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JOHN HELLIWELL in Spanish TV, February 2017


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Berlin, December 13

John Helliwell and Jesse Siebenberg In the EXCALIBUR LIVE


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2015 Supertramp Forever Tour

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BOB SIEBENBERG in Modern Drummer, December 15, 2014

Supertramp’s Bob Siebenberg

Bob Siebenberg By Jane-Magarigal

December 15, 2014
Posted in: Drummers, Feature Stories

Reflecting on the fortieth anniversary of the band’s classic "Crime of the Century" album
by Adam Budofsky

Supertramp has always been tough to categorize. Is it a pop band with a fondness for complex arrangements, a progressive-rock band with impeccable pop smarts, or something else entirely? One thing’s for sure: Difficulties categorizing the group seemed not to hurt its popularity, as a string of hit albums, including Even in the Quietest Moments (featuring the hit “Give a Little Bit”) and Breakfast in America (“The Logical Song,” “Take the Long Way Home,” “Goodbye Stranger”) kept Supertramp at the top of the charts throughout the mid and late ’70s.

The group’s breakout album, 1974’s Crime of the Century, has recently been remastered and fleshed out with a second disc containing a 1975 concert at London’s Hammersmith Odeon, mixed from the original tapes by on-the-night engineer and regular Supertramp studio guide Ken Scott, who’d previously worked with the Beatles, David Bowie, and Mahavishnu Orchestra, among many others. Modern Drummer asked drummer Bob Siebenberg—whom Supertramp followers know from album credits as Bob C. Benberg—to reminisce about the recording, which still sounds remarkably vital today.


MD: It’s difficult to avoid superlatives when discussing Crime of the Century. The songs, the sounds, the performances, and the ideas are all so strong. At the time did you feel that you were on to something special and making a leap forward as a band?

Bob: The band was brand new. [Singer-songwriters] Rick Davies and Roger Hodgson had recorded two albums previously with two different lineups, without much success. There was a real feeling of optimism in the new lineup, and we jelled right away. We knew we had an interesting cast of characters and totally believed in ourselves. This was the first record with the new lineup, and it felt like we could do something special. The ingredients were all there. We had label support and tons of enthusiasm.

MD: Your playing is always graceful, yet your parts are often unexpected. The main drum beat of “Dreamer,” including how it sort of slips in during the buildup, is not typical. The removed backbeats in the verses of “Bloody Well Right” are really cool. The floor tom and delayed-snare bit in “Hide in Your Shell,” the offbeat cymbal crashes during the dual-vocal section of “Rudy,” those big flammed fills when you enter the title track—so many cool approaches. Did you make a habit of trying significantly different ideas when you were arranging your parts in the studio or rehearsal room?

Bob: Thanks for saying so. I appreciate it. The drumbeat in “Dreamer” evolved from an idea by Roger. He always had unorthodox ideas about drums, and sometimes it would turn out really cool. These ideas would get sent through my filter and feel and come out the other end. What you mention on “Bloody Well Right” was just how I heard it. It followed the feel of the riff. And, yeah, I was always in pursuit of being creative and solid. My job was to provide a steady but interesting backbone. If it didn’t need a fill, don’t do one; the transition setups could be served by just an extra bass drum kick or flick of a stick. If it needed a fill, make it count. Make it meaningful and keep the pulse seamless.

All these examples you have chosen came pretty naturally. It’s always a process of simplifying, listening back and deciding whether it was cool or not. It starts in rehearsal. We used to tape our rehearsals on a two-track and sit and listen and find the form. Things would evolve right through the backing-track stage in the studio. Once we get in there and hear the sounds, things can change.

The “Hide in Your Shell” piece you refer to was a production idea. By that I mean it’s not what I originally started to play. Roger and Ken pulled that one out on a particularly zany night. I’m [actually] playing it pretty straight in there. It’s a cool beat that sits up and hovers and always sits back down on the 1.

MD: There’s such clarity to your stick work. Did you have rudimental training when you were coming up?

Bob: I would have to admit I’ve had no rudimental training. It’s all seat of the pants. It’s how I learned to play—listening, emulating, and feeling. I grew up playing in bands. I never lived anywhere where I could practice.

MD: More than many drummers, you really work the floor toms into your creative ideas. The fills leading into the choruses of “Asylum,” for instance, are so powerful. And the way they’re treated with reverb there makes them sound even more dramatic. One could imagine these types of moments being the result of discussions between the band and Ken Scott. Was that the case?

Bob: Well, to begin with, we were so fortunate to have Ken at the helm. There was and is no one better in the studio as a producer/engineer than Ken. And that’s not to take anything away from our good friend and producer/engineer Peter Henderson, who we worked with on several records later in our career, including Breakfast in America. But it was a different time and stage in our career with Ken. He was totally absorbed and working hard to create something that would blow people away. He set the tone for what our records had to be for the rest of our career.

In the case of “Asylum,” those were the fills I had cooked up in rehearsals and modified ever so slightly in the studio. Ken recorded them and made them sound the way they do. There was always interaction between us in the studio. We were all in this together, and we had respect for one another and were all willing to take direction. Ken included.

MD: The sound quality of Crime is as good as anything being released today, forty years later, and it seems to really benefit from a spaciousness in the mix. Do you recall any details about the recording in terms of miking or mixing?

Bob: The arrangements to these songs are very streamlined and very well thought-out. Rick and Rog were totally absorbed in the process—as we all were—but these were songs they’d been cooking up for quite a while, and they had a pretty good idea how they wanted them to come off. As for the mixing, it was an all-hands-on-deck affair. Everyone had a job to do. All pre-automation, pre-digital—totally handmade.

MD: Do you recall what gear you used on the sessions?

Bob: I had brought over my drums from Los Angeles when I moved to London in 1971. [Siebenberg, the lone American in Supertramp at the time, had previously played with the popular British pub-rock band Bees Make Honey.] I had bought them in 1965. They were champagne sparkle Ludwigs. I used a 26″ Ludwig bass drum, with two on the top, one on the floor. I had picked up a Rogers 16×18 in London. My snare drum was a wooden Gretsch.

My cymbals were pretty raggedy from years of dragging everything around, and they were all Zildjians except for the main ride, which was a Zyn I had picked up somewhere while playing in Bees Make Honey. All of them except for the hi-hats were replaced after recording the album and there were a few bucks around to hit the road.

MD: Several of the tracks on Crime have dramatic drum entrances, sometimes a couple minutes after the song begins. When you play those songs live, are you really raring to go as the tension builds up to those entrances?

Bob: Well, yes, I guess you could say that. Being on the stage with Supertramp back then was a totally focused affair. I was always listening and inside the tune. I would start playing along in my head as my spot approached, and my body would start to move as if I was already playing, and bang. So I was totally in before I actually started. It’s a great band to play in. The band was always very, very focused on the music.




crime cover


Bob Siebenberg de Supertramp

15 de diciembre 2014

Reflexionando sobre el cuadragésimo aniversario del album "El crimen del siglo", una gran fita de la banda.
por Adam Budofsky

Supertramp siempre ha sido difícil de clasificar. ¿Es una banda de pop con afición por los arreglos complejos, una banda de rock progresivo con impecables toques pop, o algo completamente distinto? Una cosa es segura: Las dificultades a la hora de categorizar su musica parecían no hacer daño a su popularidad, con una cadena de álbumes de gran éxito, incluyendo "Even in the Quietest Moments" (con el hit "Give a Little Bit") y "Breakfast in America" ("The Logical Song", " Take The Long Way Home ", "Good bye Stranger") mantuvo a Supertramp en la cima de las listas de éxitos a mediados y finales de los 70.

El álbum de su despegue, "Crime of the Century" en 1974, ha sido remasterizado de nuevo y se acompaña de un segundo disco con un concierto de 1975 en el Hammersmith Odeon de Londres, mezclado de las cintas originales por su ingeniero en aquellos tiempos Ken Scott, que había trabajado anteriormente con los Beatles, David Bowie, y Mahavishnu Orquesta, entre muchos otros. Modern Drummer conversó con el baterista Bob Siebenberg, a quien los seguidores Supertramp también conocen como Bob C. Benberg por los créditos en los discos, para rememorar aquella grabación, la cual sigue sonando en nuestros días con una vitalidad extraordinaria.


MD: Es difícil evitar superlativos cuando se habla del “Crime of the century”. Las canciones, los sonidos, interpretaciones y las ideas son tan potentes. ¿En aquel momento érais conscientes de que estábais grabando algo tan especial y dando un salto gigantesco como banda?

Bob: La banda era completamente nueva. [Los cantautores] Rick Davies y Roger Hodgson habían grabado dos discos anteriormente con dos formaciones distintas, pero sin mucho éxito. Había una verdadera sensación de optimismo en la nueva formación, y todo encajó enseguida. Sabíamos que teníamos un interesante conjunto de personalidades y creíamos totalmente en nosotros mismos. Este fue el primer disco con la nueva formación, y sentíamos que podíamos hacer algo muy especial. Los ingredientes estaban allí. Teníamos el apoyo de la discográfica y entusiasmo a raudales.

MD: Tu estilo siempre es elegante, aunque tus partes son a menudo inesperadas. El ritmo principal en "Dreamer", incluyendo la forma en que va progresando con detalles la canción, es algo atípico. Los extraños acentos y contrapuntos en los versos de "Bloody Well Right" son realmente geniales. Los los golpes de timbales y "delay" de caja en "Hide in Your Shell," los insólitos golpes de platillos durante la sección doble vocal de "Rudy", esos grandes redobles ardientes cuando entras en la canción que da titulo al álbum, tantos y tantos detalles frescos e interesantes .... ¿Tenías la costumbre de probar nuevas ideas mientras preparabas tus partes en el estudio o ensayos?

Bob: Gracias por tus halagos. Te lo agradezco de verdad. El ritmo de "Dreamer" evolucionó a partir de una idea de Roger. Él siempre tenía ideas poco ortodoxas sobre la batería, y a veces resultaban geniales. Estas ideas pasaban a través de mi filtro y se adaptaban a mi propio estilo. Lo que mencionas sobre "Bloody Well Right" fué lo que sentí al escuchar la canción. Me dejé llevar por el sentimiento del riff. Y, sí, siempre buscaba la forma de ser creativo y sólido. Mi trabajo consistía en proporcionar una estructura estable pero interesante. Si no necesitaba un relleno, no lo hacía. Las transiciones pueden resolverse también con un golpe extra de bombo, o un click de caja. Si se necesita un relleno, haz la cuenta, dale un sentido, y mantén el pulso sin fisuras.

Todos estos ejemplos que has elegido surgieron de manera bastante natural. Se trata siempre de un proceso de simplificación, a base de escuchar lo probado, y decidir si era interesante o no. Se inicia en el ensayo. Solíamos usar una simple grabadora de dos pistas y luego nos sentábamos a escuchar y encontrar la forma. Luego se evolucionaba en el estudio, a partir de las pistas que íbamos grabando. Una vez que escuchamos los sonidos, las cosas pueden cambiar.

Tu referencia a "Hide in Your Shell" fué una idea durante la producción. Quiero decir que no es lo que yo empecé a tocar originalmente. Fué una ocurrencia de Roger y Ken durante una disparatada noche en el estudio. De hecho lo que hago en esa parte es muy sencillo. Un ritmo curioso que sube y baja para volver a empezar.

MD: Se aprecia tanta claridad en tu trabajo con las baquetas. ¿Realizaste algún aprendizaje básico para empezar a tocar?

Bob: Tengo que admitir que no recibí ninguna clase. Todo ha sido a base de tocar y tocar. Es la forma en que aprendí, a base de escuchar y tocar, imitando, sintiendo. Crecí tocando en bandas. Nunca viví en un lugar donde pudiera practicar.

MD: Trabajas mucho con los timbales en tus ideas creativas, más que la mayoría de baterías. Los rellenos que conducen hacia los coros de "Asylum", por ejemplo, son tan poderosos. Y la forma en que están tratados con reverb hace que suenen aún con más dramatismo. Uno podría imaginar este tipo de momentos son el resultado de las conversaciones entre la banda y Ken Scott. ¿Fué así?

Bob: Bueno, para empezar, hay que remarcar lo muy afortunados que éramos de tener a Ken en el timón. Nunca ha habido nadie mejor que Ken en un estudio como productor/ingeniero. Y con eso no quiero quitarle meritos a nuestro buen amigo y productor/ingeniero Peter Henderson, con el que trabajamos en varios discos posteriormente en nuestra carrera, incluyendo "Breakfast in America". Pero con ken fué un momento y etapa diferente en nuestra carrera. Estaba totalmente absorto y trabajó muy duro para crear algo que impactase a la gente. Él estableció la pauta de lo que iban a ser nuestros discos el resto de nuestra carrera.

En el caso de "Asylum", esos eran los rellenos que había ido cocinando en los ensayos, y ligeramente modificados en el estudio. Ken los grabó e hizo sonar en la manera en que lo hacen. Siempre hubo interacción entre nosotros en el estudio. Estábamos todos juntos en esto, y sentíamos mucho respeto por el otro y todos estaban dispuestos a tomar siempre la mejor dirección, incluido Ken.

MD: La calidad de sonido de “Crime of the century” es tan buena como cualquier álbum actual, cuarenta años más tarde, y parece beneficiarse realmente de un extenso trabajo en las mezclas. ¿Recuerdas algún detalle acerca de la grabación en términos de microfonía o mezclas?

Bob: Los arreglos de esas canciones están eficazmente diseñados y muy bien pensados. Rick y Roger se volcaron totalmente en el proceso, como el resto, pero eran las canciones que habían estado cocinando durante bastante tiempo, y tenían una idea bastante clara de hasta dónde querían llegar. En cuanto a las mezclas, todos nos implicamos. Todo el mundo tenía algo que aportar. Eran tiempos previos a la automatización, y digitalización, todo el trabajo era totalmente artesanal.

MD: ¿Recuerdas qué equipo utilizaste en aquellas sesiones?

Bob: Llevé conmigo mi batería desde Los Angeles cuando me mudé a Londres en 1971. [Siebenberg, el único estadounidense en Supertramp en ese momento, había tocado previamente con la popular banda británica de pub-rock "Bees Make Honey"] Una Champagne Sparkle de Ludwig que había comprado en 1965. Usaba un bombo Ludwig de 26", con dos timbales en la parte superior, y otro en el suelo, un Rogers 16 × 18 que conseguí en Londres. Mi caja era una Gretsch de madera.

Los platillos estaban bastante maltrechos tras años de uso, y todos ellos eran Zildjian, excepto el ride principal, que era un Zyn que había conseguido en alguna parte mientras tocaba con "Bees Make Honey". Todos ellos, excepto los hi-hats fueron reemplazados tras la grabación del álbum, con el dinero que conseguí.

MD: Algunas canciones del “Crime of the century” tienen entradas de batería muy impactantes, a veces incluso un par de minutos después del comienzo de la canción. Cuando las interpretas en vivo, ¿ te van aumentando las ganas de empezar a tocar mientras la tensión se acumula en esas entradas?

Bob: Bueno, sí, supongo que se podría decir que es así. Estar sobre el escenario con Supertramp en esos tiempos requería total concentración. Yo siempre estaba escuchando y muy metido en la melodía. Empezaba a tocar en mi cabeza a medida que se aproximaba mi momento de entrar, y mi cuerpo empezaba a moverse como si yo ya estaviera tocando y golpeando. Así que en realidad yo ya estaba totalmente en situación antes de empezar. Es una gran banda en la que tocar, y siempre ha estado muy, muy centrada en la música.


]]> (MAC) Interviews Tue, 23 Dec 2014 15:27:40 +0000
La historia del Crimen del siglo 40 Aniversario


La historia del crimen del siglo

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

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

Source: El Mundo

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

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

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

Quiebra mental y económica

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

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

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

'Ziggy' Scott

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

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

"Más presupuesto, esto es bueno"

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

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

El rapto del universo

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

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

Un crimen más del siglo XX.


crime cover



English Translation: (Raw version)


The story of the Crime of the century

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

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

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

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

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

Mental and economic bankruptcy

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

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

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

'Ziggy' Scott

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

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

"More budget, this is good"

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

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

The abduction of the universe

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

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

One more crime of the XX century.




]]> (MAC) Supertramp Press and Media Tue, 16 Dec 2014 13:21:02 +0000
Crime of the century DELUXE EDITION

December 8, 2014

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

crime vinylbox

]]> (MAC) Discography - Albums Wed, 10 Dec 2014 13:53:07 +0000
JOHN HELLIWELL in Cream, October 2012

Creammagazine   , Oct 4th, 2012

Supertramp are a band as definitive of the 1970s music scene as any other. They possessed all the key ingredients required just as the mainstream music arena really began to grow competitive. Up against the ubiquitous likes of Pink Floyd and Led Zeppelin (from the more ‘serious’ side of rock) and ELO and America (the somewhat lighter side of the spectrum), Supertramp stood out thanks to a universal sound that combined genres of pop, rock and a brand of new electronica (their main competition in that department was, indeed, ELO – whose very name in full – the Electric Light Orchestra – ultimately convinced the rock fraternity that electro would eventually be the way to go in making music, at least in part).

Each member of Supertramp could proudly boast multi-instrumental skills, dabbling in brass and woodwind here, digital technology there. The band formed in the UK in 1969 and split in 1983 due to lead singer, Roger Hodgson, calling it quits to bring up kids. In 1988, the band re-formed with former members and several new ones. One key player has been John Anthony Helliwell – famous for his saxophone and keyboard contributions to hits such as Breakfast In America, The Logical Song, Dreamer, Goodbye Stranger and Take The Long Way Home.

Four of those singles were lifted from the album Breakfast In America, which to this day makes it into credible music magazine’s ‘best of’ lists. In The World Critics List, music journalist Joel Whitburn ranked Breakfast the fourth greatest album of all time. In The Guinness All Time Top 1000 Albums it was voted #207, and also made the 69th greatest British rock LP of all time in the Classic Rock industry poll. In Australia, Triple M listeners voted the album in at #43 in their ‘100 Greatest Albums of All Time’, and in France it is the biggest selling English LP of all time and the third biggest seller overall (and believe us, there is stiff competition in the music business in France).

As well as playing various instruments in the band, Helliwell serves as MC during their live gigs, one of which – recorded in Paris in 1979 – has just been released in HD on Blu-ray and DVD. Here, Helliwell chats to Cream about longevity in the music industry, the art of the remix, and delivering repeated magic on stage as he and his band does on record.

Interview by Antonino Tati.


Tell us about the release of your Blu-ray and DVD Supertramp: Live In Paris.

J.H: You have to bear in mind that this was filmed in the ancient days of the end of the ’70s so it was not recorded digitally initially, but on proper film. But it comes over very well. It’s actually good to be able to see it so clearly after all these years. Of course we’d heard the music on the live album Paris but it’s nice to see the concert in full.


This particular concert was performed and recorded in 1979, which was a phenomenal year for Supertramp, being the year your perennial album Breakfast In America came out.

J.H: Yes, we released Breakfast In America in March of that year, and we began touring in August right through to December. The live recording was done about eight months into that tour, so we were very together and knew what we were supposed to be playing. Looking back at it, it’s good to see the empathy and the tightness in the band.


You would have had a lot on your plate then. There were four hit singles from that album alone.

J.H: Yes, and that was the longest tour we’d ever done so we were very tired by the end of it, and actually took a couple of years off after that. Everyone was a bit knackered at the end of it, but it was well worth it. It was actually the last time the five of us [original members] played together. For the tour after that we had some extra musicians… In general, I think 1979 just captured a really good spirit for us as a band.


How do you compare music of that era compared to what you’re hearing on radio and on the net today?

J.H: Well I get a bit fed up with the music of today. I think there’s still a lot of good music out there, but there’s also so much more out there nowadays and I can’t listen to everything. There are some genres of music that I don’t get. My range is classical, jazz and pop, and blues and soul.


So would I be right in saying that a lot of your influence went into the bigger Supertramp hits with all that fife and brass?

J.H: The sound we made at that time was just the combination of the five of us, working together sounding quite unique. Admittedly, it was unusual to have a saxophone in a rock group back then. And certainly it was unusual to have keyboards in there. Our sound just happened to have a magic combination I think. As for influences, there was the Beatles-type background from [lead singer] Roger Hodgson and [bassplayer] Dougie Thompson, and from myself and [keyboardist] Rick Davies came a more jazzy-type sound. And then, from Bob Siebenberg – our American drummer – came a sort of surf sound.


Well the combination worked to appeal to a broad audience. Even today bands are taking samples from your records and weaving them into dance music, of all genres.

J.H: Yes, there have been a few dance versions of our songs but if you ask me, the originals are the best [laughs].


When did you tour most recently?

J.H: Well the last tour we did with the same band members that you see on the Blu-ray and DVD, was in 1983, but Supertramp have played ever since. In 2010 we toured Europe for two months, and then we toured Canada, and then back to France in 2011.  We haven’t played this year but we could possibly tour next year again. It’s up to Rick Davies when we work, but I’m always happy to.


How likely would it be that we might see you tour Australia?

J.H: I’d like to think of it as a possibility. The last few tours have been through Europe and North America. Australia is obviously quite a long way, but I’d like to come back. We were there in the ’70s, even before this video was done, actually. I think was 1976 we were in Oz.


Is there any modern music that you particularly like?

J.H: I love Muse; I think they’re really creative.


They’ve certainly got a vaudeville edge to them that I thought you’d find appealing.

J.H: Yeah, they’re a little like Queen used to be. They can go ‘pomp’ and then get back to basic rock. They’re my favourite band at the moment. Them, and Elbow.


I think we need more pomp and circumstance in music; it helps keep us entertained.

J.H: Of course. There are a lot of miserable records out there, so we need something to make us happy.


Well musicians are show-people at the end of the day, so part of the job should be to make us –the audience – happy.

J.H: That’s true, but there’s room for all types. If you want to go to a concert and think about things and be morose, you can go see Morrissey. But there’s all sorts now, and I think variety is good.


On the subject of showmanship, I believe you’re the MC of the band, telling stories on stage in between songs.

J.H: That was just because nobody else wanted to do it! It started when we were touring in 1974 for the album Crime Of The Century. It was all quite serious, that album, so it was good to just relieve the tension occasionally with a bit of a chat. I still do it, and like to keep it natural and to not think too much before I speak. Sometimes I can put my foot in my mouth, but most of the time it engenders a good spirit with the audience.


Do you feel you’ve got enough stories from life on the road to write an autobiography?

J.H: I haven’t written anything because I find it difficult to remember stuff, but Bob Siebenberg is writing an autobiography which obviously includes a lot of Supertramp, so that’s something to look forward to.


Thinking cap on now: what are your top five albums of all-time?

J.H: Let’s see… Asia by Steely Dan would have to be in there… Heavy Weather by Weather Report… Somethin’ Else by Cannonball Adderley with Miles Davis… Kind Of Blue by Miles Davis… and I’d also pick Glen Gould playing [Bach’s] Goldberg Variations. That’s just off the top of my head.


Nice variety. Thanks for your time, John, and we look forward to watching the Live In Paris release.

J.H: Thank you, and enjoy!


]]> (MAC) Interviews Mon, 08 Oct 2012 12:28:54 +0000
Bob and Jesse Siebenberg in Ventura County Star 2012

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

By Kim Lamb Gregory
Ventura County Star

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




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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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


]]> (MAC) Supertramp Press and Media Tue, 19 Jun 2012 12:46:59 +0000
Supertramp as Ricky & The Rockets - 1986

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

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

See Ricky & The Rockets in 1986


]]> (MAC) Supertramp Press and Media Fri, 18 May 2012 11:55:21 +0000
SUPERTRAMP - All Concert Reviews



2011 TOUR - Carhaix, France, July 16   press review  
2011 TOUR - Montreal, June 16              press review
2011 TOUR - Otawa, June 14                   press review
2011 TOUR - Toronto, June 12                press review
2011 TOUR - Winnipeg, June 8               press review
2011 TOUR - Saskatoon, June 7             press review
2011 TOUR - Edmonton, June 5              press review
2011 TOUR - Vancouver, June 2             press review
2011 TOUR - Victoria, May 31                   Lorna
2011 TOUR - Victoria, May 31                   Press review
2010 TOUR - Stuttgart, Oct. 24          Uwe Nessler
2010 TOUR - Paris, Oct. 28                 The dude
2010 TOUR - London, Oct. 6               press reviews
2010 TOUR - Berlin Sept. 27               Mark 
2010 TOUR - Manheim Sept. 23         Uwe Nessler    
2010 TOUR - Barcelona, Sept. 18      MAC
2010 TOUR - Barcelona 18 Sept.        Prensa          
2010 TOUR - Bilbao 17 Sept.               Prensa
2010 TOUR - Madrid 15 Sept               press reviews    
2010 TOUR - A Coruña 11 Sept          press reviews
2010 TOUR - Halle 2nd of Sept           fans reviews

2002 TOUR - Los Angeles 20th Sept.     MAC
2002 TOUR - London 21st July                MAC
2002 TOUR - Barcelona 28 Abril             Jordi Sabater
2002 TOUR - Benidorm 18 Abril              C. Sabater
2002 TOUR - Benidorm April 18              MAC    
2002 TOUR - Benidorm April 18              Jordi Sabater

1983 TOUR - Barcelona 5 Julio               MAC


Photo: Soundcheck in Hide Park, London, 2002, by MAC



2010 Alan Parsons gig, Paris 1st of June                       MAC
2010 Excalibur Tour, with Alan Parsons, January         MAC
2005 Creme Anglaise, Giverny, Sept 11                           MAC
2004 Art on Ice, with Roger Hodgson, January               MAC
2004 Art on Ice, with Roger Hodgson, January               Roger Tanner
Photo: with Alan Parsons and John Helliwell in Paris, 1st of June 2010
, by MAC 
]]> (MAC) Touring: Concert Reviews Fri, 18 May 2012 10:06:02 +0000
2011 TOUR - SUPERTRAMP Vieilles Charrues, July 16

Festival Vieilles Charrues 2011, July 16
Carhaix, France

Supertramp, pas si super que ça…

Musique dimanche 17 juillet 2011

Personne ne les attendait vraiment, d’ailleurs personne n’a pris de claque avec Supertramp. Même pas décevant, sans intérêt.

