.), A soap box opera (5 min.), From now on (7 min.),  Downstream (4 min.).

 

 


 

BOOTLEGS. UNOFFICIAL VIDEO FOOTAGE

- Apart from the audience recordings, obviously the best are the concerts and documentaries aired on TV.
Don't miss the "Queen Mary college 1977" and Munich or Toronto 1983, all that very good quality.
- Also the DVD from the BBC (Dreamer song) is amazing !!!
 
Here you are, the summarize of the best.


- Aparte de posibles grabaciones particulares, evidentemente lo más interesante son conciertos o programas sobre Supertramp emitidos en las Televisiones del mundo. No se puede perder uno el concierto del Queen Mary College de 1977 o los de Munich o Toronto 83, todos ellos de muy buena calidad y que recojen a la banda en los principios y finales de su decada gloriosa.
- También es imprescindible el DVD de la BBC donde Supertramp interpreta Dreamer en el año 1975 !!!

Aquí teneis una lista con lo más destacable de todo lo que corre por ahí.

 

Concerts aired on TV over the years:

- TOKIO, 1976 (very bad quality the copies I've found. If yours is fine, please contact me !)
- QUEEN MARY COLLEGE, LONDON 1977 (great !!!)
- MUNICH 1983 (último/last concierto de Roger con la banda en Europa)
- TORONTO 1983
- MADRID 1988 (ya sin/without Roger y con nuevos músicos)
- MALAGA 1997 (just the 3 first songs/los 3 primeros temas, spanish local TV)


TV shows and documentaries aired on TV over the years:

- Top of the pops 1974 (UK) The song "Dreamer".
- The old grey whistle 1975 (UK) The song "Dreamer". Available on DVD, BBC Collection Volume 3
- Midnight special (UK) 1977-1979 Songs: Give a little bit, Logical, Breakfast, Goodbye stranger ,.... (playback)
- Les Enfants du rock 1983 (France)
- The story so far video in spanish language (aired on Spanish TV)
- Free Pass 1997 (Italian TV) About the "somethings never change" album and tour.


- Lots of Promos and Interviews around the world over the years.

 

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mac@breakfastinspain.com (MAC) Discography - Albums Thu, 09 Sep 2010 12:05:24 +0000
Breakfast in America DELUXE EDITION http://breakfastinspain.com/index.php/supertramp-discography-albums-works/222-breakfast-in-america-deluxe-edition http://breakfastinspain.com/index.php/supertramp-discography-albums-works/222-breakfast-in-america-deluxe-edition

September 6, 2010

 New Double CD - "Breakfast in America DELUXE EDITION" 

 bia_deluxe

 CLICK THE COVER or HERE TO BUY IT IN AMAZON 

The long awaited DELUXE EDITION of the classic "Breakfast In America" will be released on October 4, 2010 (followed in early 2011 by the Deluxe Edition of "Crime Of The Century").
This brand new re-issue will consist of a newly remastered edition 2010 of the album on CD 1 & live versions from the Breakfast In America Tour 1979 including all the deleted tracks from "Paris" ("Child of Vision", "Give A Little Bit", "Even In The Quietest Moments",...) on CD 2

After listening this CD2: note that the sound quality is not the same than Paris album, what a  shame....

Also available the simple edition, only CD 1 remastered.   

CD2 - Deluxe Edition :
1. "The Logical Song" (Live At Pavillon de Paris) - 4:06
2. "Goodbye Stranger" (Live At Pavillon de Paris) - 6:11
3. "Breakfast In America" (Live At Wembley) - 3:05
4. "Oh Darling" (Live In Miami) - 4:21
5. "Take The Long Way Home" (Live At Wembley) - 4:48
6. "Another Man's Woman" (Live At Pavillon de Paris) - 7:32
7."Even In The Quietest Moments" (Live At Pavillon de Paris) - 5:36
8. "Rudy" (Live At Wembley) - 7:29
9."Downstream" (Live At Pavillon de Paris) - 3:28
10. "Give A Little Bit" (Live At Pavillon de Paris) - 4:03
11. "From Now On" (Live At Wembley) - 6:53
12. "Child Of Vision" (Live At Pavillon de Paris) – 7:32

bia_deluxe2 

La largamente esperada edición DELUXE del clásico "Breakfast in America" será publicada el 4 de Octubre 2010 (seguida a principios de 2011 de la edición DELUXE de "Crime of the Century")
Este lanzamiento consistirá en una nueva edición remasterizada en 2010 del album en el CD1 y de versiones en directo de la gira Breakfast in America de 1979, incluyendo todas las canciones descartadas del album "Paris" ("Child of Vision", "Give A Little Bit", "Even In The Quietest Moments",...) en el CD 2 .