Sans Roger Hodgson, chanteur emblématique du groupe à ses débuts, la magie ne peut pas prendre. Imaginez les Rolling Stones sans Mick Jagger ou Noir Desir sans Bertrand Cantat et ça vous donnera une petite idée… Tout simplement, cela ne marche pas !

Sans compter que le public, inévitablement, attend les tubes. Supertramp en a plein les cartons mais a vraiment tardé à les offrir à la prairie de Kerampuilh, qui peinait à s’enflammer.

Entre un « Breakfast in America » et un « Goodbye stranger », le groupe a essayé de faire illusion, mais c’était trop peu péchu pour que prenne la mayonnaise. Il aurait aussi fallu que les membres du groupe se démènent un peu plus pour nous convaincre.

De la part de telles légendes de la chanson, on pouvait quand même espérer un peu mieux...

Mickaël Louedec.



Software  translations:

Supertramp, no mas super que esto ...

En realidad nadie les esperaba, por eso nadie se quedó con Supertramp. Ni siquiera decepcionante, sin interes.

Sin Roger Hodgson, cantante emblemático del grupo en sus inicios, la magia no puede prender. Imaginar a los Rolling Stones sin Mick Jagger o Noir Desir sin Bertrand Cantant y os dará una pequeña idea ... Sencillamente, no funciona!

Sin contar que el público, inevitablemente, espera los éxitos. Supertramp tienen un montón, pero tardó en ofrecerlos a la pradera de Kerampuilh, que empezaban a impacientarse.

Entre un "Breakfast in America" y un "Goodbye Stranger", el grupo trató de ilusionar, pero con demasiada poca garra para ligar la mayonesa. También hubiera hecho falta que los miembros del grupo lucharan un poco más para convencernos.

De leyendas de la canción, por lo menos se podría esperar algo mejor ..

Supertramp, not as super as this ...

Nobody really expected them, however no one took snaps with Supertramp. Not even disappointing, without interest.

Without Roger Hodgson, singer emblematic of the group in the early times, the magic can not take. Imagine the Rolling Stones without Mick Jagger or Noir Desir without Bertrand Cantat, and it will give you a little clue ... Quite simply, it does not work!

Besides the public inevitably awaits the hits. Supertramp are plenty of it, but they came too late to the audience, who got impatient.

Between "Breakfast in America" and "Goodbye Stranger", the group tried to illusion, but it was too little effort for light the fire. It would have also required that the group members were struggling a little to convince us.

From such legends of music, we could still expect a little better ...


]]> (MAC) Touring: Concert Reviews Wed, 20 Jul 2011 09:01:42 +0000
2011 TOUR - SUPERTRAMP Montreal, June 16

Supertramp au Centre Bell
Supertramp bat de l'aile sans Hodgson

Marie-France Pellerin
16/06/2011 23h26

MONTREAL -"Genesis survived the departure of Peter Gabriel, who was replaced by Phil Collins with great spirit. Supertramp, however, can’t overcome the departure of Roger Hodgson".


MONTRÉAL - Genesis a peut-être bien survécu au départ de Peter Gabriel, remplacé avec brio par Phil Collins. Supertramp, lui, se remet difficilement du départ de son chanteur, Roger Hodgson.

De passage au Centre Bell jeudi soir dans le cadre de sa tournée 70-10, la formation rock britannique a offert une prestation qui ne passera assurément pas à l’histoire, mais qui a tout de même été ponctuée de quelques moments d’envergure.

La tournée célèbre à la fois le 40e anniversaire du groupe et de la sortie de son premier album éponyme, Supertramp, paru en 1970, et un joueur de taille manquait à la fête. Le froid sévissant entre Rick Davies, fondateur, chanteur et claviériste de Supertramp, et Hodgson, qui a quitté la formation au début des années 80, n’est pas un secret d’État.

Aussi, Davies a affirmé ne pas souhaiter accueillir son ancien compatriote en ses rangs afin de préserver l’harmonie du groupe. On lui concède le point, mais reste que le registre vocal d’Hodgson demeure beaucoup plus étendu que celui de Davies.

Accompagné des membres originaux John Helliwell (saxophone) et Bob Siebenberg (batterie), Davies a attaqué You Started Laughing et Gone Hollywood. Il aura néanmoins fallu attendre Ain’t Nobody But Me avant un réel engouement du public.

«Nous avons une relation très spéciale avec Montréal. C’est ici que nous avons donné notre premier concert au Canada en 1975», a mentionné Helliwell –Davies ne s’est pratiquement pas adressé à la foule– avant de déplorer le fait qu’il ait dû prendre plus tôt son petit déjeuner à Toronto. L’anecdote venait évidemment d’introduire Breakfast in America.

Cannonball et Poor Boy ont pour leur part ramené l’énergie au point mort alors que From Now on a suscité une ovation partielle, au parterre. Les incontournables, tels que Give a Little Bit, Downstream, Rudy, Bloody Well Right et Another Man’s Woman, rythmée d’un solo de clavier endiablé de Davies, auront pour leur part empli l’amphithéâtre d’une certaine ferveur.

La magie a déserté / The magic has deserted

La machine musicale était définitivement toujours bien huilée, traduisant somme toute plutôt bien le caractère ambitieux des albums de la formation, mais il a manqué de cette petite touche magique et peut-être d’un peu d’enthousiasme, autant chez les membres que chez les 9469 spectateurs, qui sont demeurés sagement assis pratiquement l’ensemble du concert.

Les limites vocales de Davies se sont aussi fait sentir à quelques reprises, notamment sur Rudy. Il a d’ailleurs légué le micro à ses acolytes Jesse Siebenberg, le fils du batteur, et Gabe Dixon, choriste, pour Give A Little Bit, It’s Raining Again, Take The Long Way Home et The Logical Song, où les notes poussées à l’extrême ont été applaudies.

Bien que l’interprétation de ces pièces ait été particulièrement réussie, on ne remplace pas si facilement une voix qui a marqué l’histoire. Roger Hodgson demeure inimitable, et les fans invétérés pourront le constater les 28 et 29 octobre à la Salle Wilfrid-Pelletier de la Place des Arts.




]]> (MAC) Touring: Concert Reviews Tue, 28 Jun 2011 12:05:17 +0000
2011 TOUR - SUPERTRAMP Otawa, June 14

Supertramp clearly misses co-founder Hodgson

By Denis Armstrong ,Ottawa Sun
First posted: Tuesday, June 14, 2011 11:16:41 EDT PM

Supertramp’s so-called reunion tour rolled into Scotiabank Place Tuesday night, easily within short memory of co-founder Roger Hodgson’s solo tour here in 2009, with another gig planned for Gatineau’s Hot Air Festival in September.

The novelty of seeing the 1970s supergroup has clearly worn off and the Brits who put the pop in prog-rock are about as busy as they were in their heyday.

Arguably once the best songwriting team since Lennon and McCartney, Rick Davies and Roger Hodgson were, in their prime, a band that could create complex, sophisticated pop, alternating from the amusingly whimsical of The Logical Song and Dreamer, to tunes as mordant and haunting as Rudy, School and Crime of the Century.

Most telling at Tuesday night’s gig is how much they miss Hodgson, who quit the band in 1983.

This was supposed to be a reunion concert, after all.

Instead, what we got was Rick Davies with Supertramp.

Not that I’m complaining.

Surprisingly, the gig began with a whimper, not a bang, with Davies alone at the grand piano for You Started Laughing.

It might have been low-keyed as a concert opening gets, but it wasn’t without a sense of drama.

The small audience — estimated at an optimistic 6,500 — initially seemed to be put into a quiet reflection by Davies’ muted dynamics.

However, the situation brightened marginally on Gone Hollywood and built to a crescendo when horn player John Helliwell gave a thorough account of his Canadian breakfast to introduce Breakfast in America, and later, Cannonball.

It’s all coming back to me now. Supertramp never really was a conventional rock band, but a fusion of British concept rock with a twist of American jazz.

Nearly 40 years later, they sound much as they did back then, despite Davies’ distinctively reedy voice, which has only grown reedier after 66 years.

Like a band leader behind a keyboard, Davies carried the show, which has been subtly divided.

There’s Davies’ half, including Poor Boy, Downstream, Rudy and Bloody Well Right.

Meanwhile, drummer Bob Siebenberg’s son Jesse and backup singer Gabe Dixon shared vocal duties on Hodgson’s hits — Give a Little Bit, It’s Raining Again, Take The Long Way Home and Dreamer. While they did a credible job, they don’t have Hodgson’s pathos.

The band gave the Ottawa Sun an onstage plug as their paper of choice on Another Man’s Women, restaging the cover art of Crisis? What

Crisis? of a man reading the paper on a smouldering beach with an actor in a bathing suit.

Happily, the show picked up energy near the end and the setlist grew heavier with Hodgson’s and Davies’ best tunes, Goodbye Stranger and their encore — School, Dreamer and Crime of the Century.

The fans were flipping out, happy to hear these old tunes again. I suppose I’ll see many of them again when Hodgson plays here in September.



Musicalement correct, vocalement pénible

Publié le 15 juin 2011 à 05h30 | Mis à jour le 15 juin 2011 à 05h30
Supertramp devant 6 500 spectateurs à la Place Banque Scotia

Marc-André Joanisse
Le Droit


Les Stones sans Jagger, une hérésie, Zeppelin sans Plant, une abomination, The Who sans Daltrey, un cauchemar.
Supertramp sans Roger Hodgson tous les synonymes du premier paragraphe et plus encore.

"The Rolling Stones without Mick Jagger is a heresy. Led Zeppelin without Robert Plant is an abomination. The Who without Roger Daltrey is a nightmare. Supertramp without Roger Hodgson is all of that and even more".

Et comble de malheur, une station de radio d'Ottawa faisait tourner Dreamer, en route vers la Place Banque Scotia. Rien pour nous inciter à se tenir loin du jeu des comparaisons. Le groupe se promène avec le nom Supertramp. Il doit donc s'attendre à être la cible de velléités. De tristes velléités.

Ses chanteurs, Rick Davies, là depuis 1970, Gabe Dixon et Jesse Siebenberg n'ont pas été trop forts, hier soir, à la PBS. Par moments, c'était pathétique de les entendre accrocher autant de fausses notes et de se retrouver loin, très loin, du registre vocal de Hodgson.

C'est dommage, car musicalement, la soirée a été bof, somme toute, correcte, bien que trop languissante à notre goût. Les deux premières pièces surtout. Elles ont été d'un ennui consommé. Vocalement parlant, il faut oublier ça.

Là où on a le plus souffert a été à l'occasion de l'interprétation de pièces avantageusement connues de l'impressionnant catalogue du groupe. Un peu pénible pour l'ouïe quand Supertramp version 2011 a abordé des titres chantés jadis par Hodgson. Le passage au xxie siècle de Breakfast in America s'est entre autres, avéré plutôt ardu.

Pourquoi ? En raison des notes aiguës si bien poussées par l'ancien collègue de Rick Davies. Des acrobaties vocales totalement absentes, il y a quelques heures.

D'autres chansons ont très mal franchi l'espace-temps avec cette nouvelle mouture du groupe. Prenez Give A Little Bit, Gabe Dixon a tout essayé, mais il n'y est jamais parvenu. Le saxophoniste John Helliwell dont le petit solo a été complètement raté, n'a guère été plus impressionnant. Ce même Dixon a été plutôt faible dans son interprétation de It's Raining Again, une autre chanson millionnaire de Hodgson. Son comparse Siebenberg n'a pas été plus fort avec Take the Long Way Home et The Logical Song.

Bon, on arrête ça ici.


]]> (MAC) Touring: Concert Reviews Fri, 17 Jun 2011 14:59:30 +0000
2011 TOUR - SUPERTRAMP Toronto, June 12

Supertramp impressively perseveres

By Jane Stevenson ,QMI Agency
First posted: Monday, June 13, 2011 2:42:32 EDT AM
Toronto Sun

And so do fans of the ‘70s British prog-rockers.

Faced with as long a lineup I’ve ever seen at the willcall for the Molson Canadian Amphitheatre’s summer season opener on Sunday night, the diehard ‘trampers eventually made it inside for a surprisingly packed, verging on sold-out concert on a cool, grey evening. (I’m guessing the crowd was around 14,000.)

I only say surprisingly because it’s been nine years since Supertramp’s last album, 2002’s Slow Motion, and several decades since they had any hits - the last one being 1982’s It’s Raining Again with co-writer-co-lead singer Roger Hodgson leaving the group a year later and still touring as a solo artist.

Supertramp’s peak was all the way back in 1979 with Breakfast In America, their best selling album.

Still, group founder and pianist Rick Davies, now 66, who shared songwriting and singing duties with Hodgson, has hung in there and is currently touring with a fine eight-piece band including longtime members John Helliwell on saxophone/woodwinds and drummer Bob Siebenberg and managed to present Hodgson songs in a respectable and faithful way.

I had my doubts given Hodgson’s distinctive falsetto.

But Siebenberg’s son, Jesse, and backup singer Gabe Dixon capably shared lead vocal duties on Hodgson’s material representing some of Supertramp’s biggest hits - the title track from Breakfast in America, Give A Little Bit, It’s Raining Again, Take The Long Way Home, The Logical Song, and Dreamer.

Jesse Siebenberg also proved to be a trooper when his electric piano conked out right in the middle of The Logical Song and crew members brought another one onto the stage mid-song.

You could see him mouth, “I have no idea,” when one of the other band members asked what had happened during the song.

As for Davies, he was a serious and silent performer, who was in good voice and great on the ivories, but let the likeable Helliwell, sipping red wine on stage when he wasn’t playing, do all the talking to the audience.

“We’re very pleased to be back in Toronto,” said Helliwell, who encouraged the crowd to join in whenever possible.

“It’s not like Perry Como or anything like that. We’re older now - we just need a bit of stimulus.”

Supertramp finally hit their stride with the fourth song, Ain’t Nobody but Me, a meatier song than the first three, and Davies really got the audience on his side on the strength of From Now On, Rudy, the jammy, crowd-pleasing Another Man’s Woman, Bloody Well Right (with Helliwell holding a bullhorn with the word “right” on it), Goodbye Stranger and the ultra-strong encore numbers School and Crime Of the Century, the latter featuring some fine guitar work from Carl Verheyen.

Otherwise, the production was relatively low-key with no laser lights or wild videos with only a few filmed sequences shown on a screen otherwise kept mostly hidden behind curtains.

The only real theatrics was the onstage recreation of the band’s Crisis? What Crisis 1975 album cover featuring a guy in a bathing suit seated under a yellow umbrella and reading a copy of NOW (NXNE edition) during Another Man’s Woman.

The audience actually applauded when an opened bottle of Molson Canadian beer perched on his side table was shown in a close-up.


You Started Laughing
Gone Hollywood
Put on Your Old Brown Shoes
Ain’t Nobody but Me
Breakfast in America
Poor Boy
From Now On
Give a Little Bit
It’s Raining Again
Another Man’s Woman
Take The Long Way Home
Bloody Well Right
The Logical Song
Goodbye Stranger


Crime of The Century




]]> (MAC) Touring: Concert Reviews Fri, 17 Jun 2011 14:32:24 +0000
2011 TOUR - SUPERTRAMP Winnipeg, June 8

Still Supertramp, but not like the old days

By: Rob Williams
Posted: 06/8/2011 10:19 PM
Winnipeg Free Press - ONLINE EDITION

To some, a Supertramp without the band’s main voice, Roger Hodgson, is akin to the crime of the century; totally illogical.

Yet, the remnants of the British rock group have been performing without its de-facto leader since Hodgson left the group for a solo career in 1983.

It was the Rick Davies-led lineup that visited the MTS Centre last night for a crowd of 5,500 who were either unaware Hodgson wasn’t in the band or didn’t care: they just wanted to hear the classic radio staples from the band’s 1970s heyday, no matter who was on vocals.

Supertramp trotted out most of their old hits and other album favourites during a show that had a bit more energy than when a similar lineup last appeared in the city at the Winnipeg Arena in 2002, but still somehow wasn’t as good as Hodgson’s solo show at the Burton Cummings Theatre in 2006 even though the former frontman only appeared with one other person – a saxophonist – and Supertramp was a nine-person ensemble Wednesday.

Despite the high quality of the band’s material, the show lacked a spark and genuine sense of excitement. Maybe a version of Fool’s Overture mid-set would have added a jolt of electricity to the evening, but unfortunately that song wasn’t part of the set.

Hodgson’s voice is a major part of songs like Breakfast in America, Give a Little Bit, Take the Long Way Home and The Logical Song, but no matter how hard multi-instrumentalist Jesse Siebenberg tried his best to mimic him, it hit a little too close to karaoke for comfort.

The crowd didn’t seem to mind, though, and hooted and hollered for every hit in the band’s impressive catalogue.

The show started off slow with some "deep cuts," including You Started Laughing, Ain’t Nobody But Me and Gone Hollywood, but the energy, and mood picked up when John Helliwell introduced Breakfast in America, as he does at every show, by describing what he had for breakfast Wednesday morning, earning some extra cheers for talking about the return of the NHL.

"Congratulations on the hockey," he said to roars of approval.

Keyboardist Davies, the band’s only remaining original member from 1969, is the leader of the group these days, but he was quiet between songs, letting Helliwell – who has been in the band since 1973 (along with percussionist Bob Siebenberg) – do the talking.

The first half of the two hour show was as bland as some of the band’s extended prog jams, but thankfully picked up considerably in the second half when the group started dishing out the hits: Take the Long Way Home, Rudy, an anemic version of the pop gem It’s Raining Again, Bloody Well Right, The Logical Song and Goodbye Stranger before the encore of School, Dreamer and Crime of the Century.

In the end, Supertramp sans Hodgson wasn’t quite the crime of the century, but something about it didn’t feel bloody well right.



June 8, 2011
MTS Centre
Attendance: 5,500
2 1/2 stars out of 5




]]> (MAC) Touring: Concert Reviews Fri, 17 Jun 2011 14:19:24 +0000
2011 TOUR - SUPERTRAMP Saskatoon, June 7

Supertramp still smashing after four decades
By Cam Fuller, StarPhoenix June 8, 2011

You know you're taking the long way home when your itinerary includes Saskatoon, but it was a welcome detour for fans of Supertramp.

Even in the show's quietest moments, there was plenty of nostalgia at Credit Union Centre as both band and audience looked back on 40 years of music.

No one is getting them as they were in their heyday, not without Roger Hodgson on hand, but Tuesday's show did give us the man who started it all,

Rick Davies on keyboards and vocals. He didn't speak much if at all, leaving what little banter there was to sax great John Anthony Helliwell.

Davies wouldn't have had the energy to talk anyway, not the way he plays piano - fast, hard, intense and loud. His solo and extended jam in Another Man's Woman was breathtaking. It came fairly late into the show and got a well-earned standing ovation.

Overall, this likely wasn't the show many were expecting. They didn't come out and play Dreamer, followed by The Logical Song, followed by Dreamer. They're a band, of all things, not a juke box. Thus the inclusion of Supertramp songs you didn't hear a million times on the radio - stuff like the bluesy Put on Your Old Brown Shoes, and diehard's dream Rudy which ran with vintage locomotive footage.

Then again, there was Raining Again, which is as close as this otherwise highbrow act ever came to bubblegum pop - a shallow, silly ditty which rhymes "fighter," with "up tighter." Some loved it, though, jumping up and dancing and looking around and wondering why everyone wasn't doing the same.

The band obviously still means something to Davies; he had a hand in building the show when it launched last year. He worked with lighting designer Michael Brian Duncan to create the staging effects. Duncan has worked with kd lang, B-52s, Alicia Keys and Goo Goo Dolls. The two conceived a cool live action version of the album cover Crisis? What Crisis? - a guy in trunks reclining under an umbrella while (on the album) the world around him is demolished. Subtler but clever were the searchlights during Gone Hollywood. Three video screens were used on and off. The centre one showed film clips while the others offered live action closeups.

Davies shared some of the singing with lead guitarist Jesse Siebenberg, who handled Breakfast in America at the Yamaha grand. He returned later on 12 string acoustic for Give a Little Bit - tentative vocally but absolutely smashing anyway.

There was interest and respect in the air from the smallish crowd of 4,000 or so but not a ton of euphoria until the hit-filled windup with The Logical Song, Goodbye Stranger, Bloody Well Right and, yes, Dreamer. Then it was into the night for the fans and, for Supertramp, breakfast in Winnipeg.

© Copyright (c) The StarPhoenix



]]> (MAC) Touring: Concert Reviews Fri, 17 Jun 2011 14:08:30 +0000
2011 TOUR - SUPERTRAMP Edmonton, June 5

World's Greatest Supertramp Cover Band

]]> (MAC) Touring: Concert Reviews Fri, 17 Jun 2011 13:39:55 +0000 2011 TOUR - SUPERTRAMP Vancouver, June 2

Supertramp: Blasts from the past served up a tad more mellower

70-10 tour offerings were just a little bit slow to heat up inside Rogers Arena 
By Amanda Ash, Vancouver Sun June 2, 2011



When: Thursday night

Where: Rogers Arena

“When I was young, it seemed that life was so wonderful. A miracle. Oh it was beautiful, magical …”

The lyrics to Supertramp’s The Logical Song weren’t just words to mouth along to Thursday night. They meant something much more to the middle-aged fans at Rogers Arena -- all you had to do was look into their glossy eyes to know they were happily lost in a completely different time.

OK, well, perhaps the few wisps of marijuana smoke that rose from pockets of the subdued crowd had something to do with the fans’ little trip down memory lane. But deep down, you could tell those notorious Wurlitzer chords triggered a feeling that many had lost with the departure of their youth. Zipping across America in a 1975 Chevy Corvette, partying without consequence, indulging in the intoxicating scent of long, windblown hair -- Supertramp’s music brought back the magic the audience hadn’t felt since their freedom left them sometime in the '80s for corporate jobs, responsibility and routine.

Even the younger adult crowd, who no doubt grew up with their parents blasting vinyl like Breakfast In America, got caught up in the feeling. As much as young adults want to grow up, they still pine for the days when life was simpler, when they were youngsters dancing around to Bloody Well Right in their underpants, when heartbreak never existed and make-believe was real.

Rick Davies, one-half of the original soul to the British outfit, has helmed the famed band and continued to perform since frontman Roger Hodgson left in 1983. Back in March, Davies played his 1000th Supertramp show since 1970. Last fall was their first show in eight years, kicking off their 70-10 Tour in honor of 40 years of music.

And today, despite still going it alone, the 66-year-old Davies has managed to hold on to a little bit of what he and Hodgson created for fans with the release of their first album, Supertramp.

The start of the show was fairly underwhelming, creating an atmosphere that was more akin to a live jazz club than a classic rock concert. Fans perched on the edge of their seats, waiting out songs like the piano-based Gone Hollywood and From Now On for the better stuff.

Davies, wearing a crisp white shirt and black pants, wordlessly made himself at home either on his grand piano or his Wurlitzer. He seemed very rigid. Proper. No rock 'n' roll here. Maybe he thought he was at the orchestra.

But then saxophonist John Helliwell (wearing a Canucks jersey to boot) took to the microphone before the crowd could sneak in a nap.

"I was sitting right there last night," he said, pointing to the seats beside the stage where he sat for the big Canucks win. "You guys were really noisy. But tonight, we'll be noisier than that."

Noisier than the Canucks crowd? I don't know about that.

When Helliwell started describing his "$65 morning breakfast," everyone knew what was coming.

Breakfast In America finally got the crowd going. The rock show had arrived.

The hits, such as Give A Little Bit and The Logical Song (featuring decent Hodgson-esque vocals from Jesse Siebenberg, had the crowd on its feet, clapping and singing along. Some took to the stairs to bust a move. Even the band had the old man shuffle going on.

However, despite the band’s ability to put together a little piece of history, Hodgson (who co-wrote and fronted many of Supertramp’s hits) was still sorely missed.

It wasn’t a perfect show. There was a gaping sonic hole where Hodgson’s theatrical voice should’ve been, but like so many other bands that have kept themselves alive despite significant losses (think Alice In Chains without Layne Staley, Guns N’ Roses without Slash), Davies did a decent job recreating a two-hour rendition of the past as perfectly as possible.

If there were Supertramp lyrics to appropriately sum up the band's one-night stand with Vancouver, they would be from Goodbye Stranger: “Goodbye stranger, it’s been nice, hope you find your paradise.”


© Copyright (c) The Vancouver Sun


]]> (MAC) Touring: Concert Reviews Fri, 03 Jun 2011 15:25:27 +0000
2011 TOUR - SUPERTRAMP Victoria, May 31

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

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

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

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

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

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

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

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

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

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

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

Rogers songs did receive the most audience appeal.

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


]]> (MAC) Touring: Concert Reviews Thu, 02 Jun 2011 12:11:29 +0000
2011 TOUR - SUPERTRAMP Victoria, Press Review, May 31


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

What: Supertramp

Where: Save-on-Foods Memorial Centre

When: Tuesday

Rating: Four stars (out of five)

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

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

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

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

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

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

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

They came for Supertramp.

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

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

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

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

Sometimes two hours of close is perfectly fair enough.


]]> (MAC) Touring: Concert Reviews Thu, 02 Jun 2011 11:55:35 +0000
2011 Supertramp 70-10 Tour




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


]]> (MAC) Touring: General Info Wed, 02 Mar 2011 15:06:09 +0000
Breakfast in America

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
]]> (MAC) Discography - Albums Fri, 07 Jan 2011 15:09:00 +0000
Even in the quietest moments

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


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"

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


]]> (MAC) Discography - Albums Fri, 07 Jan 2011 13:45:23 +0000
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


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


]]> (MAC) Discography - Albums Fri, 07 Jan 2011 13:19:10 +0000
JOHN HELLIWELL in Excalibur, July 2010


Exclusive Interview
By Elise Valère and Michèle Laurent
Excalibur Trilogy Journal


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

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


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

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

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

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

Q : What kind of jazz?

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

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

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

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

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

Q: It’s a kind of celebration…

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

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

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

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

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

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


]]> (MAC) Interviews Fri, 31 Dec 2010 18:02:06 +0000
SUPERTRAMP: Did you know ? - ¿ Sabías qué ?
Photo: David Gilmour and Supertramp in 1985, during the recording of "Brother were you bound"
Gilmour Supertramp
Rick Davies and Roger Hodgson have played with Chick Churchill
in 1973 when they already were in Supertramp, for the album "You & Me", Roger on bass and guitar on 4 tracks. And Rick Davies on drums.
Rick Davies y Roger Hodgson han tocado con Chick Churchil
en 1973, estando en Supertramp, tocaron en el album "You & Me", Roger al bajo ya la guitarra en 4 temas. Y Rick Davies a la batería


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

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


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

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


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


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

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


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


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


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


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


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


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

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


Supertramp Barcelona

]]> (MAC) Biography Thu, 30 Dec 2010 17:07:26 +0000
2010 TOUR - SUPERTRAMP Stuttgart, October

Photos: Uwe Nessler







]]> (MAC) Touring: Concert Reviews Tue, 07 Dec 2010 16:40:55 +0000
2010 TOUR - SUPERTRAMP Paris, Oct. 28

SUPERTRAMP in Paris, October 28, 2010

Hi there !

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

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

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

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

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

The Dude

More: See Ricky & The Rockets in 1986


]]> (MAC) Touring: Concert Reviews Fri, 19 Nov 2010 15:42:27 +0000
Tim Tjernlund's Time Line PART 2


John guests on Thin Lizzy's "Bad Reputation" (SRM-11186)


12- Amsterdam, The Concertgebauw
16- Amsterdam, Congress Hall by the Rye
18- West Berlin
22- Hamburg
24- Hanover, Germany
27- Copenhagen, The Trivoli Gardens (first concert preformance of "Soapbox Opera")
29- Lund, Norway
31- Olso, Norway


January 20
Munich TV promos shot in a warehouse on Dachaustrasse


Jesse Siebenberg born, Hammersmith Hospital, London


1- Stockholm, Sweden
5- London, Royal Albert Hall (Recorded for King Biscuit Flower Hour)

February 15
Group leaves for America


6- Regina, Saskatchewan. First leg of tour
7- Saskatoon, Saskatchewan
9- Winnipeg, Manitoba
10- Winnipeg, Manitoba
11- Lethbridge, Alberta, Canada
12- Edmonton, Alberta. Concert cancelled because of Roger's illness

"Even In The Quietest Moments" released in US (SP-4634)


April 23
"Even" debuts on US Billboard Album Chart


"Even In The Quietest Moments" reaches UK #12 and US #16
Los Angeles (recorded for "Rock Around The World)


May 8
Featured on "Rock Around The World" (#144)


May 14
"Even In The Quietest Moments" makes US Top-40
"Give A Little Bit" enters Cashbox Top 100,
where it stays for 21 weeks, peaking @ #13


May 16
Featured on "Earth News" radio


June 4
"Give A Little Bit"/"Downstream" ( A&M 1938) enters US charts @ #77


June 11
"Give A Little Bit" @ #66


June 18
"Give A Little Bit" @ #63


June 25
"Give A Little Bit" @ #53


25- Moncton, New Brunswick
28- Montreal Forum
29- Montreal Forum
30- Ottawa Civic Center

"Give A Little Bit" climbs to UK #29


July 2
London "Give A Little Bit" enters Billboard's Top-40 singles chart @ #39
"Crime Of The Century" certified gold by RIAA


July 9
"Give A Little Bit" @ #35
Beginning of 150 date world tour


July 13
"Even In The Quietest Moments" certified gold by RIAA


July 16
"Give A Little Bit" @ #31


July 23
"Give A Little Bit" @ #27


July 30
"Give A Little Bit" @ #25


1- Ottawa Civic Center
5- Kitchener
14- Edmonton, Alberta (rescheduled)
15- Calgary, Alberta (rescheduled)

"Even In The Quietest Moments" reaches US #16


August 2
"Crime Of The Century" certified gold by RIAA


August 6
"Give A Little Bit" @ #23


August 13
"Give A Little Bit" @ #21


August 20
"Give A Little Bit" @ #17


August 21
Featured on the radio show "Nightbird & Company" (#329)


August 27
"Give A Little Bit" makes US #15 (peak)


August 28


September 3
"Give A Little Bit" @ #15


September 10
"Give A Little Bit" @ #27


September 17
"Give A Little Bit" @ #48


September 23
Geneva, Switzerland. Le Pavillon des Sports.


September 24
"Give A Little Bit" @ #48


October 1
"Give A Little Bit" @ #99


England leg of tour
Glasgow, Scotland
London, Wembly Empire Pool
London, Wembly Empire Pool

"From Now On/Dreamer" (A&M 1981) released in US
"Babaji/From Now On" released (UK)


February 5
Featured On "The Best Of The Biscuit"


Rehearsals for new album started at Rick's home in Encino.


March 4
Re-release of 1970 album "Supertramp" (SP-4665) makes it up to #158
on Billboard Album Top 200


Rehearsals moved to management offices in Burbank with album working title, "Working Title"


late April
Rehearsals moved again, this time to Village Recorders, L.A.


New album working title, "Hello Stranger".


June 4
Featured on "The Best Of Rock Around The World" (#200)


Roger interview with Doug Pringle for Canadian radio show,
"The Pringle Program"
Bob bets Rick $100 that this album will go Top 10


Recording finished. Mixing started.


Album now called "Breakfast In America", after a song written by Roger Hodgson when 18 years old. Rick reportedly hated the song. Mixing taking place at Crystal Sound, Los Angeles
Bob guests on Phil Lynott’s "Solo In Soho" (WB-3405)


January 5
Roger and Karuna married


16- Boulder, Colorado
18- St. Louis, MO
19- St. Louis, MO
20- Kansas City, MO
22- Milwaukee, Wisconsin
23- Milwaukee, WI
24- St. Paul, Minnesota
25- Madison, Wisconsin
27- Green Bay, Wisconsin
28- Chicago, Illinois

3- Los Angeles, California - LA Forum
4- Los Angeles, California - LA Forum (recorded - "From Lunch To Ecstacy" IMP 2-109) Bootleg 5- Oakland, CA
8- Tucson, Arizona
9- Phoenix, Arizona
11- San Diego Sports Arena
12- Fresno,California - Selland Arena
13- Fresno, California - Selland Arena
15- Spokane, Washington - Coliseum
16- Missoula, Montana - Adam Field House
18- Seattle, Washington - Coliseum
19- Portland, Oregon - Coliseum
20- Pullman, Washington - WSU Field House
22- Corvallis, Oregon - Gill Coliseum
30- Tulsa, Oklahoma

1- Norman, Oklahoma
2- Ft. Worth, Texas
3- San Antonia, Texas - Arena
5- Houston, Texas - Coliseum
7- New Orleans, Louisiana
9- Nashville, Tennessee
11- Miami, Florida
12- Fr. Meyers, Florida
13- St. Petersburg, Florida
15- Atlanta, Georgia - The Omni
16- Greensboro, North Carolina
17- Largo - Capitol Center
18- New Brunswick, Nova Scotia
20- Detroit, Michigan
21- Buffalo, NY
23- Boston, Mass.
24- Boston, Mass
25- Philadelphia, Pennsylvania - The Spectrum
26- Rochester, NY 27 Troy, NY 29 Utica, NY
30- Springfield Civic Center
31- Madison Square Gardens, NY
(Supertramp is presented with it’s first platinum record awards here)

2- Cincinati, Ohio - Riverfront Stadium
3- Indianapolis, Indiana - Market Square Arena
4- Pittsburgh, Penn. - Civic Arena
6- Columbus, Ohio
8- Cleveland, Ohio - Richfield Coliseum
9- Birmingham, Alabama
10- Richmond, Virginia
11- Hampton, Virginia

17- Winnipeg, Manitoba
19- Toronto - Exhibition Stadium
20- Toronto - Exhibition Stadium
21- Toronto - Exhibition Stadium

11- Canadian tour ends in Vancouver, British Columbia

March 24
"The Logical Song"/"Just Another Nervous Wreck" (A&M 2128) enters US Billboard chart @ #86


March 29
"Breakfast In America" released in US (SP-3708).
Recording cost - $400,000 Front cover centers around actress Kate Murdock.
Back cover photo- graphed at "Burt’s Mad House" on LaBrea Ave, Los Angeles.


March 31
"The Logical Song" @ #76
"Breakfast In America" debuts on Billboard’s Top 100 Album Chart


April 1
"Breakfast In Ameica" (AMLK-63708) released in UK.
"The Logical Song reaches #7 on the UK charts


April 7
"Breakfast In America" enters US Top 40 Album chart
"The Logical Song" @ #66
"The Logical Song" enters CASHBOX magazine’s top-100,
where it stays for 19 weeks, peaking @ #4


April 9
"Breakfast In America" certified gold by the RIAA


April 11
Heidi Hodgson born at 7:45 p.m. in the family motor home, just outside of the concert hall.
Mother Karuna Hodgson attended by midwife and Dr. John Repair.
Roger appears onstage 15 minutes later.


April 14
"The Logical Song" @ #55
Article in MELODY MAKER magazine


April 21
"The Logical Song" @ #48


April 28
"The Logical Song" enters Billboard’s Top-40 @ #36


May 5
"The Logical Song" @#24


May 12
"Breakfast In America" peakes @ #3 on the UK charts.
"The Logical Song" @ #18


May 19
"The Logical Song" @ #14
"Breakfast In America" tops US Charts for the first of 6 weeks,
earning platinum status (1,000,000 units sold)


May 31
Rick pays off the $100 bet with Bob with the bill framed.
The plaque reads "You better not spent it, you rat!"


June 1
"Breakfast in America"/"Gone Hollywood" released (UK)


June 2
"The Logical Song" enters Billboard’s Top-10 @#9


June 9
"The Logical Song" @ #7


June 16
"The Logical Song" peaks on the US charts @ #6


June 21
2 page article in MELODY MAKER magazine


June 23
"The Logical Song" @ #6


June 30
"The Logical Song" @ #6


July 2
"Breakfast In America" the single, hits #9 in the UK


July 7
"Goodbye Stranger"/"Even In The Quietest Moments" (A&M 2162) enters US charts @ #78 "Goodbye Stranger" enters CASHBOX charts, where it stays for 16 weeks, peaking @ #16


July 12
ROLLING STONE magazine has feature article

July 14
"The Logical Song" @ #11
"Goodbye Stranger" @ #69

July 21
"The Logical Song" @ #24
"Goodbye Stranger" @ #56
Article in BILLBOARD Magazine


July 28
"The Logical Song" @ #41
"Goodbye Stranger" @ #45


August 4
"Goodbye Stranger" enters Billboard Top-40 @ #32
"The Logical Song" @ #84
"Breakfast In America" (single) peaks @ #9 (UK)


August 6
Magazine article in MACLEANS


August 11
"The Logical Song" @ #100
"Goodbye Stranger" @ # 26


August 18
"Goodbye Stranger" @ #20
"Goodbye Stranger" enters Billboard’s Adult Contemporary Chart.


August 25
"Goodbye Stranger" @ #18
The Barron Knights release a parody song, "The Topical Song" (Epic 9-50755)
which stays on the charts for 3 weeks before disappearing.


September 1
"Goodbye Stranger" @ #16
"Goodbye Stranger" (AMS 7481) released in UK
"The Topical Song" @ #70


September 8
"Goodbye Stranger" peaks at #15 (BILLBOARD)
"The Topical Song" @ #99


September 15
"Goodbye Stranger" @ #15


September 16
Featured on "What’s It All About"


September 22
"Goodbye Stranger" @ #25


September 29
"Goodbye Stranger" @ #49


October 1
"The Logical Song" lyrics featured in SONG HITS magazine


October 6
"Goodbye Stranger" @ #76
"Take The Long Way Home/From Now On" released in UK


October 13
"Take The Long Way Home/Rudy"(A&M 2193) released in US and debuts on
BILLBOARD charts @ #70
"Take The Long Way Home" debuts on CASHBOX charts where it stays for 17 weeks,
peaking @ # 15


October 20
"Take The Long Way Home" @ #54


October 27
"Take The Long Way Home" @ #43


November 3
"Take The Long Way Home’ enters BILLBOARD Top-40 @ #31
Also enters the Adult Contemporary charts


November 10
"Take The Long Way Home’ @ #23
"Goodbye Stranger" makes UK #57


November 17
"Take The Long Way Home’ @ #17


November 24
"Take The Long Way Home" @ #15


November 29
Concert at the Pavilion in Paris is recorded and filmed


December 1
"Take The Long Way Home" @ #13
Article in SEVENTEEN magazine


December 2
Cover story in magazine ROCK & FOLK (France)


December 8
"Take The Long Way Home" @ #11


December 15
"Take The Long Way Home" @ #10 (peak)


December 22
"Take The Long Way Home" @ #10


December 29
"Take The Long Way Home @ #26


John guests on Chris DeBurgh's "Eastern Wind" (SP-4815)

January 5
"Take The Long Way Home" @ #26

January 12
"Take The Long Way Home" @ #35

January 19
"Take The Long Way Home" @ #94

February 16
Watermark Inc. broadcasts "Profiles In Rock" (#PRB 801-7)

Bob's home destroyed by fire Dougie buys a yacht "Trinity"

May 9
"The Logical Song" named "Best Song, Musically & Lyrically" at the 25th Annual Ivor Novello Awards, held at London's Grosnevor House Hotel

TEEN Magazine article Review of "Breakfast In America" in Hi-Fi magazine

"Paris" (SP-6702) released in US with cover art by Cindy Marsh and inside photo by Mark Hanauer "Paris" (MP-44001-2) released in Japan

September 20
"Dreamer"(live)/"From Now On" (live) (A&M 2269) enters US charts @ #67 "Dreamer"(live) enters Cashbox Top-100 where it stays for 17 weeks, peaking at #15

September 27
"Dreamer"(live) @ #46

"Paris" hits UK #7

October 4
"Dreamer (live)" enters Billboard's Top - 40 @ #33

October 6
Roger interviewed on "Off The Record with Mary Turner"

October 10
Roger interviewed on "The Robert W. Morgan" radio show ( #SWB 804-2)

October 11
"Paris" makes US Top-40 Billboard Album Chart "Paris" peaks @ #7 on the U.K. Music Week charts "Dreamer"(live) @ #26

October 18
"Dreamer"(live) @ #23

October 19
Featured on "The BBC Rock Hour" (#142)

October 24
"Dreamer"(live) @ #20

"Dreamer"(live)/"You Started Laughing"(live) (AMS 7576) released in UK

November 1
"Dreamer"(live) @ #17

November 8
"Dreamer"(live) climbs to US #15. "Paris" hits US #8

November 15
"Dreamer"(live) @ #15

November 22
"Dreamer"(live) @ #23

November 29
"Dreamer"(live) @ #45

December 6
"Dreamer"(live) @ #56

December 10
"Paris" certified gold by RIAA

December 13
"Dreamer"(live) @ #86 "Breakfast In America (live)"/"You Started Laughing"(live) (A&M 2292) enters Billboard charts @ #82 "Breakfast In America (live)"
enters Cashbox Top-100, staying for 7 weeks, peaking at #69

December 19
The Source broadcasts "The Supertramp Special"

December 20
"Dreamer"(live) @ #98 "Breakfast In America" @ #72

December 27
"Breakfast In America" (live) peaks at US #62


Bob guests on Gary Wright's "The Right Place" (WB 3511)

John breaks his leg bicycling

January 3
"Breakfast In America" (live) @ #62

January 10
"Breakfast In America" (live) @ #62

January 17
"Breakfast In America" (live) @ #69

January 24
"Breakfast In America" (live) @ #76

January 31
Andrew Hodgson born
"Breakfast In America" (live) @ #95

March 5
"Paris" @ #63 in ROLLING STONE MAGAZINE'S top-100

March 19
"Paris" @ #77 in ROLLING STONE

Double cassette (Crisis/Even..) released (UK)

May 23
Featured on The Robert W. Morgan Special Of The Week (#SWB 812-8)

August 9
John appears on The Robert Klein Radio Show (#42)
John guests on Ali Thomson's "Deception Is An Art" (SP-4846)

]]> (Press Review - Press Article) Biography Wed, 17 Nov 2010 19:24:37 +0000
Tim Tjernlund's Time Line

The Supertramp Time Line by Tim Tjernlund

Revised 3/21/97


July 22
Richard Davies born at Eastcott Hill in Swindon, Wiltshire England, to Dick and Betty Davies.



February 15
John Anthony Helliwell born in Todmorden, England.



Richard Palmer born.



November 27
Dave Winthrop born.



October 31
Robert Layne Siebenberg born in Glendale, California.



March 21
Charles Roger Pomfret Hodgson born in Portsmouth, Hampshire, England.



March 24
Dougie Thomson born in Glasgow, Strathclyde, Scotland.



Rick becomes member of the British Railways Staff Association.
Brass & Silver Jubilee Band as a drummer.



Rick joins "Vince & the Vigilantes" featuring Ginger Frantic.



John joins the Todmorden Symphony Orchestra on clarinet
John forms TGS5 (Todmorden Grammar School Five).



Roger starts playing guitar, given to him by his mother, Gill.
Rick forms "Rick's Blues" while at Swindon Art School. Raymond (Gilbert) O'Sullivan is member and drummer.



Roger sent to The Stowe Boarding School, Buckingham.
John moves to Birmingham to work for ICL, Britain's largest computer firm.
Roger gives his first concert in Oxford, of all original songs.



John joins "The Dicemen".



John joins "Jugs o' Henry".
Rick disbands "Rick's Blues" and takes on job as welder at Square D.



Bob joins The Expressions.

John joins the Alan Bown Set.


Jeff Bannister - keyboards, vocals
Stan Haldane - Bass, vocals
John Helliwell - Sax
Vic Sweeney - Drums

Rick joins The Lonely Ones.


John "Andy" Andrews - bass/vocals
Trevor Williams - guitar/vocals
Keith Bailey - drums
Rick Davies - keyboards/vocals



April 23
The album "Outward-Alan Bown" completed for MGM records.

May 1
The Lonely Ones head for Rome for two week engagement.

May 15
The Lonely Ones head for Geneva, Switzerland.

The Lonely Ones change name to The Joint.

Bob joins the Ilford Subway. Scott Gorman(Thin Lizzy).

Alan Bown release "Toyland" on MGM The Joint play the Etonnoir in Geneva.

The Ilford Subway play in Mammoth, CA.
The Joint records the soundtrack for "What's Happening" in Munich including the
"Russian National Anthem".



Alan Bown release "Storybook" on MGM.

The Joint records music for the films "Jet Generation" & "Lieber und so Weiter"
Roger graduates from boarding school.

May 30
Roger's group, People Like Us, record demo, "Duck Pond"/"Send Me No Flowers".


Roger Hodgson - guitar/vocals
George Bowser - Bass
Chris Tookey - piano
Mark Henshall - drums


Steve Brass joins the Joint.

Stanley August Miesegaes "SAM" meets the Joint in Geneva. He becomes financial backer and manager who has strong commitment to the music of Rick Davies.

July 5
Alan Bown release "We Can Help You" on Music Factory label.

John named Player of The Month by BEAT INSTRUMENTAL MAGAZINE.
Alan Bown "Second Album" (SLM-1049) released .



Jeff Bannister - Keys, vocals
Stan Haldane - Bass, vocals
John Helliwell - Sax
Jess Rodin - vocals


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"



Roger Hodgson - vocals
Caleb Quaye - guitar
Nigel Olsson - drums
Reg Dwight - piano
The Joint record a 5 song demo in Munich.

The Joint signed to the Robert Stigwood Organization.

May 13
The Joint appear on Swiss TV in Geneva.

The Marquee Club, London.
Dougie graduates from grammar school.

Sam rents Rick a place called Botolph's Bridge House to start a new group. Rick places ad in MELODY MAKER, offering "GENUINE OPPORTUNITY". Roger's mother takes him to his first audition at The Cabin in Shepherd's Bush, where he plays acoustic guitar and sings
"Dear Mr. Fantasy".


During a break, with hundreds of other musicians at the audition, Roger finds himself having a beer with Rick where they share their musical dreams. A friendship is struck, and soon Rick and Roger have started a group with the odd name of DADDY.


Bob forms Redeye.


Bob Siebenberg - drums
Scott Gorman - guitar
Derek Beauchemin - keyboards
Rick Hart - bass

Alan Bown Set release "The Alan Bown" (Deram 18032).
Alan Bown release "Gypsy Girl" on Deram records.


Documentary Film "Daddy-Portrait 1970" shot in Munich.
Group is renamed Supertramp by Richard Palmer after a 1910 book entitled,
"Autobiography Of A Supertramp" by R.E. Davies.

Signed to A&M records and record first album at Morgan Sound Studios.

Work on "Purgatory" soundtrack in Munich.
Bob fronts a new band "Benbecula" with Scott Gorman & Derek Beauchemin.
Sam buys out Roger's recording contract with Blue Mountain Music for $500.

July 14
"Supertramp" (AMSL-981) released in UK w/ reception at The Revolution Club, London.

July 27
Plays on second day of UK's Isle of Wight Festival, East Afton Farm, Godshill.


Bands that played that day:
-Andy Roberts & Everyone
-Black Widow
-Terry Reid

"Supertramp" (SP-4274) released in Canada.
"Supertramp" (27 041 XOT) released in West Germany.


November 20
The album "The Alan Bown - Listen" is released by Island records (ILPS-9131).

Robert Palmer quits after gig at The Zoom Club, Frankfurt, West Germany.


Robert Millar suffers a nervous breakdown and quits after a disasterous tour of Norway.

Kevin Currie ( John Walker, Billie Davis, Orange Bicycle), joins the band.

February 28
Stowe, England w/ Genesis.

Bob marries Vicki Gorman, sister of Thin Lizzy's Scott Gorman.
Recording starts at Olympic Studios on what will be "Indelibly Stamped".

Frank Farrell (Ray King Soul Band, Joe Jammer, Johnny Johnson & the Bandwagon) joins band.
Roger switches to guitar.


Recording of "Indelibly Stamped" continues.



Rick Davies - keyboards
Roger Hodgson - guitar
Kevin Currie - drums
Frank Farrell - bass
David Winthrop - sax

April 30
Bob and Vicki arrive in London.

Rick & Roger approached about joining the group Free.
Marian Hollier, from Bristol, is paid 45 pounds for having her tattooed breasts photographed on the cover of the new album.

Recording of "Indelibly Stamped" completed after 100 hours of recording.

Indelibly Stamped (AMLH-64306) [UK] released.