Aviso a navegantes: tras escucharlo, desgraciadamente la calidad de este CD2 no tiene nada que ver con el album Paris, que pena....

También disponible en versión sencilla solo con el CD 1 remasterizado. 



SUPER DELUXE EDITION

On December 6th, 2010 the SUPER DELUXE EDITION of "Breakfast In America" will be released.
A beautiful box-set (12'' Format) including the two CD set from the regular Deluxe-Edition, the LP copy of the album, a DVD documentary, a fac-similé of the "Breakfast In America" Programme and memorabilias (Poster,backstage passes, ticket etc....). The perfect gift for Christmas !!!

Box-set includes:  (more than 100 euros !!! )

- 2 CD (deluxe edition)
- DVD (The Old Grey Whistle Test (March 1979); Promo videos for  "The Logical Song", "Breakfast in America", "Goodbye Stranger"; W5 Canadian TV Special, September 1979 )
- The original album on vinyl
- Ticket from Wembley, 2nd nov 1979
- Book (60 Page hard-backed book, full of rare photographs and exclusive interviews)
- Merchandise: poster; woven patch; tour laminate; replica 1979 European tour programme
 

Superdeluxe 

Y el 6 Diciembre  2010, será lanzada la edición SUPER DELUXE del "Breakfast In America".
Un precioso super-pack (en formato de 12 pulgadas) que incluye los dos CD de la edición Deluxe, una copia en LP del album original, un DVD con documentales, un facsimil del programa "Breakfast In America", un libro de 60 páginas con fotos y entrevistas,  y otros conmemorativos (Poster, parche para chaqueta, ticket etc....). El regalo perfecto para Navidad !!! (aunque por más de 100 euros !!! se han pasao....)

 

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mac@breakfastinspain.com (MAC) Discography - Albums Tue, 07 Sep 2010 21:01:22 +0000
Discography - Summary http://breakfastinspain.com/index.php/supertramp-discography-albums-works/137-supertramp-discography-summary http://breakfastinspain.com/index.php/supertramp-discography-albums-works/137-supertramp-discography-summary
 
 
 
  

SUPERTRAMP Video Footage

SUPERTRAMP Audio rare recordings                                         SUPERTRAMP in the Grammy's Awards

 


 


Supertramp - 1970


selftitled_2_album-supertramp 

CLICK HERE FOR MORE INFO


Indelibly Stamped - 1971

indel_stamped_cover

CLICK HERE FOR MORE INFO
 

Crime of the Century - 1974

Supertramp_-_Crime_Of_The_Century_- 

CLICK HERE FOR MORE INFO
 

 
Crisis? What crisis?- 1975
 
crisis_2_cover
CLICK HERE FOR MORE INFO

Even in the Quietest Moments- 1977
even2_cover
CLICK HERE FOR MORE INFO
 

Breakfast in America - 1979

breakfast_2_cover

CLICK HERE FOR MORE INFO 
  

Paris - 1980 (Live)
paris_2_cover


Famous Last Words - 1982

famous_cover
CLICK HERE FOR MORE INFO

Brother Where You Bound - 1985
 
 brother_cover
 

Free As a Bird - 1987
 
free_bird_cover


The Autobiography of a ST- 1987 (compilation)
 
autobiography_cover


Live 88 - 1988 (Live)



Very Best of 1 - 1990 (compilation)
 
bestof_cover


Very Best of 2 - 1992 (compilation)
supertramp_very_best_of_2

Some Things Never Change - 1997
 
somethingnever_cover


It was the best of times - 1999 (live)


Slow Motion - 2002
 
slowmotion_cover


Retrospectacle - 2005 (compilation)


 

The NAME Supertramp

Where does Supertramp name comes from ?

De dónde viene el nombre de Supertramp ?

 

 

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mac@breakfastinspain.com (MAC) Discography - Albums Sat, 14 Aug 2010 16:43:16 +0000