Bob joins Bees Make Honey.


Ruan O'Locklainn - piano, guitar, sax
Barry Richardson - bass/vocals
Mick Molloy - guitars/vocals
Deke O'Brien - guitars/vocals
Bob Cee - drums

"The Alan Bown, Stretching Out" (ILPS-9163) is released by Island Records.


Jeff Bannister - Keyboards, vocals
Tony Catchpole - Guitar
Mel Collins - Percussion, production
Andy Brown - Bass, vocals
John Helliwell - Sax
Gordon Neville - Vocals
Vic Sweeney - Drums

Dougie joins Alan Bown replacing Andy Brown.

September 14
UK tour begins in Bristol with Ten Years After and Keith Christmas.

September 15
Liverpool - cancelled due to gear not arriving.

"Forever/Your Poppa Don't Mind" released in UK.

October 4
UK tour ends in Birmingham.

"Forever/Your Poppa Don't Mind" (A&M 1305) released in US as a radio promo only.

"Bees Make Honey" album released in UK (EMC-3013).


Roger takes LSD for the first time.
Bees Make Honey release "1971/72" (UK only).

October 6
Sam officially breaks with group, forgives all debts,
lets them keep their instruments and wishes them well.

Tour of Scandinavia.


Roger & Rick play on Chick (Ten Years After) Churchill's album,
"You And Me" (CHR-1051) (U.S.).
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.

Roger, Frank & Kevin back Chuck Berry in London.

Frank Ferrell leaves band. New band auditions held at the Pied Bull Pub in Islington.
Dougie tries out and leaves feeling very sorry for the band.

Dougie is asked into the band and also takes over as business manager.

Bob Siebenberg joins the band, but spells his name, Bob C. Benberg.

John Helliwell auditions for the group. He is never formally asked to join.

A&M Records believes group wants out of their recording contract, but Roger, Rick and Dougie ask for one more album.

A&M moves the group to a farm in Southcombe, Somerset, to begin writing what turns out to be "Crime Of The Century".


Rick Davies - vocals, keyboards, harmonica
Roger Hodgson - vocals, guitar, pianos
Bob C. Benberg - drums, percussion
John Anthony Helliwell - saxophones, clarinet, vocals
Dougie Thomson - bass


Band leaves Southcombe to move to London to begin recording. First sessions at Trident Studios with Ken Scott producing.

"Land Ho"/"Summer Romance" released in U.K.

Recording completed at Ramport Studios. Mixing begins at Scorpio Studios.

"Crime Of The Century" released in U.K. (AMLS-68258).

"Crime Of The Century" released in US (SP-3647).

Concert - Preston.
"Dreamer" release in UK.
"Crime Of The Century" reaches #4 on U.K. album charts.

December 7
"Crime Of The Century" enter Billboard LP charts in US.


- UK tour starts -


23-City Hall, Sheffield, S. Yorks
24- Leeds Town Hall
26- Birmingham Town Hall
27- De Montfort Hall, Leichester
29- Manchester Free Trade Hall
30- Newcastle City Hall

1- Edinburgh Usher Hall
2- Galsgow, Scotland - King’s Theater
6- Oxford New Theater
7- Brighton Dome
8- Guildford Civic Hall
9- Bristol - Colston Hall
10- Plymouth Guild Hall


March 3
"Dreamer" makes U.K. #13.

Charles Helliwell born.

April 4
American Tour begins - Milwaukee, Wisconsin. 1st stop of 25 date tour.

April 11
Beacon Theater, New York City - Chris DeBurgh opening.

April 12
"Bloody Well Right"/"Dreamer" (A&M-1660) enters US Billboard Top 100 @ #85.

April 19

"Bloody Well Right " @ #74
"Bloody Well Right" enters Cashbox Top 100 (US),
where it stays for 7 weeks, peaking @ #53.

April 25
Santa Monica Civic Center.

April 26
"Bloody Well Right" @ #63 .
Tour continues through Texas, to the East Coast, north to Montreal..

May 3
"Bloody Well Right" @ #53.

May 5
"Crime Of The Century" makes US Top-40 album chart.

May 10
"Bloody Well Right" @ #43.

May 17
"Bloody Well Right" enters Billboard's Top-40 singles chart @ #37.

May 24
"Bloody Well Right" @ #35.
"Crime Of The Century" peaks on the US charts @ #38.

May 31
"Bloody Well Right" @ #47.

June 7
"Bloody Well Right" @ #61.

June 14
"Bloody Well Right" @ #92.

Recording "Crisis" at the A&M studios in Los Angeles.

August 23
Plays 2nd day of the 15th National Jazz, Blues & Rock Festival
near Reading, Berkshire.

Ramport Studios & Scorpio Studios in England to finish album tentative
title for album is "Second Offense".
"Lady"/"You Started Laughing (When I Held You In My Arms)"
(A&M 1793) released in US.

"Crisis? What Crisis?" released in US (SP-4311).
"Lady/You Started Laughing" released in UK.

November 13
Beginning of 30 date UK tour. Colston Hall, Bristol w/ Joan Armatrading.

November 22
Feature article in "Melody Maker" (UK) by Brian Harrigan.

24- Birmingham
25- Manchester
29- Sheffield

12- Plymouth
15- Southampton
20- Kursaal, Southend, Essex.


December 6
"Crisis? What Crisis?" reaches UK #20.

December 13
"Crisis" debuts on US Billboard Album Chart.


Bob guests on Gary Wright's "Dream Weaver" (WB-2868).

January 31
"Crisis? What Crisis?" makes US #44.

First world tour begins.
Performance at The Royal Albert Hall, London.

May 3
Featured on "Earth News" radio show.

"Sister Moonshine/Ain't Nobody But Me" released in UK.
"Sister Moonshine"/"Ain't Nobody But Me" (A&M 1814) released in US.

August 23
Reading Festival.

November 13
Second world tour begins, Briston, England.

November 21
Radio Glasgow interview: playing of "Goldrush".

14- Lancaster
15- Leeds University
16- London, Croydon Fairfield Hall
17- Brighton Dome
19- Bournemouth, Winter Garden
20- Portmouth
22- Newcastle City Hall
24- Glasgow, Scotland. The Apollo Theater
25- Dundee, Caird Hall
28- Cardiff in Wales, Capitol Theater
29- Birmingham Odeon
30- Manchester, Palace Theater

Leicester, DeMontfort Hall
2- Stoke-On-Trent, Hanley Victoria Hall
4- Sheffield City Hall
5- Coventry theater
6- Hammersmith Odeon
7- Hammersmith Odeon
9- Hull, ABC Movie theater
11- Preston
12- Liverpool, Empire Theater
13- Ipswich, The Gaumont
14- Great Yarmouth ABC theater
16- Plymouth
18- Swansea, Brangwyn Hall
19- Southampton Gaumont
20- Southend, the Korsaal

Move to Caribou Studios, Colorado to record "Even In The Quietest Moments"

]]> (Press Review - Press Article) Biography Wed, 17 Nov 2010 19:16:16 +0000
CLASSIC TRACKS: Supertramp‘s 'Logical Song'

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



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."

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."

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.



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."

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




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
]]> (Press Review - Press Article) Supertramp Press and Media Wed, 17 Nov 2010 18:57:03 +0000
Famous Last Words


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


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
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...


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...


]]> (MAC) Discography - Albums Tue, 16 Nov 2010 14:58:53 +0000
JOHN HELLIWELL in Pennyblackmusic, October 2010

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.

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?

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'?

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?

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?

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.

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.

…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?

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.

: Yeah, it’s good. We like to tell a story. You know.

PB: What’s your favourite song on the set list?

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?

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?

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?

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.

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'?

You know about that?

PB: Yeah. That sounds fantastic.

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?

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?

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?

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?

Yeah, sure.

PB: People in a band work out material; they work very closely. What is your feeling about that?

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?

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?

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.

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.

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?

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?

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.

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.

(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.


PB: Did you read that book, 'The Autobiography of a Supertramp?'

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..

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?

I just downloaded my first movie to watch on my IPAD last night.

PB: What was that?

'Some Like It Hot'.

PB: And we just lost Tony Curtis…

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?

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?

(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.

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?

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.



]]> (Miguel Angel Candela MAC) Interviews Fri, 12 Nov 2010 16:36:06 +0000
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)


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.


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.

]]> (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:50:04 +0000
Crime of the Century CRIME OF THE CENTURY - 1974 - A&M

Release Date: 1974

Recording Date: Feb 1974-Jun 1974 Label: A&M     Time: 43:25


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.]]> (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:47:12 +0000
Indelibly Stamped



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

]]> (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:45:10 +0000
Supertramp (Selftitled Album) SUPERTRAMP - SELFTITLED - 1970 - A&M


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.


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

]]> (Miguel Angel Candela MAC) Discography - Albums Mon, 08 Nov 2010 15:41:20 +0000
2010 TOUR - SUPERTRAMP, London Oct. 6
Supertramp, O2 Arena, review
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. 

Supertramp still entertain 40 years on.
Tim Cole, Deputy Editor
The docklands24
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.


]]> (MAC) Touring: Concert Reviews Thu, 07 Oct 2010 15:30:21 +0000
JOHN HELLIWELL in Classic Rock, October 2010

Supertramp Exclusive: Hodgson Return? Never!


If anyone’s hoping for an emotional reunion between Roger Hodgson and Supertramp, then they can forget it. So says, saxophonist John Anthony Helliwell.

There are two chances, slim and none – and slim’s just left town,” laughs Helliwell, when Classic Rock asks the question. “To be honest, I’m not sure what the problem is, because it’s down to Roger and Rick (Davies). I do know they had talks about touring together. According to one party, those talks lasted 18 months. According to the other they lasted no time at all. But in the end, Roger decided to go and do his own tour, which was very good. Rick decided to put together the Supertramp 40th anniversary tour. And both parties tell you a different story as to why the whole thing failed.”

Helliwell also acknowledges that Hodgson is angry that the band are now playing six of his songs in their live set.

“I know he’s made his feelings public. But I’m not sure why he’s so upset. Firstly, anybody can play anyone’s songs live. And secondly, who better to do those songs than Supertramp? Yes, Roger wrote them, but I feel we as a band brought a unique approach which makes them stand out. The same also applies to Rick’s stuff.”

Helliwell has further revealed that there are plans for an expanded edition of 1974’s breakthrough album Crime Of The Century, although an actual release date remains unconfirmed. This follows the reissue of 1979’s Breakfast In America, now available as a two-CD set.

“I know we’re calling it the 30th anniversary re-release – we’ve just rounded it down a little,” admits Helliwell. “It’s been great revisiting the album. The extra CD has live songs from both Paris and Wembley on that 1979 tour. To be honest, when we’d finished the album we knew it was good, but we only realised how big it had become because all the venues were packed. We must have done about 120 shows from March to November in 79, which was quite hectic. Thankfully we bought ourselves some extra time for resting up by putting out the live album Paris in 1980.”

There were allegedly real tensions in the studio for Breakfast in America, between Hodgson and Davies, although Helliwell feels they’d always been there.

“I recall in 1973 we had to literally grab Roger and prevent him from going off to India. We had Crime Of The Century coming out, and the last thing we needed was Roger disappearing. But there was always friction between him and Rick, so what happened on Breakfast… was nothing new.”

Currently on the aforementioned 40th anniversary tour, with dates stretching in Europe until October 28 (they play the O2 Arena in London on Wednesday, October 6) , Helliwell is confident this will not be the last activity from the band.

We’re already talking about spring dates next year in America, and also some festivals in the summer. Possibly in Europe, maybe in America. But it’s all down to what Rick wants to do. It’s his call.

And, although, there are no plans for any new studio recordings, the band are making available live recordings of every show on the tour.

“You can buy a USB of each gig straight after it’s finished. Or you can get a CD or MP3 download online. It means I’ve got to watch what I say, because as the announcer anything idiotic I come up with will now be captured for posterity!”

Find out more at


]]> (MAC) Interviews Tue, 05 Oct 2010 10:30:51 +0000
2010 TOUR - SUPERTRAMP Berlin Sept. 27


Hi all,
Back in the US after enjoying the two gigs in Europe and a ton of travel, hiking and museums! , here's some scoop on Berlin:

Venue: Stunning new arena way over on the eastern side of town called the O2 World...there are several O2 venues throughout Europe, but this was the first I'd seen. Was a miserable, rainy day outside but seemed like a pretty good crowd rallied to get to the show on Monday. I'd heard ranging from 5,000 to 10,000, with a couple of folks working at the event saying 10K sold, so who knows? Seems about right, as the floor was packed as was most of the entire lower bowl of arena and I think it was built to seat 18-20K. Anyhow, not a huge crowd, but a very appreciative one. Perhaps most amusing was a guy in the front row who'd dressed from head to toe as a train conductor, then went completely nuts throughout the performance of 'Rudy'.

Performance: Identical setlist that seems pretty well established. Highlights for this show for me were 'Ain't Nobody But Me,' 'From Now On' (John held that final sax note for a near eternity and the audience responded) and, 'Another Man's Woman,' which featured another crazy/good piano improv by Rick D. Rick was in great form, but his voice had two pretty audible creaks during Goodbye Stranger and Crime...only real nitpicks I had. I was lucky to have great seats...on floor, directly in front of soundboard and the sound was excellent from this vantage point. I didn't have the chance to compare notes with others this time, but those immediately around me that it sounded super, etc.

-Band playing -really- tight now, with a very full sound, both instrumentally and vocally;
-More subtly, Cliff and Bob have really locked-down as a rhythm section...very good groove throughout the show.
-Rick's in great form, excepting the two things mentioned above;
-John-Lee horns tandem and Carl V on many varied guitars adds great dimension to some old favorites;

-Some humming from the PA at beginning of show -- fixed after a tune or two;
-Identical setlist...some variety would be great;
-Some mic probably during Cannonball, as it seems that some of the keyboards went silent for several bars...fixed, but audible goof;

Roger stuff: Roger Hodgson leaflets and posters were distributed by volunteers or whomever at several point around the arena. Thankfully, those distributing the stuff were much more respectful than what I had experienced in Munich. The leaflets were the same as in Munich, promoting Roger but not trashing Supertramp's concert. Couple of German fans next to me expressed that they wished Roger could've been a part of this show, but that it rocked without him and that life goes on...Jesse in particular did a great job on Monday night with the Roger-composed tunes and the band behind him sounded great.

Other: This audience was a lot more 'into it' than was the crowd in Munich...starting with Ain't Nobody But Me, lots of clapping, singing, and even gobs of people dancing is the aisles by the time Goodbye Stranger rolled around. Good to see from the usually too-stoic Germans ;-).

I talked with some tour personnel after the gig and they told me that the band is having fun and that they're especially looking forward to sold-out gigs in London, Paris (added a second show and it's almost booked-out, too), others in France and some venue just outside of Amsterdam? Favorite gigs so far included Verona, Lisbon, and Barcelona...

That's it from here. If you get the chance, I highly recommend seeing this band live as it is a great band/show! best,



]]> (MAC) Touring: Concert Reviews Fri, 01 Oct 2010 13:27:29 +0000
2010 TOUR - SUPERTRAMP Manheim Sept. 23

Text and photos: Uwe Nessler


Last Thursday I was at Supertramps show in Mannheim. Here?s my personal

The venue SAP-Arena was 50% filled, so when I arrived I first had to change my ticket from the upper level to the lower level. The complete upper balcony remained empty. So there were about 5,000 people in this 10,000 people arena.

The sound was acceptable, but not excellent or crystal clear, because it was a little bit too loud. Ricks voice was always clear but the rest of band wasn?t always exactly balanced. Although the live recording I bought after the show sounds excellent. So this seemed to be owed to the acoustic of the venue (or the ability of the soundboard-technician?).


The show was almost the same as the 2002-Tour: A plain stage with black curtains, opened from time to time to show videos on a screen. They added 2 videoscreens left and right of the stage where they showed the band. A nice gimmick was the camera at the piano showing Ricks hands playing. I liked the light show more then in 2002.

The setlist was the same as on the shows before. No changes.

How did the audience react on Rogers songs?
Rogers songs were very well received. Better than most of Ricks songs. I think that people know that it isn't Roger singing and they have to accept that other singers are doing his job. Although I had the impression, that for the band Rogers songs are a "ok we have to do this songs". Like many of us here I still have very ambivalent feelings about Supertramp playing Rogers songs. Reminds me when Ray Wilson was a member of Genesis and singing Phil Collins songs. Not the perfect hit.

From now on was the first highlight of the show. After that they played Give a little bit, but nobody stood up and danced. Same procedure on every song of Roger: the audience remained seated. That's for me the sign if a band got the audience: when the people on the balcony are standing up and dancing. In Mannheim: nothing. Just during the encore.

The highlight of the show was Another Man's Woman with Ricks outstanding
piano solo. Almost the only time when they got standing ovations.


What I liked:
To hear after this long time Ricks songs again live -- especially Gone Hollywood or Poor Boy.
The interesting ending of Bloody well right -- it faded out
The sound of 2 electric guitars playing the solos at School and Crime
This epic sound -- although it wasn't crystal clear
To hear the original Wurlitzer sound. Great!

What I didn't liked:
The poor sound of the electric Grand Piano. OK, it is cheaper to do it
this way, but I prefer the sound of a real piano.
The poor sound of Jessies 12-string guitar on Give a little bit.
The disco-like beginning of Dreamer. Reminds me of a live version of Glenn Freys The Heat is on
The voice of Gabe Dixon. Sorry, I hate to say it, but for me it sounded like Mickey Mouse was singing. Did he take Helium?
Why did Gabe hide behind a keyboard when singing Rogers songs when he just play some single notes on it? Jessie is playing all the keyboard parts on Rogers songs.
I am pretty sure that Cassie Miller was singing, but sadly I never heard her voice alone.
Sometimes the bass playing of Cliff Hugo. His style of playing a pumping, rolling bass which is ok on Cannonball is not so much my cup of tea. On It's raining again he played more quavers then the syncopes of Dougie.
Most times the spotlight was only on Rick, the rest of the band played half in darkness.



My conclusion is:
A good show whithout gimmicks but not outstanding and sorry, they did not get the audience. People liked the show but they did not went nuts.
I think that people just enjoyed to hear this songs again and maybe for the last time. It would have been ok to play some songs of the past Roger era, but to be honest: I did not miss them. Maybe because I am not so much into this era?.

Before or after the show there weren?t any people giving away flyers announcing Rogers new Live-CD.

Uwe Nessler

]]> (MAC) Touring: Concert Reviews Tue, 28 Sep 2010 08:36:31 +0000
Magnolia Movie - Goodbye Stranger - Fragment

Magnolia Movie - Goodbye Stranger - Fragment

Source: Youtube


]]> (Youtube Video or similar) Video files - Supertramp Wed, 22 Sep 2010 09:47:14 +0000
2010 TOUR - SUPERTRAMP Barcelona 18 Sept

Supertramp, en el museo del pop

La banda exhibió técnica pero se resintió de la ausencia de Roger Hodgson

Lunes, 20 de septiembre del 2010  JORDI BIANCIOTTO / Barcelona

La gira 70-10 de Supertramp debería llamarse 74-82, puesto que el repertorio que maneja se concentra de una manera abrumadora en esos ocho años tocados por la gracia creativa. El sábado por la noche, en el Palau Sant Jordi, el grupo británico se resignó a escenificar un elegante, estilizado, técnico y profesional ritual de revival ante una audiencia que, vista la media de edad, había crecido con él. Un público que dosificó sus expresiones de júbilo y las limitó a los momentos en que sonaron las melodías más reconocibles.


Picture: Arnau Bach

A Supertramp le costó cerca de una hora calentar el Sant Jordi, que no se llenó pero fue ocupado en más de tres cuartas partes. Abrió con You started laughing, la canción inédita del disco en directo Paris (1980), y se adentró en espesos pasajes de pop progresivo con Gone Hollywood y Put on your old brown shoes. La primera pieza que hizo levantar brevemente al público de sus asientos fue la quinta, Breakfast in America, en la que Jesse Siebenberg (hijo del batería del grupo, Bob Siebenberg) hizo lo que pudo para ponerse en la piel del ausente de la noche, Roger Hodgson.

VOCES IMITADORAS / Salir a celebrar el 40º aniversario de la banda sin Hodgson es una papeleta que incluye una dosis de farsa. Porque tanto Siebenberg como Gabe Dixon, que se repartieron la misión de emular su canto aflautado, se veían forzados a asumir un rol imposible, incluso humillante. Y para Rick Davies, al frente de la banda desde 1983, montar un repertorio en el que solo una canción, Cannonball, corresponde a la era posHodgson, es una estridente declaración de derrota. Los Supertramp modernos nunca han cuajado, y Davies y sus cómplices (entre ellos, el siempre campechano saxofonista John Helliwell, que evocó la visita del grupo en el 2002: «Aquella noche me convertí en abuelo») tensan la cuerda como nunca tuneando canciones que requieren una interpretación vocal muy concreta.

Material que, en su facción más pop (It's raining again, The logical song), conserva vivas sus propiedades. Hodgson no buscaba solo un estribillo y muchas de sus canciones son festines melódicos integrales; sencillos y adherentes desde sus primeras notas. Artefactos horneados con materiales ocurrentes: los patrones de jazz,

cabaret y géneros démodées como el skiffle sustentan muchos de ellos.

Un pasaje del recital dedicado al álbum Even in the quietest moments (con From now on, Give a little bit y Downstream) marcó un punto de inflexión y trajo una mayor implicación del público, hasta entonces muy distante. Con nueve músicos en escena, y calcando texturas, inflexiones y solos de las grabaciones originales, Supertramp expresó tanta precisión como ausencia de inventiva. Su repertorio es idéntico noche tras noche: no ha habido tiempo ni necesidad de aprender más canciones. A diferencia de Pink Floyd y Yes, la banda nunca ha colocado el aparato visual en un primer plano, y en el Sant Jordi se limitó a tres pantallas de vídeo y un gag escénico durante la interpretación de Another man's woman: la reproducción de la portada de Crisis? What crisis?, con un empleado sentado en una silla plegable bajo una sombrilla.

En el último tercio de la actuación cayeron pesos pesados de su discografía como Take the long way home y un Goodbye stranger capitaneado por Davies. Luego, en los bises, un solo de armónica anunció la hora de School, entonada por Jesse Siebengerg, que abrió un bloque final centrado en el disco Crime of century, con Dreamer, a cargo de Gabe Dixon (con un timbre vocal más cercano a Hodgson), y la canción que le dio título. Fueron dos horas de música ambiciosa en su concepción original aunque ejecutada con ánimo conservador. Pero celebrar los viejos tiempos es el último refugio de la mayoría de los clásicos venerables del pop.


El discreto encanto de lo anacrónico

Supertramp acunaron al Sant Jordi con un plácido repaso a sus viejos éxitos

LUIS HIDALGO - Barcelona - 19/09/2010

La ventaja de no haber sido un joven loco, disparado y atolondrado, es que no se nota tanto la pérdida de energías implicada en el paso del tiempo. Puestos en música, se puede apelar a la lógica y conjeturar que los años mellarán más a un punk que a quien hace del arrullo su enseña. Entiéndase que todo ello viene pintiparado al recordar el concierto que anoche ofrecieron Supertramp en el Palau Sant Jordi de Barcelona, donde celebraron los cuarenta años de la edición de su primer disco casi como si el tiempo no hubiese pasado. Al menos para el oído, ya se sabe que los años resultan implacables con el aspecto físico. Pero sea porque nadie fue a ver figurines o porque la condescendencia con uno mismo comienza con los demás, todo fue casi como entonces.


Comodidad y calidad de sonido fueron las características del concierto

Bien, hace años Roger Hodgson estaba en la banda, no se repartía en la entrada de los recintos publicidad sobre las versiones de Supertramp que éste ha grabado para su nuevo disco en directo y no resultaba tan necesario en escena el concurso de vocalistas para reforzar las prestaciones de un grupo que ya, hace mucho, no cuenta con su voz. Pero como todo ello ya se sabía de antemano nadie se echó las manos a la cabeza y todo rodó de forma apacible. Quizás un poco más apacible de la cuenta, porque hasta el cuarto tema, "Breakfast in America", no sonaron los primeros aplausos sinceros, decorados mentalmente por más de un "¿te acuerdas? evocador de ternura y melancolía. Luego, quizás aprovechando el tirón, la banda embocó una versión briosa, al menos para su registro, de "Cannonball" para luego, debidamente anunciada en pantallas, seguir con "Poor boy". Todo muy en su sitio, perfilado, todo muy tranquilo, todo también algo anacrónico y como congelado más que en la memoria, en el propio tiempo.

Puestos a buscar cosquillas, podría haberse solicitado que algo de los indudables ahorros amasados a lo largo de una carrera tan larga y triunfal hubiesen sido destinados al espectáculo, bastante parco y, porque no decirlo, en absoluto espectacular. Y claro, eso de que en un concierto sólo cuenta la música es una verdad a medias si éste tiene lugar en un espacio tan grande como el Sant Jordi, donde pensar en un entorno visual para las canciones no es algo complementario sino más bien inevitable. A cambio, desde el mismo inicio del recital el sonido resultó nítido y definido, tan excelente como el de aquella frecuencia modulada que tanto antepuso la calidad a tantas otras cosas. Ese sonido permitió que los acordes de piano que abren "From now on" levantasen otra marea de murmullos de aprobación en una platea donde como mandan los cánones el concierto se siguió sentado, de suerte que comodidad y calidad (de sonido) fueron la grandes características del concierto.

Esa misma platea, unida por un desnivel continuo de sillas que la unía a la grada situada frente al escenario, vibró con "Give a little bit", otra de las históricas repescas del grupo, un empujoncito a la alegría y al cosquilleo en clave Supertramp, es decir, con mesura. No se trababa de desbocar emociones, sino más bien de evocarlas con tacto y sin aspavientos. "It's rainig again" se encargó de elevar de nuevo los ánimos y enfocar la parte final del concierto con "Bloody well right", "The logical song" y "Goodbye stranger". En los bises esperaban turno "School", "Dreamer" y "Crime of the century", con las que se cerró el repaso a una historia iniciada hace cuarenta años y que ha bifurcado un mismo repertorio bajo dos nombres. En el caso de Supertramp fue conducido anoche con un encanto discreto, pausado y maduro para mayor solaz de los amantes de la calidad y de las emociones que no pongan en riesgo la salud mediante inopinados sobresaltos.


Antología feliz
KARLES TORRA  - 20/09/2010

No hubo nostalgia gracias al gran nivel de los músicos y a la fuerza de temas que resisten al tiempo

Tras haber permanecido inactivo durante los últimos ocho años, el grupo Supertramp anda de nuevo en la carretera para celebrar su cuadragésimo aniversario con la gira 70-10.Bajo el mando único de Rick Davies, como es habitual desde la salida de Roger Hodgson en 1983, Supertramp presentó el pasado sábado una lustrosa antología de su trabajo en formato de noneto y al calor de un Palau Sant Jordi que se aproximó al lleno. Muy equilibrada y bien distribuida, la selección incluyó temas de la media docena de vinilos publicados entre 1974 y 1985, con atención especial a sus dos mayores bombazos tanto en términos artísticos como comerciales: Crime of the century (1974) y Breakfast in America (1979). Pese a que uno pudiera temer lo contrario de antemano, lo cierto es que el espectáculo no fue en ningún caso una ceremonia nostálgica, dado el gran nivel exhibido en todo momento por los músicos y la fuerza indiscutible de una obra rebosante de gemas que resisten la mar de bien el paso del tiempo.

Entre ellas un ramillete de brillantes canciones pop obra de Roger Hodgson, caso de Breakfast in America,Give a little bit o The logical song,y que, con la salvedad de un desacertado It´s raining again,sonaron razonablemente bien perfiladas en la voz de Jesse Siebenberg y Gabon Dixon, haciendo las delicias del público. Por su parte, y con un discurso más cercano al rock progresivo, Rick Davies rayó a considerable altura como cantante y estuvo soberbio en tanto que pianista. Ya fuera cocinando en clave de jazzrock un infeccioso Cannonball que mostró una admirable conjunción de piano, percusión y viento, o bien dejándose literalmente la piel de los dedos para pasmo de la audiencia con un crescendo brutal en su portentosa recreación del Another man´s woman de Crisis, what crisis,Davies ofreció toda una exhibición de sus enormes poderes y saberes. ...

Dentro de un concierto sin apenas elementos escenográficos y que no perdió nunca el interés, la última parte fue para mojar pan y quitarse el sombrero. Con el saxo de John Helliwell y la trompeta de Lee Thornburg lanzadas a todo gas, el grupo encadenó una imponente Bloody Well Right a una superlativa Logical Song (donde Helliwell también lució como maestro de ceremonias), antes de cerrar por arriba con un flipante Goodbye Stranger. Para alcanzar, ya en los bises, la máxima cima emocional en alas de un remozado Dreamer (otra perla de Hodgson que supuso el primer gran éxito del grupo), ante el fervor desatado de los fans. No podía tener mejor colofón esta antología verdaderamente feliz.


]]> (MAC) Touring: Concert Reviews Tue, 21 Sep 2010 20:54:12 +0000
Barcelona concert - Previous - Palau Sant Jordi

Barcelona Show - September 18th
Some minutes before the concert...

Source: Youtube


]]> (Youtube Video or similar) Video files - Supertramp Tue, 21 Sep 2010 17:38:21 +0000
SUPERTRAMP Barcelona, Review Sept 2010

Barcelona September 18, 2010

Text and photos: Miguel Angel Candela 



You started laughing
Gone Hollywood
Put on your old brown shoes
Ain't nobody but me
Breakfast in America (sung by Jesse Siebenberg)
Poor boy
From now on
Give a little bit (sung by Jesse Siebenberg)
It's raining again (sung by Gabe Dixon)
Another man's woman
Take the long way home (sung by Gabe Dixon)
Bloody well right
The logical song (sung by Jesse Siebenberg)
Goodbye stranger


School (sung by Jesse Siebenberg)
Dreamer (sung by Gabe Dixon)
Crime of the century 

En español a continuación

English readers could read the Halle reviews: same set list, same show :o) I'm just adding here some comments and data about the show in Barcelona:

Pretty full venue, 13.000 people according the organizer. Very good welcome from the audience, warm reception for Roger's songs (people stand up). Sound was not powerful and clear enough for such a huge venue. Seats far from stage suffered a poor sound. Also, Gabe voice, strings (keyboards) and Carl's guitar were in soft volume compared to the rest. Soft volume and bad mix in general, from most of seats (even expensive tickets) the sound was dissapointing, what a shame. I was able to check it from several points and I got lot of bad fans feedback about it.
Audience love the songs and enjoyed the show, but feeback I got from some friends was quite dissapointing (about the sound power and quality, and about the atmosphera, little bit cold compared to previous tours, and about too many Roger's songs in the set list) Similar feedback in press reviews. The show itself it's a "deja vu" thing, similar than previous tour 2002.
The band playing and singing was excellent I have to say, except for "Dreamer" and "It's raining again", where Gabe's voice can not make us forget the Roger's voice, and then the result is not as good as expected. I've heard some criticism about lack of songs from last albums, that make sense.
The solo of piano by Rick in Another Man's woman was the same than 1997 and 2002 tours ..... After 13 years playing the same solo I won't describe it as a "jam". Maybe it would be good some new ideas, right ?
Lights were similar than previous tour too. Disco style ....that could fit on a ELO show, but obviously doesn't fit on a "progresive-sophisto-rock" show. Lights didn't help for a better atmosphera.
Bittersweet flavour..... Anyway, we met lot of good friends there. We love Supertramp, but we have to explain the low level in the Production, though the band did a great job. We are waiting for news about a possible american leg next year.

Barcelona 18 Septiembre, 2010

13000 personas según la organización, en un recinto bastante lleno, pero con asientos en la pista (con grandes pasillos ) con lo que se desaprovecha mucho sitio y la respuesta del público es más fría al encontrarse más lejos del escenario.

Sentimientos agridulces los que nos dejaron Supertramp en su nueva gira.
Contentos de verlos de nuevo por aquí, ocho años después, cuando ya parecía que se habían retirado definitivamente, pero con una sensación de "deja vu" al ser una repetición de la última gira, con solo algunos pequeños cambios.
Eso mismo he ído leyendo en otras criticas de otras ciudades, y muchos titulares de prensa referidos a la "nostalgia" y términos parecidos. Vamos, que somos unos carrozas aunque nos cueste aceptarlo :o)
Una gira no precedida por nuevo disco por primera vez en la historia, y basada más que nunca en la década dorada de 1973-1983, incluyendo solamente un tema posterior a esa fecha.

Visualmente el concepto del show a nivel de escenario y luces es el mismo que fuera en 2002, que si ya en aquella época era justillo, no digamos ahora (y eso que nos habían anunciado desde la web oficial un nuevo diseño de show más espectacular ...)

Los comentarios de gente con la que he hablado (fans que llevan siguiendo al grupo durante decadas) han sido en mayor parte de algo de decepción, en varios aspectos, aunque siempre hay el que lo ha parecido correcto, hagan lo que hagan. Cada uno tiene sus propias expectativas.

Aquí va un resúmen de dichos comentarios, me he tomado la molestia de hacer el ejercicio de pensar en las cosas positivas, que siempre las hay, para no dar la impresión que el concierto fuera un desastre, que tampoco lo fué. Solo que no respondió totalmente a las espectativas de muchos fans:



 Cosas a destacar, respecto a la gira anterior:
- Se han añadido, por fin, dos pantallas a los lados para mostrar imágenes del show en primer plano, algo que es ESTANDAR en la mayoría de conciertos desde hace dos decadas. Imprescindible en recintos enormes como el Palau St Jordi , desde donde la mayoría de las gradas el escenario se ve enano con unas figuritas encima. Esto mismo se lo comenté a John Helliwell en una entrevista que le hice en 2003, y sea como sea este tema se ha solucionado. A pesar de eso no han funcionado todo el rato .....
- Se han recuperado temas de Rick que no estaban en la gira anterior, como "You started laughing", "Poor boy" y "Gonne Hollywood" (precisamente también hablé de esta ultima canción con John en esa entrevista)
- Se ha incluido en el merchandising la posibilidad de comprar el concierto grabado en audio en un pendrive o en CD, una nueva tendencia en la actualidad que permite a los fans tener el concierto al instante y a los artistas les evita tener que pasar por una discográfica y editar un disco. Hemos pasado de no tener casi ninguna grabación oficial, a tener una de cada concierto :o) Bienvenido sea !
- Jesse interpreta más temas de Roger esta vez, y lo hace con un tono de voz muy adecuado, intentando mantener el espíritu de las canciones en todas las entonaciones y variaciones. Buena nota.
- La profesionalidad de la banda está fuera de toda duda, lo hacen impecable, cada uno en su apartado, sobre todo los miembros originales Rick, John y Bob, que siguen en plena forma musical. Si el sonido final fuera del escenario es bueno o no ya no es cosa de ellos, sino de los encargados del sonido y la Producción. En esta gira no participa Mark Hart, que está de gira con Crowded House, pero hay incorporaciones en la banda como el trompetista, su mujer en los coros y un teclista que canta algún tema de Roger. 9 personas en el escenario.
- Una de las incorporaciones es una voz femenina, que indudablemente debe llenar más los coros. Algo que no se nota en el propio concierto por el propio ruido global de los directos, pero quizás se note en las grabaciones. Vamos, hay gente que dice que no se nota nada, pues ya son 8 en el escenario, y hasta lo citan como algo innecesario o desaprovechado, pero yo lo dejo como algo positivo.
- Se han recuperado un par de temas de Roger Hodgson que nunca habían interpretado, y en total son siete temas de Roger los que suenan en el concierto.(más de la tercera parte del show) Esto también está en la parte negativa, pero lo añado como parte positiva para toda aquella gente que está al margen de quien canta las canciones y por tanto disfruta de un concierto con más exitos y más variado que si fuera solo con temas de Rick. De hecho en el primer tema de Roger, "Breakfast in America", es cuando la gente se puso en pie por primera vez ! Y lo mismo con el resto de sus temas. Está claro que están en el corazón de todos los asistentes.



En la parte negativa: 

- Solo un tema post-Roger, concretamente Cannonball de 1984. Algo que defrauda a los muchos seguidores de la banda de la era post-Roger (entre los que no me encuentro) pero he leído muchas críticas al respecto y tienen razón.
- No han interpretado Asylum, que si han tocado en algún concierto anterior en Alemania. El Set list ha sido el mismo que en conciertos anteriores en España.
- La misma pantalla de cine tras la batería pero con los mismos videos de siempre (los clasicos de Rudy y Crime of the century) y poco más. Es un apartado muy desaprovechado, una vez hecho el gasto de montar la pantalla cada noche.
- El mismo escenario y las mismas luces, poco trabajadas. Recuerdo giras de los 80 donde los juegos de luces eran emocionantes y ayudaban en las canciones. Eso es imperdonable en una gira de este tipo. El estilo "disco" de las luces encajaría quizás en un concierto de la ELO, pero no en una banda de pop-progresivo y sofisticado, que necesita de las luces para mantener el "drama" y la emoción de ciertos momentos. Suspenso gordo en este apartado.
- El sonido muy pobre para el recinto. A la que te alejabas del escenario, el sonido era bastante malo, demasiado grave y embarullado, no se apreciaban bien los detalles. Incluso estando cerca, la guitarra de Carl no destacaba lo suficiente, lo mismo con los sonidos de string (teclados) y con la voz de Gabe, que apenas se percibía, al contrario de las de Rick y Jesse que si estaban bien ajustadas en sus canciones. He leído lo mismo de otros conciertos, así que no debe tratarse de un fallo, sino de una decisión sobre el show. Para muchas personas, entre las que me incluyo, se puede considerar un timo para una producción de estas caraterísticas. Por mucho que te gusten las canciones, si no notas los detalles ni suena equlibrado te cuesta mucho meterte en el show, y eso es lo que ocurrió.
- En general el concierto ha sido algo frío comparado con giras anteriores, es dificil de explicar pero se nota en el ambiente. No se hace participar al publico de la fiesta (con algun estribillo, alguna variación,...) y las presentaciones de John han sido más escasas y discretas. Todo muy aséptico, más aún que en épocas pasadas. Y el sonido y las luces no ayudaron en esto.


 - Los nuevos temas recuperados de Roger, "Dreamer" e "It's raining again" han quedado demasiado discretos, tanto por el volúmen bajo en la voz del cantante ya comentado (aunque las canta muy bien) como porque se han tocado sin mucho carisma. La voz de Gabe en "It's raining again" no acaba de encajar y no queda tan bien como debiera, al ser bastante diferente que la de Roger. (en cambio los temas que canta Jesse quedan muy aceptables)
- El hecho de que 7 de los 20 temas sean del ausente Roger desagrada a cierta parte del publico, que preferiría escuchar más temas de Rick. En concreto yo he echado de menos temas como "Better days" o "Listen to me please" por poner solo un ejemplo, muy apropiados para un directo.
- La supuesta "improvosación" o solo de piano de Rick en "Another Man's woman" resulta ser la misma que en las giras 1997 y 2002 y que repite noche tras noche. Empieza siempre del mismo modo, y a veces se vuelve caótica. Por lo que me han comentado expertos deja bastante que desear para un pianista que lleva toda la vida con ello. Yo como oyente fino solo puedo decir que hay trozos que me suenan bien y trozos que me suenan mal, y entonces el global no me gusta. Y además con ello se carga el final de la canción tan característico, pasando a ser un trozo de soul muy ruidoso sin más. 13 años con el mismo solo no me atrevo a llamarlo "improvisación" precisamente. Hubiera estado bien incorporar alguna variación de este tipo en otro tema por lo menos para variar un poco y demostrar ideas. Lo hubiésemos agradecido.
Todo esto no quita que lo hayamos disfrutado en mayor o menor grado, y ha sido una ocasión más para vernos, con la banda y con otros amigos. Amamos a esta banda pero hemos de ser críticos también con lo que nos ofrecen, que como he comentado nos ha fallado la Produción más que la banda en si, que han hecho su trabajo con nota. Quedamos a la espera de la posible ampliación de la gira a Norteamérica a principios del año que viene, como ya pasó en 2002, y también a que la insistencia de Roger permita finalmente una reunión en un futuro cercano. Eso ya parece más improbable, pero nunca se sabe. 

BCN2010A3 BCN2010A4

BCN2010A2 BCN2010A10 

BCN2010A5 BCN2010A1


]]> (MAC) Touring: Concert Reviews Tue, 21 Sep 2010 12:46:45 +0000
Tour 2010 - Madrid - Another Mans Woman

Tour 2010 - Madrid - Another Man's Woman

Source: Photobucket user - Link




]]> (Youtube Video or similar) Video files - Supertramp Tue, 21 Sep 2010 12:31:35 +0000
BBC 1977 Supertramp live - Another Man's Woman

BBC 1977 - Another Man's Woman

Source: Youtube


]]> (Youtube Video or similar) Video files - Supertramp Tue, 21 Sep 2010 12:20:22 +0000
2010 TOUR - SUPERTRAMP, Bilbao 17 Sept


Dos horas de nostalgia

Supertramp repasó sus éxitos en el BEC ante 6.000 fans

19.09.10 - 03:03 - ÓSCAR CUBILLO

El viernes, camino del metro, nos cruzamos con el amigo Topo, un intelectual melómano, y le tendimos la lista con las 20 canciones que Supertramp tocarían esa noche en el BEC. La miró, aseguró conocer todos los títulos, y sentenció: «No falta ningún éxito. Es un listado parecido al del 'París'. Pero no va a ser lo mismo...».
Ya, antes en Supertramp había dos colíderes: el presente Rick Davies, el alma blues de la banda, y el ausente, Roger Hodgson, el marchamo pop y comercial de un grupo jurásico cuya sombra se cernía en la entrada del BEC por medio de los panfletos que se repartían recordando que él era «el compositor de los grandes éxitos», un Hodgson cuya voz aguda fue sustituida por dos gregarios en un concierto donde se le echó de menos.
La gira de Supertramp se nomina '70-10 Tour', en referencia a los 40 años transcurridos desde la edición de su debut homónimo, pero de ese primer LP no rescataron ningún corte. El repertorio escogido duró dos horas y 6 minutos y se ubicó entre 1974 y 1982, y sonaron hasta cinco temas del 'Crime Of The Century' (1974) y otros cinco del 'Breakfast In America' (1979).

La peña pureta y pulcra lo recibió con predisposición positiva, ovacionaba al reconocer bastantes temas tras sonar los pianos iniciales, y en muchos títulos, sobre todo en los de Roger Hodson ('Dreamer', 'It's Raining Again'...), fue ella, la peña, la que con sus cantos sacó las castañas del fuego a los oficiantes.
Había unas 6.000 personas, menos de las esperadas. El respetable lo componían mayoría de hombres entrados en años (¡por una vez no éramos los mayores!). En el grupo, un noneto, figuraban tres originales: el líder Rick Davies, que ni se dignó a dirigirnos la palabra, el saxofonista y gracioso oficial John Helliwell. y el baterista Bob Seibenberg, apenas visible tras los timbales y platillos. El hijo de éste, Jesse, guitarra y percusión, era el que mejor imitaba al ausente Hodgson, mientras que nulo de carisma entonaba Mark Hart, el otro karaoke.

Supertramp actuaron con profesionalismo, en escasas ocasiones llegaron desganados (la jazzie 'Poor Boy') y a menudo iniciaron temas sin garra pero los levantaron en los epílogos progresivos ('Rudy'). Los tres primeros temas sonaron mal, con un parón amenizado con un blues improvisado mientras arreglaban el piano eléctrico.
Pero a la cuarta, 'Ain't Nobody But Me', algo Ray Charles, cambió la acústica y la actitud de los oficiantes, y el bolo mejoró. Se siguió con inevitables éxitos de Hodgson ('Give A Little Bit') y se llegó al colofón progresivo de 'Goodbye Stranger'. Para el bis quedó la mejor pieza de la velada, 'School'.

Al acabar los 126 minutos pasamos junto al puesto de merchandising, donde los carteles reprendían 'no compres pirata' y ofrecían camisetas por 25 euros (¡qué pasada!) y gorras por otros 25 machacantes (¡qué sobrada!). Topo adquirió un llaverito de un teclado bajo el nombre de Supertramp y confesó: «Me ha costado 5 euros. Sé que es una 'timada', pero me he dejado vencer por la nostalgia. Cómo se aprovechan de nosotros, ¿eh?».


]]> (Miguel Angel Candela MAC) Touring: Concert Reviews Mon, 20 Sep 2010 17:22:34 +0000
Supertramp in Catalan TV - TV3 - Video - CATALAN

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


]]> (Miguel Angel Candela MAC) Supertramp Press and Media Sun, 19 Sep 2010 17:12:58 +0000
Supertramp, viviendo de las rentas - Deia - SPANISH


Supertramp, viviendo de las rentas

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

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

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

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

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

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

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

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

Los éxitos... y más

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

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

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

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

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

El que fuera su disco más vendido, superando la cifra de los 18 millones de copias, se acompañará de un segundo disco, Breakfast around the world, con grabaciones en directo inéditas registradas en diciembre de 1979 en Londres, París y Miami.]]> (Miguel Angel Candela MAC) Supertramp Press and Media Sat, 18 Sep 2010 11:50:41 +0000
Supertramp: This Could Be The Last Time - Classic Rock Article

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

How do you feel about touring at age 66?

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

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

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

What songs will be in the set?

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

Tell us about who is in the band.

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

Why is Roger Hodgson not a part of this tour?

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

Have you ever thought about launching a solo career?

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

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

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

Which albums are featured in the set?

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

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

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

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

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

What are you listening to these days?

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

Do you keep up with current music?

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

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

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

Would you ever think of publishing your autobiography?

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


]]> (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 17 Sep 2010 12:44:45 +0000
El culebrón de Supertramp - SPANISH -El Pais Tentaciones

El culebrón de Supertramp

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

LINO PORTELA - Madrid - 29/07/2010

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

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

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

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

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

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


]]> (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 17 Sep 2010 09:37:57 +0000
2010 TOUR - SUPERTRAMP Madrid 15 Sept
  •  > Cultura
  • Flamantes zapatos viejos

    Supertramp no se aparta ni una coma del guión, pero demuestra como una máquina milimétrica que su repertorio de los setenta es incombustible

    FERNANDO NEIRA - Madrid - 16/09/2010


    Lo cantaba Rick Davies en Put on your old brown shoes, 28 años hace ya de aquello, y ayer lo repitió nada más arrancar su concierto en un Palacio de los Deportes casi lleno: "Ponte tus viejos zapatos marrones en los pies. Es hora de marcharse y ser libres el resto de nuestras vidas". Los chicos de Supertramp acumulan muchos kilómetros en las suelas desde que en 1970 rubricaran su primer vinilo, pero se mantienen fieles al calzado clásico e impoluto de toda la vida. Nada sucedió anoche que no pudiera haber ocurrido muchos años atrás, con menos incursiones canosas en el cuero cabelludo y más energía en las articulaciones. Y sin embargo, los botines resisten, incólumes, como si fueran un diseño del mismísimo Louis Vuitton.

    Davies, con gesto impertérrito y camisa de blanco nuclear, se parapeta a sus 66 años tras el piano de cola en un lateral del escenario y cede el espacio protagónico a su viejo amigo John Helliwell, el siempre más extrovertido hombre de los saxos y clarinetes. Helliwell es un embaucador a la manera clásica: se dice feliz en España "por el jamón y el vino", exhibe (vaya por Dios) una camiseta del Real Madrid, informa sobre el marcador en el Bernabéu y anima a adquirir a la salida una memoria USB con el contenido íntegro del concierto, "que hoy está saliendo mejor que nunca".

    Purita zalamería. En realidad, Supertramp es una máquina milimétrica e imperturbable aquí o en Sebastopol: repite las mismas canciones en el mismo orden, abomina de los aspavientos y lega todo el protagonismo a un repertorio que figura entre lo más memorable de los años setenta. Pero un poco de variedad, de margen para la sorpresa, no les haría ningún daño.

    Nueve músicos se reparten la tarea y ofrecen un sonido compacto, abrumador, desde el primer instante. El arranque, en cambio, se antoja algo romo: la iluminación es fría y estática, no hay apenas proyecciones (y la de Gone Hollywood parece sacada de un documental hortera) y un tema como You started laughing, estático y menor, tampoco parece la elección más convincente para los primeros minutos.

    La parte visual, bien pensado, se queda muy corta para una banda que reivindica estatus mítico y un historial de cuatro décadas. El vídeo para From now on, con una morenaza que alterna la ruleta rusa y el cubilete de dados, rezuma sensualidad de chiringuito; el tren antiguo que acompaña el acelerón final de Rudy tiene mucho encanto, pero lo hemos visto durante tres giras. Por fortuna, el tinglado se sustenta gracias a un arsenal portentoso de composiciones (Bloody well right, Another man's woman, Ain't nobody but me, Goodbye stranger) y a un sexagenario que, aun ceñudo y silente, conserva una fantástica voz rasposa.

    La historia es conocida. La asombrosa sociedad que integraban Davies y Roger Hodgson se resquebrajó tras el álbum Famous last words, en 1982. Fueron grandes amigos, pero desde entonces acostumbran a lanzarse fieros aguijonazos. Las alianzas tan pronto prosperan como se diluyen, pero parece claro que en este caso ambos socios han salido malparados. Por eso, y ante la duda, siempre queda la opción de echar la vista atrás y retornar a los clásicos.

    Admitámoslo: Hodgson ha escrito en solitario una discografía escasa y mediocre, y Davies... otro tanto de lo mismo. Supertramp acredita en este último cuarto de siglo un historial intermitente y cuatro discos irrelevantes (salvo el último y menos difundido, Slow motion). Pues bien, casi nada de lo publicado en este periodo decadente sonó anoche en el pabellón madrileño, pero, por supuesto, ninguno de los casi 10.000 espectadores lo echó en falta.

    La gran incógnita en estos casos siempre radica en qué hará la banda con los clásicos de Hodgson. Davies se refugia en el último extremo del escenario y se resigna a que suenen todos; incluso Breakfast in America, un tema que aborrece. La mejor noticia del año es que el nuevo sosias de Roger, el joven Jesse Siebenberg (hijo del batería, Bob Siebenberg), canta infinitamente mejor que su antecesor en giras pasadas, Mark Hart, hoy en Crowded House. Y encima es guapete. Hay savia nueva, pues, para que Supertramp prosiga su camino. Con los zapatos de siempre, pero, sorpresa, flamantes como nunca.

    Rolling Stone

    Supertramp en Madrid, canciones de otro tiempo sin entusiasmo

    La banda de Rick Davies desempolva sus clásicos para un recital sólido que nunca llega a entusiasmar. Deslumbrante pericia técnica y nulo carisma escénico. Por Jorge Arenillas

    Concierto: Supertramp. 
    Palacio de Deportes (Madrid).
    Fecha: 15/09/10.
    Precio: 40-60 euros.
    Asistencia: 10.000 personas (60% aforo).

    Es un hecho: las canciones de Supertramp no son atemporales. Ni lo pretenden. Son el sonido de una época y actualizarlas no tiene sentido, al menos para los miles de madrileños de mediana edad que se acercaron anoche al Palacio de Deportes para recuperar sensaciones de otro tiempo. Por desgracia para el promotor, no eran tantos los nostálgicos como para que la pista y la grada lucieran algo más que aparentes. El Palacio multiplica su frialdad industrial cuando una marea humana no tapa sus claros, y estos ayer abundaban.

    Los asientos más caros estaban todos vendidos, prueba de que el seguidor actual de Supertramp tiene cierto poder adquisitivo. Algunos incluso habían comprado un golden ticket, que por 200 míseros euros daba derecho a aperitivos y barra libre (muy deprisa hay que beber para amortizarlo, eso sí). El mayor aliciente de la promoción, sin embargo, era darse el gustazo de esquivar las colas para entrar al recinto, considerablemente largas por la falta de previsión de la mayoría.

    Salvo algún chaval con camiseta de Pink Floyd, todos los jóvenes que pululaban por el recinto venían arrastrados por sus padres. También podían verse parejas de treintañeros, la generación de los que crecieron estremecidos por la sonrisa (tipo “payaso de IT”) de la camarera de Breakfast in América. La inquietante señora podía aparecer sin previo aviso detrás de cualquier otro vinilo de rock sinfónico o progresivo de la colección de nuestros progenitores.

    A las diez menos veinte se apagaron las luces y los músicos aparecieron en el escenario. Con toda parsimonia saludaron al respetable, al menos a la parte de él que podía verlos, porque nadie se molestó en iluminarlos (llevando al extremo la máxima de que Supertramp es un grupo sin cara). El primer tema, You started laughing, reveló un sonido claro pero de escasa potencia, lo que se corregiría al cabo de unas canciones. No había mucho que mirar en el desangelado escenario, con los nueve músicos repartidos de forma ortodoxa, y concentrados en tocar. Un foco blanco insinuaba el estrellato del teclista Rick Davies, aunque el saxofonista John Helliwell reclamaría su parcela de atención con sus solos distintivos.

    Faltaba Roger Hodgson, sí. No era ninguna sorpresa porque hace casi tres décadas que abandonó la banda, pero el tiempo no ha borrado las dudas sobre la legitimidad de estos Supertramp. La discusión es estéril, pues lo que prima en esta banda son las canciones (así lo creerán también la pareja de ciegos que había ayer entre el público). Y no estamos hablando de reemplazar lo irremplazable, a un animal escénico como Jim Morrison o Freddie Mercury. Pero aquellos están muertos, y Hodgson no sólo está vivo, sino por la labor de reunirse con su ex-grupo para este cuadragésimo aniversario. Davies lo ve de otra manera, y al fin y al cabo, es quien ha mantenido viva la marca Supertramp, así que será lo que él disponga.

    La gira lleva apenas dos semanas en la carretera, pero no se observa señal alguna de desacople entre los músicos; y eso que han pasado ocho años desde la última vez que se vieron las caras. Algunos vídeos proyectados tras la banda ayudan a disimular el estatismo de ésta. Todas las grabaciones son horteras, pero en especial una que imita los títulos de crédito de una mala película de 007, tal vez de Timothy Dalton.

    Durante Another man´s woman, un tipo en bañador lee el periódico apoltronado en una hamaca, reproduciendo la portada de Crisis? What crisis?, el disco al que pertenece dicha canción. En Madrid el diario era El País, lo que hizo preguntarse a los espectadores si el caballero sería un español reclutado para la ocasión o un inglés que viaja por el mundo sólo para exhibirse en paños menores en cada concierto de Supertramp.

    Era John Helliwell quien conversaba (es un decir) con el público. El portavoz de la banda alabó la comida y el vino españoles y agitó una camiseta del Real Madrid: trucos burdos, sí, pero le funcionaron. No salió tan bien parado cuando intentó vendernos ¡un USB con la grabación del concierto que estábamos viendo!, mientras sostenía el pincho en su mano para asegurarse de que todos lo entendíamos bien. Quizá esta indignidad mercantilista fuera el motivo por el que los parlamentos no corrían a cargo de Rick Davies.

    El público no prestó demasiada atención durante el bloque central del concierto, o más bien fue éste el que no logró captarla. Give a little bit e It´s raining again fueron las excepciones: irónicamente, ninguna de ellas cantada por Davies. El pianista cogería brío más adelante, llegando incluso a darle al taburete la clásica patada a lo Jerry Lee Lewis. Los virtuosismos instrumentales habían anestesiado a la grada de tal forma que pocos se levantaron con The logical song y Goodbye stranger, a todas luces el momento álgido del espectáculo. Los aplausos, pese a todo, eran vigorosos.

    A las once y media estaban de vuelta los músicos para un bis que incluía School, Dreamer y Crime of the century. Las dos primeras no parecieron entusiasmar, pero el clímax instrumental de la última, al tiempo que en la pantalla se reproducía una animación con la portada del disco (una reja penitenciaria flotando en medio del cosmos), sí lo logró. Los aplausos parecieron no tener destinatario, pues las luces no se encendieron y nadie saludó: extraño final que dejó a la gente desconcertada y quizá un poco molesta.

    Los Supertramp de 2010 son una pieza de museo: sus canciones siguen intactas detrás de esa vitrina, pero sólo para el disfrute de los historiadores. A aquellos desprovistos del factor nostalgia les costará que el legado Hodgson/Davies les toque el corazón. Aunque no hay más que repasar la cartelera otoñal de conciertos para comprobar que no son los únicos que viven de rentas lejanas. Consuelo de tontos, pero consuelo al fin y al cabo.



    Madrid, 16 Septiembre 2010

    Emoción y nostalgia es lo que sintieron los espectadores del concierto que anoche ofreció Supertramp en el Palacio de los Deportes de Madrid. Con apenas diez minutos de retraso, pasadas las 21.30 horas Rick Davies y los suyos salieron al escenario ajenos a la polémica con el que fuera el compositor de los mayores éxitos de la banda, Roger Hodgson.

    No obstante, Hodgson no se mantuvo al margen de la actuación puesto que a la entrada del recinto se repartieron octavillas mostrando el malestar de este por que Supertramp siga tocando las canciones que él compuso en los primeros años de vida de la formación, allá por los setenta.

    Pero ninguna reivindicación pudo estropear el disfrute de los alrededor de 10.000 asistentes que vibraron con clásicos como 'Breakfast in America', 'Give a Little Bit', 'It's Raining Again', 'The Logical Song', 'Goodbye Stranger', 'School', 'Dreamer' y 'Crime of the Century'.

    Así, ellos que se presentan bajo el paraguas de la marca Supertramp y se consideran que tienen derecho a revisar sus clásicos, desagranaron durante algo más de dos horas su repertorio de la mano de Ricj Davies (fundador, cantante y teclista), acompañado por los legendarios John Anthony (saxos y flautas) y Bob Siebenberg (batería).

    Mientras tanto, el público, en su mayoría bien entrado en la cuarentena se mostró algo perezoso para entrar al recinto ya que a las 21.20 horas, a diez minutos de empezar el recital, las colas daban la vuelta a la Plaza de Felipe II. Aunque lo cierto es que se mostró receptivo en todo momento, disfrutando aún más si cabe con los clásicos que Hodgson pretende que dejen de tocar.

    Por su parte, los integrantes del grupo estuvieron en todo momento bien arropados por otros veteranos miembros de la formación en pasadas giras como Jesse Siebenberg (voces, guitarras y percusión), Cliff Hugo (bajo), Carl Verheyen (guitarras) y Lee Thronburg (vientos).

    El punto y final tras dos largas horas y un generoso bis lo puso una efervescente interpretación de 'Crime of Century' que encendió las luces, poco después de lo cual ya se podían adquirir en los tenderetes de merchandising unos USB con más de la mitad del concierto madrileño grabado para los incondicionales, a 25 euros la unidad.

    La otra mitad la podrán descargar de Internet a partir del código que se proporciona.


    Supertramp @Palacio de los Deportes Madrid

    Se echa en falta a Hodgson, pero su concierto funciona.


    La idea generalizada en torno a Supertramp es que su etapa dorada acabó cuando Roger Hodgson abandonó la formación en 1983, tras la gira correspondiente al álbum ‘…Famous Last Words…’ (1982), y que desde entonces, con Rick Davies (la otra cabeza visible) liderando, han seguido manteniendo cierto estatus durante sucesivos discos, sucesivas giras, reuniones, más discos y giras como ’70-10 Tour’, la que les tiene ocupados actualmente. Para afrontar esta serie de conciertos, Davies (piano, harmónica, voz), John Helliwell (saxofón, clarinete, coros, etc.) y Bob Siebenberg (batería), fundador y miembros del grupo desde ‘Crime Of The Century’ (1974) respectivamente; se han juntado con una serie de músicos de estudio de primera línea, como Carl Verheyen (guitarra) o Cliff Hugo (bajo).


    Su vuelo por todo el continente europeo hizo anoche escala en Madrid, donde un considerablemente lleno Palacio de los Deportes recibió con fervor a los británicos. Ideal para comenzar, ‘You Started Laughing’, con sus suaves melodías, caldeó el ambiente y evidenció el excelente estado de forma de la banda, comenzando por la capacidad vocal de Davies, por no hablar de su excelente ejecución, se siente bien ante un piano de cola o bien ante un piano eléctrico.


    La emocionante ‘Gone Hollywood’, del célebre ‘Breakfast In America’ (1979), fue la siguiente, dando paso a la sobria puesta en escena, que simplemente incluía proyecciones ilustrando según que temas. Como curiosidad y excepción a esta sobriedad, en un momento de la actuación salió un señor en bañador, tumbado en una hamaca bajo una sombrilla (y leyendo El País), emulando la portada de ‘Crisis? What Crisis?’ (1975).
    El maestro de ceremonias fue el dicharachero Helliwell (Davies no dedicó ni media palabra al público, sólo hacía gestos de agradecimiento), quien elogiaba la comida española, al Real Madrid y al público, en una noche plagada de grandes éxitos. La pregunta del lector a estas alturas será: “¿y qué paso con las canciones en las que cantaba Roger?”. Evidentemente había solución para ello, con Gabe Dixon y Jesse Siebenberg (sí, el hijo de Bob) dividiéndose los temas, y dando la talla. Aunque todos los que sonaron son de una grandeza incontestable, y los más populares (como ‘The Logical Song’ o ‘Give A Little Bit’) son los asociados a la voz de Hodgson, los mejores momentos que se vivieron fueron aquellos en los que Rick Davies tomaba el mando, como en los citados temas iniciales, en ‘From Now On’, ‘Rudy’, ‘Cannonball’, ‘Another Man’s Woman’, o ‘Bloody Well Right’: enormes, interpretados con profesionalidad y vigor a partes iguales. Tras la falsa despedida, no podía quedar mejor bis que el compuesto por ‘School’, con la harmónica de Davies y la solvente interpretación de Siebenberg hijo; ‘Dreamer’, de la cual se encargó Dixon; y como broche, una ‘Crime Of The Century’ con un sobrecogedor final que casi hace saltar alguna lagrimilla al que escribe. Que sí, que Hodgson no está y se le puede echar un poquito en falta, pero con conciertos así, estos sexagenarios pueden seguir paseando el nombre de Supertramp donde quiera que vayan, y con la cabeza muy alta.




    Día 16/09/2010

    Si se hiciera un concurso para distinguir al grupo más trasnochado del momento, muy pocos podrían aportar argumentos suficientes como para disputar tan dudosa honra a Supertramp, sobre todo a estos descafeinadísimos Supetramp liderados por el segundón Rick Davies (compositor de sensiblemente menor talento que el de su ex socio) y animados por un John Helliwell que podría desempeñar un papel esplendoroso en la discoteca de un crucero de lujo por el Adriático.

    Lo peor de esta gira que trata de celebrar las cuatro décadas que la banda lleva en activo no es que hayan pasado olímpicamente de Roger Hodgson —a la sazón, autor de la mayor parte de las mejores y más famosas canciones del grupo, y dueño de la muy característica voz que todo el mundo reconoce cuando entona la primera nota—, sino que esta versión de Supertramp acaba resultando más bien sosa y aburrida. Bien cierto es que nunca fueron la alegría de la huerta, pero hubo un tiempo en el que la brillantez melódica de buena parte de su repertorio y la presencia de un Hodgson casi siempre inspirado parecía suficiente para mantener en pie un buen concierto.
    Ahora ya no parece suficiente llevar un puñado de músicos más que competentes, capaces incluso de emular vagamente al propio Hodgson cuando es menester, y tirar de un repertorio que, curiosamente, brilla mucho más cuando caen las del exiliado. Fueron, en efecto, los mejores momentos aquellos en los que sonaron «Give a little bit», «It´s raining again», «Take the long way home» o «The logical song».
    Davies y los suyos hicieron gala de una impecable corrección, de una solvencia instrumental fuera de dudas, de una profesionalidad indiscutible, gozando además de un sonido igualmente nítido. A cambio, evidenciaron preocupantes carencias de eso que podemos llamar alma. O que los flamencos llaman duende.



    ]]> (MAC) Touring: Concert Reviews Fri, 17 Sep 2010 08:11:31 +0000
    2002 TOUR - SUPERTRAMP, LOS ANGELES 20th September

    2002 TOUR - SUPERTRAMP, LOS ANGELES 20th September

    Photo: "Terminator" Jesse, MAC and Bob Siebenberg

    SUPERTRAMP in LOS ANGELES, 20th September 2002


    The day before the L.A. concert I was in San Francisco. Beautiful city !!
    Then I had to drive a lot of miles crossing the desert, boring freeway... and I drove that way some days ago !!! after the concert of Roger Hodgson in San Diego, south California.
    I met a friend of mine, he lives in LA, he's a movie director and big fan of the band, his company is discussing with the management of Supertramp for recording some concert and producing a DVD. Great idea...

    He told me about the conversations, still running, but still some problems to fix (money, distribution, copyrigths, etc..) despite both parts are interested in the project.
    They won't record the concert in Los Angeles, and being the last concert of the tour, they talk about organizing a special concert (or two) soon in order to recording it and producing a DVD (even TV broadcast). We have to wait the agreement , because both parts wants to do it.

    That morning I went to Santa Monica and Venice beach, beautiful beaches and boulevards (Do you remember the Bay watch ??) I've been there last year and I liked it.

    We went later to the Uiversal studios, contacted with the manager of the tour and managed a couple of backstage passes. I met there some known people:
    Dave Mendenhall & Lyne, Tim Tj, Mike O'Brian, and also new friends: Patricia from Mexico, Marco & Antonella from Italy (just married !!!), etc..
    The waiting is nice with friends....

    The Universal Anphitheatre is a grandious indoor venue, red color in the seats, floor and walls. (confortable seats.... like a cinema)
    This is the most confortable venue of all the concerts of the tour I was in Spain and London (seven !!!). And a perfect view from all the places.
    There are two big video-screens sorrounding the stage, and more in the roof. The band used that screens for the videos of Rudy, Crime, etc..

    In the hall nice ambiance, a lot of people, some merchandising and queues in the coffes and fast food places.


    The concert was like the rest of the tour, the same setlist, no changes.
    The sound was perfect. My friend told me about the concert in NY, small venue and poor sound, a bit disapointed.
    This time he enjoyed the grandious sound, mainly the Bob's drums !!!

    The warm audience helped the show and John made some jokes as usual.
    He said this concert is the last one of the tour in Canada :o), (laughs)
    in fact was the last concert of the tour, around 88 concerts I think.
    The band enjoyed the tour and thanks to the audience.
    "We will play tonigth music over the Centuries....."

    John told in all the speaches about the strong links of the band with California, provoking the reaction of the audience.
    In exemple he said Jesse lives in Ventura, near Los Angeles, Bob is from Glendale (LA), Cliff is from Hollywood (LA), Carl is also from California Mark is from Texas but "he prefers" living in Hollywood (laughs and claps of the audience...) , and Rick was living long time in LA ( and also John )

    It's very interesting for me how an english band from the seventies with an american drummer, became after some years a californian band with a couple of english people (though just one of them, John, lives in England)

    The concert was brave. Carl broke a string of the guitar !!! first time in his life (in the middle of a concert)
    The audience stood up when Jesse started playing Give a little bit.
    Rick performed an really large solo (piano) unusually long, in Another man's woman, he was confortable and happy ...
    and the reaction of the audience was brave.
    Rick introduced John, as usual in this tour, and said thanks to the audience and he was enjoying a lot.

    After Goodbye stranger, the band said goodbye and the audience standing up.
    The encore was great, people in the courridors near the stage, a beatiful end of tour.


    After the concert we met Tim again in the private party of the backstage.
    Free drinks and snacks...
    As the band lives in the LA area (except John & Rick) it was full of relatives and close friends.....too much people !!!
    Despite it, when Bob & Jesse saw me they gaves me a sign: talk later !!!
    Even the Bob's daughter, Vicky, was happy to meet me again and gaves me a big hug. Thanks Tori !!
    The reason was we shared with the band an evening in the backstage of London (Hyde park) last July.
    Mark also recognized me and we were talking a bit, and also Carl & Cliff.
    When the relatives and friends gone I could talk with the band calm.

    John took good care of me, he was talking with Roger few days ago (phone call)
    He gaves me his room number (Sheraton hotel) and we met there later.
    As it was the last concert of the tour he was not in a hurry, they had time...
    In fact all the members of the band said goodbye the next day and everyone gone in hollidays to different places.

    They want to say thanks to everybody was attending and supporting the tour.
    Jesse was really interested to know about Roger, I was with him few days ago.
    I gave Jesse the message from Roger ("Give him my best" and more...) and I told him my experiences in San Diego (and even Roger asked me a copy of my recordings of the tour and the Slow Motion album to listening it !!!!).
    Jesse asked me again "Give Roger all my love, please (puting his hands on his heart ) when you meet him next week in Toronto".
    We were also talking about Andrew, good friends. They keep in touch.
    I gave a lot of work to Bob..... I brought some of his CD we are delivering from our web site BreakfastinSpain to sign it (around forty !!), then we met also later in the hotel. Then we have now in our web site some CD of Bob with his autograph. Call now !!! o:)

    While I was talking with Jesse, a man cames (I recognized his face) and started joking about Jesse "I remember this guy when he was two years old playing with toys in the stages hahaha....."
    I told this man " I saw you in 1983 tour playing with Supertramp and 1985 tour with Pink Floyd"
    He was happy with my words ......he's Scott Page !!!
    And I also was really happy to meet him, what a nice surprise !!!
    He feel proud of playing with both bands, the biger bands and tours in that time !!! as he told me.
    When I told him about my friendship with Roger, he was touched, and gaves me his calling card "Please give it to Roger and tell him give me a call, please !!!!
    I love him !!!! and I miss him !!!"
    You can imagine my surprise.

    John also cames to us and Scott was joking with him, old friends ...... They enjoyed a lot.... see my pictures.

    The hope of the band is nice because of the succes of the tour. They want continue with the project and then perhaps we will have another album or tour in the future :o) we will see.
    We said "see you soon" and I have no doubt......

    Miguel Angel Candela (MAC)

    ]]> (MAC) Touring: Concert Reviews Wed, 15 Sep 2010 15:15:18 +0000
    2002 TOUR - SUPERTRAMP, LONDON 21st July 2002

    London, HYDE PARK 21 July 2002

    En español a continuación

    See my own nice photos here, just click on this link: LONDON PHOTOS

    We had to meet in London some old friends for the concert: Walter (Brazil), Peggy (Holland), Annie (Ireland), Tim (USA), Lorna (Canada) and me (Barcelona) Some of them have already been in some concerts the last days in UK and even Germany and they've shared some private moments with the band.

    I had the amazing luck to be on stage for the soundcheck as the ONLY ONE invited, wow !!! togheter with the band, a giant open stage in the middle of Hyde Park, very similar to the stage of Munchen 83, an unbelievable and amazing experience !!!!!

    It's the stage for some concerts during the summer, named "The route of Kings", with two big digital screens surrounding the stage for TV images.

    I didn't believe it and I was really nervous...... Besides I was near Jesse and the control table and then Rick, John, Mark, etc... were looking to my place all the time and I felt really observed......

    There was also a young girl near me taking pictures of the band...... she was Tory, the Bob's daughter !!! Jesse cames to me and told me "Your face sounds me familiar ......" Yes, of course !!! I told him....We met in Spain several times during the tour !!!!! He got the 12 strings guitar and started playing the first notes of "Rossie" .... until Rick called him and started playing Give a little bit. I could check that Jesse manage all the "effect sounds" (screams in School, trains in Rudy, dark bass in the begining of Crime, etc) using a small midi keyboard behind him. The sounds are sampled and he just play a key for sounding. I was taking some pictures of the band, while Carl pose to me jocking as a "heavy metal guitar player", so funny. It was a really nice atmosphere :o)

    After the soundcheck we went to the dressing room (their private area) where I spent more than one hour with the guys. I was talking mainly with the "Siebenberg family" and also with the others and Rick. Paul Carrak was also there (the invited artist, he was playing before Supertamp the same day).

    John and Carl were walking and talking around the garden, meanwhile Rick were carry some small boxes and suits around the garden between the bungalows, making funny faces of "tired" and dragging his legs as a really tired man saying some words like "I'm getting older for this job....." just for fun, his ironic stile, meanwhile we were smiling and jocking. I told him "It's a hard world....." and he agreed and continued spiting funny words........

    Sue cames to ask about me, we were talking togheter with Bob, and she went back soon with a free pass VIP to me and a free ticket (seat) for the concert. So kindness. Great !!!!

    It seems that concert in London was a special meeting point with their old friends. In fact Rick confessed Walter few days ago that he was nervous waiting the concert in London, because of his old friends and ............... his mather !!! Because of that they organized an special event (hospitality) in the garden of the backstage for friends. Drinks, food, barbacue, !!! Elegant party. ( See my pictures ) Just two hours before the concert and also after the concert until late.

    I was there, just "flying in the sky" with the band and old friends, talking and jocking. Sue was the hostess, organizing and welcoming everybody. Ordering some "official pictures". All under control.....

    Andrew Powell was there ( the first drummer of the band), also the first disckjokey promoted Crime of the Century album in the radio, the brother in law of Bob (also a important musician), and other old friends and musicians. I also saw the Mark's wife and the Rick's mather !!!! in a wheelchair.

    I met Laurent, a saxophone player from Paris, friend of John, he was playing "Over you" on stage in Paris togheter with John and other five saxophone players. Wow !!!!! I also met Gonzalo, a spanish musician living in London, playing in a band (Fragile) and totally dedicated to the music world, closed friend of John. While we were chating, John cames and told him "Gonzalo !!!!! " and a big huge. I said John "You know his name !! " and he told me " Yes of course !!!! Gonzalo extraordinary keyboard player !!!!!! Did you meet before ???" No, no....we just met today !!!! I said him, and we became really good friends :o)

    We three shared wonderful moments that night, togheter with Walter, Anne, and Tim.

    The concert was really great, as usual. The english audience very quiet (very different in Spain, more passion.....) everybody seating. (but Walter told me the audience in Liverpool was more enthusiastic) I met "old Jerome" in the next seat !!! What a coincidence !!! Start at 8 pm, still daylight. We could see the short videos in the two big digital screens even with daylight. It was impossible in the big video screen of Supertramp. When Rudy and Crime arrived it was night and the video screen also perfect. Enjoying Rudy and Crime with THREE giant screens is something unusual.......AMAZING. The show was more or less the same I remember in Spain. Some little differences:
    - They performed and old calssic of Chuck Berry at the Encore
    - An extended version of Asylum (at the end of the song) starting all of them a fast rag-time rhythm while John played some notes of Dreamer with the saxo !!!

    People were calm until the first notes of Give a little bit, then people standed up and claping !!!!! The same for the next songs (Take the long way home and other old hits) and people continued stand up until the end. During the song "Tenth avenue breakdown" and just in the moment when you can hear the sirens and police some drunk people started a fight, police and security had to come, so surrealistic ........ It was like a movie.

    After the concert, meeting in the VIP room in backstage again with the band until late.

    I told Jesse "Did you noted everybody standed up when you started playing Give a little bit ?? He told me he's sure people think is Roger playing !!!!! I think the same, we have to accept it. He confessed me he's playing with his hart and love to Roger, as a tribute, despite he knows how special is this song for Roger and it was a really hard decision despite the idea was not from him. I think Roger understand it quite well.

    The atmosphere that night was nice and quiet, and I met very interesting people. Finally goodbye to each member of the band and "see you soon" ............. in the States.

    That's all at the moment. Pherhaps I forgot some thinks and also another thinks I can't explain.....




    Londres, HYDE PARK 21 Julio 2002

    Quedamos en reunirnos en Londres para el concierto unos cuantos viejos amigos: Walter (Brasil), Peggy (Holanda), Annie (Irlanda), Tim (USA), Lorna (Canada) y yo (Barcelona) Algunos de ellos ya habían estado en varios conciertos días antes por Inglaterra e incluso Alemania, y habían compartido momentos privados con la banda.

    Yo tuve la suerte de estar como UNICO invitado en el escenario junto a la banda en el soundcheck, en el enorme escenario al aire libre en medio de Hyde Park, al estilo de Munich 83, una experiencia increíble !!!!!

    Es un escenario en donde hay actuaciones a lo largo de varias semanas, llamado "The route of the Kings", con sendas enormes pantallas digitales de video a cada lado del enorme escenario.

    No me lo creía y me sentía como un flan. Además como me encontraba junto a Jesse, al lado del técnico de sonido, y tanto Rick como John, Mark, etc... miraban continuamente hacia la mesa para pedir cambios y chequear pues la verdad es que me sentía muy observado......

    Junto a mi, una joven haciendo fotos con pinta de periodista ......era Tory, la hija de Bob. Pero no lo supe hasta después ...... Entre canción y canción se me acerca Jesse y me dice "Tu cara me suena familiar......." Claro, nos vimos durante una semana en España !!!! Cuando toma la acústica me interpreta las primeras notas de "Rossie"...... hasta que empieza con Give a little bit a la orden de Rick. Tomo algunas fotos, mientras Carl me hace "poses de rockero" para la cámara mientras toca. Todo muy distendido :o)

    Tras el soundcheck les acompaño a su área privada (dressing room) en donde paso más de una hora con ellos. Charlo mucho con la "familia Siebenbeg" y algo con los demás, incluido Rick. Por allí estaba Paul Carrak , el artista invitado (telonero) perfilando detalles con su gente.

    John y Carl paseaban por el cesped sin parar saludando a unos y a otros y pasando el rato. Rick no paraba de pasar por delante nuestro cargando alguna pequeña caja o arrastrando algún traje entre varias de los habitáculos que encerraban el jardín, poniendo muecas de agotado y arrastrando los pies como diciendo "cuanto me hacen trabajar esta gente...." y mascullando "ya estoy mayor para esto..." para hacerse el gracioso de forma "irónica", en su estilo, mientras los demás nos reíamos y hacíamos bromas. Yo le dije "It's a hard world....." y le hizo gracia.....

    Se acerca Sue, se interesa por mi, habla algo con Bob sobre mi, y al rato Sue vuelve con un pase VIP que me permite moverme por todo el recinto y una entrada de asiento para el concierto. Todo amabilidad. Fantástico.

    Parece ser que el concierto de Hyde Park era algo especial y reencuentro con viejos amigos de la banda. De hecho Rick le confesó a Walter días antes que estaba como un flan pensando en el concierto de Hyde Park, sobre todo porque iban a asistir viejos amigos y ............... su madre !!! Por ese motivo habían organizado una recepción privada en el jardín del backstage con barbacoa incluida, un par de horas antes del concierto. Todo muy elegante. Por allí estaba yo "en las nubes" con los chicos de la banda y viejos amigos charlando distendidamente mientras cenábamos. Sue era la anfitriona, organizándolo todo, saludando a todo el mundo. "Agarrando" de vez en cuando a alguno de la banda para que saludara a alguien. Fotógrafo oficial. No se le escapaba detalle......

    Allí estaba Andrew Powell, antiguo batería de los comienzos de Supertramp, el discjokey que los descubrió, el cuñado de Bob, también músico importante, y otros musicos y amigos de toda la vida. La mujer de Mark y la madre de Rick !!!! en silla de ruedas.

    Allí conocí a Laurent, un saxofonista parisino amigo de John que subió al escenario en Paris para tocar "Over you" junto a otros cinco saxofonistas ¿ Os imaginais? Y también a Gonzalo, un gallego afincado en Londres, músico profesional muy metido en el mundillo y bastante amigo de John. Mientras charlaba con el se acerca John y le dice "Gonzalo !!!!! " y se dan un abrazo. Le comento a John "Caramba, sabes su nombre !! " y me responde " Claro !!!! Gonzalo Carrera......un extraordinario teclista !!!!!! ¿Acaso os conocíais ???" No, no....nos acabamos de conocer !!!! le contesto, y ya nos hemos hecho buenos amigos :o)

    Los tres compartimos inolvidables momentos durante esta noche, junto a Walter y otros amigos.

    El concierto fué fantástico, como siempre. El público inglés más apagado que el español, también motivado por el hecho de estar sentados (aunque me comentaron que el Liverpool hubo un GRAN ambiente ) Empezó a las ocho, con luz solar. Gracias a las dos enormes pantallas digitales de los laterales se podían ver perfectamente los videos con la luz del día. Cuando llegaron Rudy y Crime era ya de noche y también se podía ver la pantalla de cine que lleva el grupo tras el escenario. Ver Rudy y Crime con TRES enormes pantallas no es algo que se vea todos los días.......FANTASTICO. En cuanto a diferencias respecto a la gira en España que recuerde:
    - Tocaron un clásico de Chuck Berry en el Encore (Bis)
    - Alargaron el final de Asylum iniciando todos ellos un marcado ritmo de rag-time durante bastante rato y en donde John interpretó bastantes notas del estribillo de Dreamer !!!

    Hasta que no interpretaron Give a little bit, la gente permaneció sentada. Pero a partir de ahí, hubo que permanecer en pie, pues luego siguieron Take the long way home y otros éxitos y la gente ya no se sentó hasta el final. Durante la canción Tenth avenue breakdown y justo en el momento en el que se oyen las sirenas y los policias se formó un pequeño altercado entre algunos asistente "bebidos" al que acudió la policia del recinto, lo cual fué del todo surrealista ........ Parecía una película.

    Tras el concierto otra vez al jardín VIP del backstage con la banda que se alargó hasta la madrugada.

    Le comenté a Jesse el detalle que la gente se puso en pie por primera vez nada más empezar los primeros acordes de Give a little bit, y el me comentó que está convencido que la mayoría de gente piensa que es Roger el que está tocando. Yo pienso lo mismo, y hay que aceptarlo. El me confesó hacerlo con todo el corazón y amor a Roger, como homenaje, aunque sabe lo que eso significa y que no las tiene todas consigo, que la idea no es suya...pero es el eterno dilema y a veces hay que tomar decisiones duras. Creo que Roger lo entiende perfectamente.

    El ambiente esa noche fué de lo más agradable, y con gente muy interesante. Pudimos intercambiar muchas ideas y charlar distendidamente. Al final emotiva despedida con cada uno de los miembros de la banda, y hasta la próxima........ en USA.

    Como curiosidad, pude constatar que todos los sonidos (efectos) de School, Rudy, etc....están sampleados como ya imaginaba. Los maneja Jesse con un pequeño teclado detrás suyo como comprobé en el soundcheck. Lo más curioso es que hasta las primeras notas "graves" de School y Crime son sampleadas, y también el tremendo bajo final de Crime y la armónica final, Todos está pregrabado y lo maneja Jesse. Por eso cuando se marchan del escenario se continua escuchando la armónica...... y Jesse es el último en abandonar el escenario.

    Eso es todo de momento, aunque seguro que me dejo muchas cosas en el tintero y otras que no puedo contar.....


    ]]> (MAC) Touring: Concert Reviews Wed, 15 Sep 2010 15:08:33 +0000


    La verdad es que después de cuatro conciertos, tres de ellos consecutivos, estaba "hecho polvo". Ese mismo día, a las 2 de la mañana salíamos con nuestra super "fragoneta" (furgoneta) desde Madrid y más o menos a las 9
    de la mañana nos acostábamos para intentar descansar un poco.

    Había estado todos los conciertos en primera fila, parte derecha del escenario,
    lugar ideal para ver a Mark Hart, Jesse y John. Me faltaba ver al expresivo? Rick Davies (o como han dicho en la prensa, al tipo con pinta de funcionario).

    Así que me agencié con unos prismáticos Nikon profesionales, de tamaño reducido, y me coloqué en la parte izquierda, en una quinta fila, detrás de MAC, Raquel, Juan Carlos y otros.

    Con cierto retraso (poquito) empezó el concierto.

    Lo siento, sigue sin gustarme Mark Hart. No encuentro que esté cómodo tocando "School". Con los prismáticos se advertía una cierta cara de "Eduardo Manostijeras". Pero el tipo es así. Y debo reconocer que como músico
    probablemente sea bueno.
    Escuché su último CD y ninguna canción me pareció digna de destacar con la excepción de la última "nana" dedicada a su hija fallecida.

    En fin, que pienso que si no hubiera sido por la tozudez de Rick y la de Roger, éste último estaría allí. En fin..."que hi farem".

    Pero lo bueno viene con Rick. Me encasqueto los prismáticos en los ojos y no me los quito durante todas las canciones.
    Se le ven las arrugas (madurito está el tipo). En el piano es alucinante observarle las manos, sobretodo en el solo de AMW donde hace cosas absolutamente inverosímiles. Es ciertamente inexpresivo, mira relativamente poco al público y he llegado a la conclusión que es un tipo absolutamente profesional, que hace su trabajo a la perfección pero que tal vez tiene una falta de expresividad que se echa de menos.

    Por lo menos tenemos al "clown" de John, que anuncia su reciente estreno como abuelo y aporta el "show" necesario a una banda que suele destacar por su atributo de "sin rostro"

    Jesse es un portento musical y reconozco que musicalmente la version de Give a little Bit es muy correcta... pero sigue siendo una canción de Roger Hodgson y lo siento, no me gusta que la toquen. Pero es un tema polémico y la vida es así.

    En fin, que el concierto es fantástico, que me lo he pasado de narices, que me sigue gustando la música de Rick y su banda pero que lo que yo tengo enfrente NUNCA será Supertramp. Es un sucedáneo que es una caña, pero no es Supertramp.

    Y es fácil verlo con la reacción de la gente a las canciones de Roger.

    En fin, que no soy objetivo, pero objetivamente diré que he disfrutado como un niño.

    Jordi Sabater


    ]]> (Miguel Angel Candela MAC) Touring: Concert Reviews Wed, 15 Sep 2010 15:03:35 +0000

    Un día de trabajo incesante me ha impedido mandaros antes mis comentarios del concierto. Iba a decir que lo siento pero no creo que sea necesario.

    Con la estupenda crónica de MAC hay poco más que decir. Ya sé que puede sonar a una excusa fácil para escaquearse así que intentaré añadir mi granito de arena.

     Bueno, sabéis que el concierto duró 2 h 15 min, y el setlist también es conocido. Me situé un poquito a la izquierda del piano, aproximadamente en 4ª fila (no me puse más cerca porque así podía ver a Bob por entre las patas del Wurlitzer). Desde esa posición éstas fueron mis impresiones:

    Parece que el montaje es como una especie de resumen de los de las anteriores giras (el telón abriéndose mientras Rick coloca la armónica en sus labios, el altavoz en BWR, el teléfono en Asylum, la sombrilla en AMW, los colegas haciendo los coros en JANW y, por supuesto, las imágenes en Cannonball, FAAB, Rudy y COTC, incluyendo el final con el aparato de radio)

    Algunos de los solos de Lee ahora los realiza Carl. Y aunque personalmente creo que ha sido una gran aportación para ST el sonido de las trompetas, reconozco que con la guitarra quedan genial. A pesar de que no entiendo nada de música (sólo entiendo de lo que me gusta y lo que no), Carl me parece un guitarrista fabuloso, nada estridente y poco dado a la galería; fino, elegante y con un sonido muy limpio, si se puede decir así. La gran sorpresa de la actual gira es Jesse. Hace de todo (y bien): percusión, teclados, guitarras, coros y... voz de GALB. Cuando empezó a tocarla en la guitarra acústica me quedé de piedra. Para mí fue tan sorprendente como si hubieran tocado Friend In Need o Aries. Pero lo mejor de todo fue lo que se me pasó por la cabeza. Lo primero en que pensé fue... en vosotros. Me dije: vaya un lío se va a armar en la lista. Bueno, y por no hablar de la lista inglesa, con este asunto va a llegar a los 15.000 millones de mensajes...sin exagerar ;-) Aunque evidentemente no es comparable con RH, me gustó bastante la interpretación de GALB por parte de Jesse. Pero lo que me impresionó de verdad fue su versatilidad con los instrumentos.

    De las canciones del último disco, hubiera cambiado LBL por Goldrush (aparte de gustos personales, parece que tiene más ritmo para un concierto). BH está bastante bien en directo, muy bailable, debería ser el próximo single. Ahora bien, para mí hay una que se va a convertir en un clásico TENTH AVENUE. Tiene mucha fuerza, un ritmo muy marcado y esa parte instrumental del final es genial. Como decían con el LP COTC: va con el carácter de la banda.

    Otra cosa curiosa es el orden de las canciones. Exceptuando Asylum están interpretadas por grupos : 5 del último y el primero, 3 de la época post-RH, 4 de CWC-EITQM, 4 de BIA y otra vez 4 de SM-COTC. La elección de los temas me pareció bastante buena, como dice MAC no hay numerito de blues, recuperan Asylum. También me hubiera gustado oir alguna canción nueva (al menos de lo que yo he oído en directo), por ejemplo: Loverboy, Gone Hollywood o Waiting So Long.

    Aparte de lo que comenta MAC sobre el motivo de interpretar SOL, me parece lógico que el grupo también quiera tener el detalle de que Mark cante alguna canción suya y no sólo las de Roger. Por cierto, en alguna ocasión he oído decir que parece que MH cante los temas de RH como si le diera vergüenza. Mi primera impresión (en la gira del STNC) fue la misma, hasta que me di cuenta que actúa exactamente igual con sus propias canciones. No creo que su actitud sea por vergüenza o pudor, simplemente creo...que el tipo es así. Para mi no lo hace mal en absoluto, pero podía ser un poco más expresivo en el escenario. A su lado Rick parece Freddy Mercury ;-)

    Si me tengo que quedar con una sola cosa, me quedo con lo de siempre: Rick y sus teclados. Solamente por verlo y oírlo tocar mereció la pena el concierto de ayer y todos los que vengan después. No sé si será un gran virtuoso (ya he dicho que no entiendo de música) pero extrae del piano y demás teclados los sonidos más maravillosos que he escuchado. Y siempre me hago la misma pregunta: después de haberlo oído cientos y cientos de veces tocando los mismos temas...¿me cansaré algún día?

    Otros comentarios más ligeros: Parece que a Rick se le va el santo al cielo algunas veces a la hora de cantar. Le sucedió en 2 o 3 ocasiones, pero sólo recuerdo con exactitud que le pasó en el coro final de Cannonball (Sha-la-la, en falsete), en el que entró antes de tiempo (tanto Mark como él mismo se sonreían de lo lindo cuando le sucedía)

    Rick dio muestras de que empieza a soltarse después de algunos años en el escenario ;-) En primer lugar ¡fue capaz de pedir un aplauso para John al final de TLS! Y además ¡cantó 2 canciones de pie y cara al público! Tanto en OY como en LBL le colocaban unos teclados por la parte del Wurlitzer que daba al público, y para tocarlos se mantenía de pie. Quizás en la próxima gira lo veamos dando saltos por el escenario con el micrófono en mano y estrellando el Wurlitzer contra los altavoces ;-)

    A los colegas de los coros en JANW hay que despedirlos inmediatamente ;-) Son horrorosos. Al menos podían moverse un poco. Es lamentable que mientras la canción pide al público que aplauda, salte, grite; 6 pasmarotes estén en el escenario sin mover una sola articulación de su cuerpo balbuceando SHOUT, LOUD...

    A los que estuvisteis allí, tengo que deciros que llegué un poco justo de tiempo (20:45) y no paré mucho por los graderíos para echar un vistazo porque quería ponerme cerca del escenario. Me puse la gorra un rato pero como no estoy acostumbrado, me daba calor y me la quité. Como ya sé por donde os situáis, en Málaga os encontraré, aunque para ello me tenga que llevar a mi perro husmeador de gorras amarillas ;-)

    Por cierto, Jordi, si este rollazo o alguna parte te vale para las crónicas de BIS, sírvete tú mismo.

    Bueno, sólo eran unos comentarios y al final casi se me funde el teclado. Espero no haberos aburrido demasiado.

    ¡¡Seguimos de gira!!

    Carlos Sabater

    ]]> (MAC) Touring: Concert Reviews Wed, 15 Sep 2010 14:59:36 +0000


    Benidorm, nine fifteen in the night.

    Lovely night in Spain, spring time in the bullring, full of people (9.000 people? ) People are singing due to the short delay.

    The courtain fall, a few seconds of suspense.... an harmonica starts sounding, the courtain is opened and voilá....

    Rick sitting in the wurlitzer playing the harmonica. Audience is claping. Mark starts singing and Jesse is in the grand-piano !!!
    Seven musician on stage, Rick, John, Bob, Jesse, Mark, Carl and Cliff. Thers's not trumpet !!!
    Good for me :o) I don't like trumpet in Supertramp...)
    John is again the leader in the front stage. Some times he's joking with Carl, the lead guitar.

    After the two first songs, John says hello to the audience, as usual, and remind us this is the first concert of the tour !!!
    The sound is perfect. The Rick's voice is great. We (Jordi, Jose Antonio, me, and other friends) are in the first row in front of John, leant in the fence, 3 meters distance. John, as usual, lovely, doing jokes for the audience, give us some signs, Jose Antonio is imitating John some times with the arms, or is John imitating Jose Antonio ???
    I have some doubts ..... The big movie-screen is opened at first time in Canonnball. The screen is giant, behind the stage, like in the 86 and 88 tours !!! But, just a few seconds of film, in a few songs.
    BTW, the video of the train and the Universe are showed at the end of the concert, and what a really great ending !!! (Rudy and Crime) When the band plays the old hits, the crowd is encouraging.

    Jordi and Jose Antonio are calling to Jorge and Walter several times ..... I don't want to see the phone ticket ....
    First surprise....they play "Asylum" !!!! John is joking with an old telephone when he's speaking in this song "Hello, good morning, how are you ???" a big contrast with the drama and the faces of Rick. This is really great !!!! The crowd is surrended.
    Second surprise, Jesse appears with a 12 strings guitar playing "Give a little bit" !!! and the band follow him.

    The people is clapping. The voice of Jesse is not similar to the Roger's voice. This voice is similar to some cover I've heard before, and sounds good, a little more "heavy" than Roger.
    What a wonderful moment when the musicians go out and Rick is alone playing "Downstream" in the grand-piano, a beautiful version, but a little fast. Thanks Rick !!
    Last song is "Goodbye Stranger", after that the guys say goodbye from the stage. Bob recognize us and send us a sign. Thanks Bob !!! Nice man.

    But they have not performed Rudy !!! I'm confident they will play it in the encore. opssss....., yes, that's rigth. Four songs in the encore. Rudy and Crime sounds great. Bob is in a good shape !!!!
    The concert finish as usual, with the last note of Crime of he century while the guys are going out in the dark. During a few minutes the people remain still, they don't want to go away. We have to keep the images and sounds in our brains. It was incredible. I enjoyed a lot, I found this concert better than the last one (1997).
    Don't miss it !!! By chance I will attend 4 or 5 concerts more !!!


    Duration: 2 hours and fifteen minutes.
    From the STNC album, just Sooner or later. I supose Rick needs some songs of Mark just for rest his voice.
    Rick is not playing drums in this song as usual, Jesse is doing that !!!. Bob's son is quite leader in the show: solo-guitar (i.e. Crime of the Century), drums, acoustic guitar, piano and more instruments.....
    The band uses again some ironic jokes from the old times......the telephone, the megaphone, the umbrella !!! In the begining of the another man's woman they install an umbrella and a man with a black glasses sitting in a beach-chair... John invites him with a wine glass.
    Rick was quite happy when he said hello to the audience. More funny than usual.
    I can't believe that they haven't played Ain't nobody but me. The same with Breakfast (ok) No blues covers (good for me !!! I prefer the songs of Supertramp)
    Again without "Lover boy" and "Waiting so long"....
    Five songs from the Crime of the Century .... excellent !!!



    Photo: Bob & MAC


    ]]> (MAC) Touring: Concert Reviews Wed, 15 Sep 2010 14:49:40 +0000
    2002 TOUR - SUPERTRAMP, BENIDORM April 18th 2002

    Thurday, 18th, 2002: The day has finally arrived.

    Barcelona, 9:00 a.m.

    I meet Miguel Angel Candela at his house. We have in front of us more than 500 kms (300 miles) to reach Benidorm where Supertramp is starting the ONE MORE FOR THE ROAD tour.

    Although the highway, it's a long road but we are well provided with CD's and tapes so we can listen to some music. At the same time, Jose Antonio Alvarez is leaving Granada, in the south of Spain. He has already some miles so we will probably meet at the same time around the bullring in Benidorm.

    I've been looking for some city maps in the Internet and we finally arrive there safely around 3:00 pm. Bullring is a bullring. But that one does not seems to be a really big one. Full of posters announcing the concert (actually, the city is really full of giant posters...). We go to get the tickets and they say us it's nearly sold out. They wait for 9000 people.

    We are able to see the stage, everything seems to be we decide to go and eat something in a Bar in front of the main entrance.

    When we are having coffee we see the band arriving. First the musicians and later Rick. Well, at least they are in the city so it's going to be fine.
    We can hear the sound check from outside...with a first surprise hearing something that's similar to "Give a Little Bit"...who is singing?

    The show starts at 9:00 p.m. and the doors are open one hour and a half before. We reach the front line but after the first hundred people goes in nothing more happens...everything is nearly empty. We can hardly believe...9000 people?? There are 900 maximum. And the same until 20 minutes ago when people begin arriving. At 9:00 p.m. it's absolutely full.

    The stage is a normal one. We can see there is a full video screen, not the little one of 97. Rick's wurlitzer, a grand piano, drums and percussion. Everything's ready.

    At 9:15 "School" harmonica leads us to the beginning and the concert begins. I'm not a musical expert so I will not say if the bass is OK or percussion is bad...I don't know at all...but I can say everything sounds fantastic..specially drums.

    "Slow Motion" live is really interesting and the same with "10th Avenue...". Piano solo in "AMW" is more or less the same we have in IWTBOT but the surprise comes after. Jesse Siebenberg performs a really nice version of Roger Hodgson's "Give a Little Bit"...I would prefer Roger but this is what we have...I won't make any comments because it's something really hard for me..but I'm there to listen so this is what I'm doing.

    The show finishes with "Crime of The Century", as always, with a slightly different video version. It has been fantastic. Sorry for my short comment on the concert itself, but I can not remember too much about specific feelings. I use to sing everysong and try to live the moment so I use to forget....

    Curiousity: I've been in a lot of Supertramp concerts. It's the first time I see Rick introducing John.

    As a summary. I modestly think it's a better performance than in 97.

    Then, at 2:00 in the morning we drive back to Barcelona and I'm going to bed at 7:30 a.m. when the rest of the people goes to work.

    I'm happy...the tour has begun.

    Rate: between 8 and 9 from my modest musical point of view.
    Rate: 15/10 from my "fanatical" point of view

    Jordi Sabater

    ]]> (Miguel Angel Candela MAC) Touring: Concert Reviews Wed, 15 Sep 2010 14:44:22 +0000
    1983 TOUR - SUPERTRAMP, Barcelona 5 Julio

    Guardo un recuerdo agridulce de aquel concierto en el mini-estadi aquel verano del 83.
    Yo era un joven veinteañero estudiando informática en la Universidad, y a pesar de que Supertramp era el grupo de mi corazón, apenas sabía nada de ellos.
    Solo lo que se podía leer en los discos y algunos recortes de revistas de musica que cayó en mis manos.
    Pero Supertramp era como un grupo fantasma. Aparte de que vendían millones de discos y sonaban mucho por la radio, nadie en la radio ni en la televisión (mis únicas fuentes de información en aquella época) te contaba nada de ellos. Solo se conocía su música y el nombre de los componentes.

    Era una situación muy extraña, comparada con otras bandas o artistas importantes de esa época.
    De hecho yo estuve convencido durante muchos años que eran americanos, pues su música tan sofisticada me hacía suponer que tendrían que ser de allí, además de que el disco "Indelebly stamped" suena tan americano (folk/country) como el que más.

    Me llevé un shock el día que descubrí que eran ingleses años después .... (en aquellos tiempos no hablaba inglés y no sabía reconocer la diferencia entre el acento inglés y el americano)

    Lo peor fué que días antes del concierto, en el artículo de El Periodico sobre la gira de Supertramp, me enteré que esta gira era la despedida de Roger Hodgson, un gran jarro de agua fría para mi, pues intuía que eso significaba la disolución del sueño que me había acompañado tantos años, como así fué en realidad.

    Por tanto mi estado de ánimo ante el concierto era algo triste, sabiendo lo que significaba. Pero también una gran ilusión de ver en directo a la banda que adoraba, y justo al lado de mi casa !!! ( a unos metros ....)

    Las espectativas que yo tenía eran inmensas, por lo que me habían comentado y había leído (era una mega-gira donde llenaban estadios en todo el mundo) pero a la hora de la verdad salí algo decepcionado. Esperaba algo más de calidad y potencia en el sonido y un mejor show en el aspecto visual.
    En aquel tiempo estaban de moda los macro-conciertos, y la verdad, esperaba algo más. Lo encontré muy flojo en varios aspectos tratándose de la banda de moda del momento y comparando con lo que hacían otras bandas.

    Para mi quedó claro que la sofistificación de sus grabaciones no se plasmaba en sofistificación en las giras. Y cuando vi a los Pink Floyd en directo todavía me quedó más claro esto, una diferencia abismal.
    Yo me enamoré de la música de Supertramp cuando la descubrí en el año 76, y por tanto en el 83 ya llevaba "toda una vida" disfrutando de su música,que escuchaba a todas horas.
    Para mi era y sigue siendo, excepcional. Una gran combinación de talento, ironía, misticismo, melodías y cambios maravillosos, pequeñas historias hechas música, practicamente música clásica trasportada a nuestros tiempos modernos.
    Para la gira anunciaban miles de watios de luz y sonido, con lo cual el espectáculo sería fantástico.

    El concierto era al aire libre en el mini-estadio del Barcelona (el estadio pequeño, de unos 20 mil espectadores)
    Las entradas que teníamos eran en la grada opuesta al escenario, por tanto enfrente del escenario pero a mucha distancia. Buena visión del escenario pero imposible verles las caras..... nunca he vuelto a tomar unas entradas así....
    (además en aquellos tiempos no se ponían pantallas de TV para el público como ahora)

    Primero tuvimos que "sufrir" un larguísmo concierto de "Chris de Burg", que se me hizo interminable. No es que fueran malos (recuerdo por ejemplo que tocaron su éxito del momento "Don't pay the ferryman", y una bonita versión de "Here's come the sun" ) pero es que no iba a verles a ellos !!!

    Tras la larga espera empezaron los Supertramp, y la verdad en el primer tema, Crazy, sonaban muy mal, muchos ecos desde los edificios colindantes, sonaba todo caótico, nada homogéneo ni claro. Primera decepción. Mi hermano mayor me dijo que era normal que al principio sonaran mal hasta que ajustaran el sonido (a mi no me parecía normal....con tanta tecnología) pero la verdad no mejoró mucho a lo largo del concierto. Posiblemente el sitio al aire libre y con edificios alrededor no ayudaba.

    Otro de los puntos flojos, pero que ya sabía gracias al disco "Supertramp en Paris" de 1980, es que no trasportaban al directo las preciosas orquestaciones de sus discos (sobre todo en Crime, Crisis y Even in the quietest moments).
    Solo se limitaban a mal-imitarlas con burdos sonidos de sinte, muy pobre. En esa época ya se podían hacer sonidos de strings muy buenos con los sintes, pero por algún extraño motivo Supertramp se limitó a usar pobres sonidos sintéticos. ( y así lo han seguido haciendo hasta nuestros días )
    Repito, una simple comparación con Pink Floyd y te salen los colores...

    Respecto a la presencia del escenario, con los focos en grandes pirámides invertidas y predominancia de colores rosas/purpuras, me pareció muy ñoño y pasado de época. Me esperaba algo más moderno e impactante.

    En fin, que no lo disfruté como me hubiera gustado. Aunque seguro que muchos de vosotros guardáis distintos recuerdos de esa velada, y si me los haceis llegar os los publicaré aquí.

    Sobre el concierto en sí, hace ya 25 años, recuerdo cosas sueltas, pequeños flases, y lo demás se me ha ido olvidando.
    Recuerdo los videos del tren en "Rudy" y los videos que acompañaban a "Fool's overture" y "Child of vision", la primera vez que los veía. El de "Rudy" era y es hoy dia impactante junto con la música.
    Pero el mejor el video del firmamento estrellado de "Crime of the Century" al final del concierto. Grandioso.
    Además habían colocado cientos de bombillitas en los asientos vacíos de las gradas tras el escenario, y el efecto de firmamento era aún más bonito. Para mi el mejor momento de la noche. Por desgracia era el final.....

    También recuerdo unos potentes grupos de focos enfocados dirfectamente hacia el público que te cegaban y que solo se encendieron en los últimos compases de "Dreamer", precisamente cada vez que Roger decía la palabra "Dreamer". Genial.

    Para el resto de temas no había nada especial, solo juegos de luces.
    También se me quedó grabado el coro final en "Hide in your shell" (unos jovenes vestidos con traje y sombrero de copa)
    Quien me iba a decir que yo iba a hacer precisamente eso para Roger Hodgson 18 años después !!!

    Hicieron un repaso a sus éxitos y algunos temas del nuevo disco "Famous last words"· Evidentemente no lo podían tocar todo, pero fué bastante completo.

    Si uno ha visto giras posteriores, ya sin Roger, habrá observado que han mantenido este esquema de concierto por los siglos de los siglos. Los mismos videos, ni uno más. Las luces, las justitas. Escenario: tela negra. en fin, muy pobre.
    Por suerte nos queda su música....

    Miguel Angel Candela

    ]]> (MAC) Touring: Concert Reviews Wed, 15 Sep 2010 14:24:58 +0000
    2010 TOUR - SUPERTRAMP, A Coruña 11 Sept

    La nostalgia de Supertramp en A Coruña ante un Coliseum a medio aforo



    • Supertramp inició la gira que conmemora sus 40 años sobre los escenarios
    • Unas 5.000 personas recordaron los temas que marcaron varias generaciones
    • La voz de Roger Hodgson se echó de menos en los temas más reconocibles
    • El alto coste del concierto no fue compensado ante un Coliseum medio vacío

    Hace ocho años, los británicos Supertramp lograron llenar el Coliseum de A Coruña. Este sábado el mismo recinto estuvo muy lejos del lleno total, sin embargo la nostalgia y la calidad suplieron los vacíos en lo que era el pistoletazo de salida a la gira del 40 aniversario del grupo: '70-10 Tour'.

    Cerca de 5.000 fans, la mitad del aforo, según fuentes del Instituto Municipal de Espectáculos (IMCE), recordaron uno a uno los temas que en las décadas de los 70 y 80 hicieron de Supertramp una banda de culto. El público de unos 40 años de media es de ése que sabe apreciar la música real, sin tantos alardes tecnológicos y con un halo de sobriedad y majestuosidad sobre el escenario.

    Aunque la evolución del grupo ha sido enorme en estos 30 años, sobre todo en cuanto a su formación, se ha mantenido la magia de ese sonido real y vibrante con instrumentos también reales. Y esa puesta en escena la hizo posible anoche la banda que salía a su cita puntual y con su pop enérgico y electrizante. 'You started Laughing' abrió la riada de temas nostálgicos de un recital liderado en todo momento por Rick Davis -fundador, cantante y teclista- y la cara viva de la leyenda que mantuvo la tensión a lo largo de toda la noche.

    Anthony Helliwell al frente de los saxos y flautas, saludó a los presentes con un "boas noites", y luego y en inglés hizo una alabanza de la gastronomía gallega, la que calificó como una de las mejores, lo que atrajo el favor del público.

    Un público que ansiaba escuchar los sonidos más reconocibles de Supertramp, aquellos 'hits' que hicieron del grupo un emblema de un pop cristalino y vivaz. Y fue 'Breakfast in América' el primero de esos reconocibles acordes que logró una ola de nostalgia entre aquellos adolescentes de los 70.

    El rock progresivo se dejó notar también con las interpretaciones de Davies que, al frente del piano y sin perder nunca la elegancia, deleitó a los nostálgicos con retazos de autenticidad. Entre tanto, los fans esperaban escuchar esos pinchazos de energía que consiguieron canciones como 'Give a Little Bit' o 'It´s raining again' y que no defraudaron al foso.

    Luego vinieron 'The Logical Song' o 'Goodbye Stranger', y cuando después de casi dos horas parecía que ya se iban, los gritos de "oé, oé, oé" del entregado público lograron la reaparición de la banda que se despidió con 'School', el mítico 'Dreamer' y finalmente 'Crime of the Century' para poner el broche a un recital comedido pero elegante y de calidad.

    Las proyecciones y la presencia de un joven en una tumbona bajo una sombrilla emulando la portada de su disco 'Crisis, What Crisis?' pusieron el toque diferente. Al final del espectáculo los fans tenían la oportunidad de llevarse el concierto a casa en formato 'USB' por 25 euros.

    Una ausencia imposible de suplir

    Las canciones más míticas de la banda como 'Give a Little Bit', 'It`s raining again' o 'Dreamer' fueron compuestas por el ex integrante Roger Hodgson, que tras muchos desacuerdos, dejó el grupo y acordó verbalmente con Davies que no se interpretaran sus canciones a cambio de que la banda conservase el nombre original.

    El característico e inconfundible timbre tonal de Hodgson no ha logrado ser suplido por las revisiones de sus grandes temas hechas por las nuevas voces que sonaron en el Coliseum y que lo harán a lo largo de esta gira, a pesar del enfado de Hodgson. A la entrada del concierto se repartían panfletos promocionando el nuevo disco del ex integrante y alentando a una descarga gratuita del conocido tema 'Dreamer'.

    Mucha inversión para poco beneficio

    Era una de las grandes apuestas musicales del Ayuntamiento de A Coruña para este verano. La confianza en un lleno total como sucedió hace ocho años en su anterior concierto en la ciudad hizo que la inversión para el recital de Supertramp fuese elevada. El IMCE destinó aproximadamente 400.000 euros esperando compensar esta inversión con el lleno total. Sin embargo, y según fuentes del Instituto, las entradas vendidas se sitúan en torno a 4.500 y la afluencia en torno a las 5.000 personas, la mitad de la capacidad del Coliseum.

    "Musical y artísticamente el concierto ha sido muy bueno porque se trata de público que aprecia la música y sabe lo que es un disco", señalan desde el IMCE. Atribuyen a la programación del Xacobeo "con dos grandes conciertos recientes como el de Muse y Arcade Fire" y a la crisis, la menor afluencia de la esperada.



    Supertramp invoca a la nostalgia con su repertorio mítico

    El grupo celebró su 40.º aniversario ante 5.000 personas en el Coliseo de A Coruña

    Autor:Javier Becerra    Localidad:  A Coruña/la voz.  Fecha de publicación: 12/9/2010


    Nostalgia. Receta infalible para tiempos de crisis. Y en la música la crisis es doble: la de todos, la económica, y la suya propia, la del soporte. ¿Solución? Atrapar al fan educado en los viejos modos, el que aún sabe qué es una cara a y una cara b, el que no escatima ante una edición remasterizada en cedé con extras de su grupo favorito y el que, en caso de que le caiga alguna de esas bandas cerca de casa, no duda ante la oportunidad de verla en vivo. Todo con un fin: recordar estos tiempos lejanos que la música logra hacer próximos.

    Supertramp pertenecen a ese elenco de nombres. Ya lo demostraron en el 2002 y revalidaron la sensación anoche desde el minuto 1. Como era de esperar, You Started Laughing dio el pistoletazo de salida y puso las cartas boca arriba: pop con ramalazo progresivo, sonido brillante y cristalino -de lo mejorcito que se haya logrado nunca en el Coliseo- y señorío sobre las tablas. Rick Davis, al piano, se erigió en el centro de atención desde el principio. Él fue el comandante de una nave que dosificó los hits para mantener la tensión con la audiencia durante toda la noche.

    Tras un arranque en el que cayeron Gone Hollywood y Ain't Nobody but Me , el primer gran momento llegó con Breakfast in America . Precedido de una exaltación de la gastronomía local por parte de Anthony Halliwell, que incluso se atrevió a chapurrear un poco de gallego, logró lo previsible en un clásico, entusiasmar al público.


    Sí, porque pese al ramalazo roquero de Cannonball o los pasajes de intenciones plácidas de Poor Boy y From Now On , lo que la mayoría de la audiencia buscaba eran esos pinchazos llegados de la que fue su juventud. El aguijón de Supertramp clavó varias veces esa sensación en la piel. Give a Little Bit hizo levantar a más de uno de su asiento -entre ellos, la conselleira de Traballo, Beatriz Mato, cuyo rostro era la imagen misma de la felicidad-. Minutos después sería It's Raining Again la que con su eterna melodía de estirpe de Byrds generaría el mismo entusiasmo. Todo ello, por no hablar de The Logical Song o Goodbye Stranger , con la que el grupo finalizó el concierto en medio de una gran ovación.

    De inmediato en el foso y en las gradas se invocaron los «¡oé, oé, oé, oé!», y a los pocos minutos los músicos retornaron al escenario. Primero, delicados, con School ; luego, en clave pop, con un Dreamer que se expandió como una ola de entusiasmo por el Coliseo, y finalmente, con Crime of the Century , que sirviéndose de unas proyecciones espaciales puso el punto y final a una noche a la que pocos de los seguidores de la banda pondrían tacha.

    Quienes quisieron llevarse el concierto para casa tuvieron la opción de hacerlo por 25 euros. Ese era el precio de un pen drive en el que se incluía la primera mitad del recital junto a un código de descarga con el que bajarse de Internet el resto. A la salida decenas de devotos de la formación británica se agolpaban en el puesto situado junto a la puerta del recinto interesándose por esta opción. Y cómo no, también por las tradicionales camisetas.

    Más de media entrada

    La contratación de Supertramp en A Coruña era la gran apuesta de la Concejalía de Fiestas para este año. En el 2002 los británicos habían logrado un lleno hasta la bandera en el Coliseo. Esta vez se esperaba lo mismo. Por ello, para la operación se recurrió a un aval de 400.000 euros con una aspiración: compensar la inversión con la venta total del aforo.

    Sin embargo, en taquilla se despachó poco más de la mitad. En el ambiente se comentaba que la gran oferta del Xacobeo obligaba este año a seleccionar los conciertos más que nunca. Eso sí, pocos fans de los que asistieron anoche al Coliseo coruñés se quedaron decepcionados.


    Supertramp descafeinado

    Lo que queda de banda rememora éxitos pegadizos en A Coruña

    Hay rupturas que nunca se superan. Ni siquiera con el paso del tiempo o la fortaleza de éxitos musicales pegadizos de los años setenta e inicio de los ochenta que varias generaciones son capaces de tararear aun sin ser de su gusto. Y eso le ocurre a Supertramp, que arrancó en A Coruña el sábado su gira retrospectiva por la península (estará esta semana en Portugal, Madrid, Bilbao y Barcelona).

    La veterana banda británica, nacida hace 40 años, vuelve amputada, sin su cofundador, Roger Hodgson. Este pasea ahora solo sus temas por los escenarios. Pero le falta la banda. Es su otrora media naranja, Rick Davies, quien tiene la marca y el grupo, incluidos tres pilares de su época dorada como John Helliwell (saxofón, teclados), Dougie Thomson (bajo) y Bob Siebenberg (batería). Pero se echa de menos a Hodgson, autor y voz de gran parte de las canciones más conocidas, como Breakfast in America, Give a little bit, It?s raining again, Dreamer o The logical Song. Este retorno de Supertramp es para incondicionales y nostálgicos.

    El Coliseo de A Coruña se llenó en 2002 para su primera vuelta a los escenarios (ya sin Hodgson). Pero el sábado apenas superó la mitad del aforo, fijado en 9.000 personas. Eso sí, había público de todas las edades, aunque los 40-50 años eran mayoría. Como en el recompuesto Supertramp en el que los veteranos cuentan con el refuerzo de jóvenes incorporaciones, entre ellos Jesse Siebenberg (el hijo de Bob, batería) y tres coristas. Sobre ellos recae la misión de trampear la ausencia de Hodgson y cantar letras míticas. El ex alma mater de la banda se enfadó con esta gira porque dice tener un pacto verbal con Davies para que no toque sus canciones. Sólo lo cumple a medias.

    El cantante y virtuoso del teclado pasa a segundo plano en siete de los 20 temas del concierto para dejar en la voz de los nuevos fichajes la interpretación -con bastante acierto, hay que reconocerlo- de los archiconocidos singles de Hodgson que más popularidad y mejores ventas dieron a Supertramp.

    El sonido fue correcto. Todo muy tranquilote. Y con un tufillo a añejo en la puesta de escena de una formación con aires de orquesta verbenera. Refuerzan esa sensación las imágenes pasadas de moda que aparecen en una pantalla gigante para amenizar algunos temas. Algunas son proyecciones de las portadas de discos, como la de Crime of the Century con la que acaba el espectáculo. Otros intentos de evocar el pasado dorado de la banda resultan directamente rídiculas, como escenificar en carne y hueso la portada de Crisis, what crisis (1975) a través de un figurante en bañador sentado bajo una sombrilla naranja y leyendo un periódico.

    Helliwell hizo de maestro de ceremonias. Dio las "boas noitas Galicia", ensalzó su comida y recordó que esta gira también es para hacer caja. Uno se puede llevar, por 25 euros, un pendrive con la grabación en directo del concierto.

    Con Supertramp, el Ayuntameinto de A Coruña da por cubierta para este año las peticiones de "un sector del público que desea ver artistas internacionales". De lejos sí, también en el tiempo.


    ]]> (MAC) Touring: Concert Reviews Tue, 14 Sep 2010 05:48:30 +0000
    2010 TOUR - SUPERTRAMP, Lisbon 12 Sept


    Supertramp no Pavilhão Atlântico, Lisboa

    Banda britânica aqueceu esta noite a alma dos fãs saudosos. Os êxitos estiveram todos lá, em duas horas de concerto... Faltou só mesmo Roger Hodgson.

    A expectativa era muita e os fãs acorreram à chamada em peso. Os britânicos Supertramp voltaram este ano à estrada e uma das paragens foi o Pavilhão Atlântico, em Lisboa, que assistiu emocionado esta noite a uma prestação competente (por vezes monótona, dizemos nós) da banda de "Breakfast in America" e "Dreamer".

    Faltavam dez minutos para a hora marcada e ainda eram grandes as filas, ordeiras, para entrar na sala maior da sala de espetáculos à beira Tejo. Ao nosso lado, alguém se queixava de nunca ter encontrado um cenário assim, "nem no concerto de Santana, nem sequer no dos Metallica", o que denotou desde cedo que a faixa etária que acorreu esta noite ao Pavilhão Atlântico era bem mais elevada que o habitual. A média só seria "estragada" por todos os filhos que acompanharam os pais neste regresso ao passado.

    A sala maior do Pavilhão Atlântico estava praticamente lotada quando, 15 minutos depois da hora prevista para o início do concerto, as luzes se apagaram. Tudo a postos para o festim das recordações. O palco bastante simples punha a tónica na música - os Supertramp não estavam ali para brincar. Foram poucas as vezes que as cortinas no fundo do palco se afastaram para a exibição de vídeos e os ecrãs laterais também estiveram desligados boa parte do espetáculo.

    "You Started Laughing" abriu o concerto, com a voz de Rick Davies a ecoar pela sala. "Gone Hollywood" manteve o registo calmo de um início a meio gás, com imagens de Los Angeles "by night" a distraírem-nos, entre néons de "Nude girls" e estrelas do passeio da fama. A balança lá foi pendendo entre o rock e o jazz, com muitos solos à mistura (piano de Davies e saxofone de John Helliwell a revezarem-se no protagonismo), mas os aplausos só se tornaram mais intensos quando finalmente o vocalista se dirigiu pela primeira vez à plateia, depois de "Ain't Nobody But Me", para dizer: "Boas noites, Lisboa. Estamos muito felizes por vos vermos de novo. Obrigado por virem. Portugal é um lugar lindíssimo e que comida fantástica têm aqui".

    Uma piada sobre bacalhau serviu depois de introdução a "Breakfast in America" que, como todos os grandes sucessos da banda originalmente cantados por Roger Hodgson (que não faz parte desta reunião dos Supertramp), seria apresentado por Jesse Siebenberg. Os aplausos que seguiram não deixavam sombra de dúvida: o público estava a marimbar-se completamente para quem canta, o que interessa são mesmo as canções. Quase de seguida chegaria "Poor Boy", mas ao fim de meia hora de concerto o tédio parecia querer instalar-se (seríamos os únicos a notar?). A melancolia dos grandes solos não matou, mas moeu bastante.

    "Não sabia que sabiam cantar! Cantam muito bem", bajulou Davies o público antes de voltar a entregar as vocalizações a Siebenberg, munido de guitarra acústica, para "Give a Little Bit", mais um previsível momento alto do concerto. Em "Rudy", Davies brincou com o piano e levou o comboio a bom porto com ajuda de um coro competente, mas foi com "It's Raining Again" que as emoções voltaram a ficar alvoroçadas.

    A harmónica deu um colorido agradável ao gingão "Take the Long Way Home" e já bem perto do final do corpo principal do espetáculo ouviram-se ainda as camadas instrumentais de "Bloody Well Right" (solo de saxofone de Helliwell muito aplaudido), a nostálgica "The Logical Song", que levou o Pavilhâo Atlântico ao rubro, e já depois das apresentações e despedidas um final em alta com "Goodbye Stranger". Aplausos de pé durante alguns minutos seguiram-se, sem esmorecer, até a banda voltar para um curto, mas eficiente, encore.

    "School" trouxe a harmónica de volta, mas foi com "Dreamer" que tudo dançou em direcção ao grande final - palmas descompassadas, como é hábito - que aconteceria ao som do épico "Crime of the Century". Revista de uma ponta à outra, a carreira dos Supretramp subiu ao palco esta noite e o público lisboeta agradeceu, saindo de alma cheia (o que importa, afinal, se a voz de Jesse Siebenberg não é tão boa quanto a de Hodgson?).

    Texto de: Mário Rui Vieira
    Fotos de: Rita Carmo/Espanta Espíritos

    ]]> (Miguel Angel Candela MAC) Touring: Concert Reviews Sun, 12 Sep 2010 22:00:00 +0000
    The name of SUPERTRAMP / El Nombre de SUPERTRAMP


    The first name of the band in 1969 was "DADDY".
    The name SUPERTRAMP cames to Rick Davies inspired in a book that Richard Palmer was reading at that time,
    called "Autobiography of a Supertramp" by W.H. Davies (don't confuse with Rick Davies !! ) Early 1970.
    And that was the definitive name for the band for their first album in July 1970.

    La formación inicial de Supertramp en 1969 se llamó "DADDY".
    El nombre de SUPERTRAMP se le ocurrió a Rick Davies inspirado en un libro que estaba leyendo Richard Palmer,
    llamado "Autobiography of a Supertramp" de W.H. Davies (¡¡ no confundir con Rick Davies !! ) Era a principios de 1970.
    Y ese fué el nombre definitivo del grupo a partir de 1970 para su primer disco (Los Supervagabundos) publicado en Julio


    ]]> (MAC) Biography Sat, 11 Sep 2010 10:20:48 +0000
    SUPERTRAMP for experts


    Welcome !
    I guess you know Supertramp, the band and their albums, and, you would like to know, in a quick view, what's available around the world apart from the official discography.
    Congratulations !! You are in the right place !!
    After many years in touch with the band and the fans, exchanging material over the years, I was able to list all the material, both Audio and Video recordings.

    Obviously I've listed the more interesting, best (or acceptable) quality, aired on radio and TV the most.
    I didn't included lot of audience-recordings I got due to the bad quality and low representative.
    If you love the band, this is much more than you need, for sure.
    All this is not too difficult to get thanks to teh Internet, just exchanging material with other fans, forums.
    There are a lot in Youtube also. You don't need to buy things to a collectors. All this material is shared by the fans.

    I've classified it in two areas:
    Supertramp (with and without Roger) and Roger Hodgson (after Supertramp)


    SUPERTRAMP Video Footage

    SUPERTRAMP Audio rare recordings



    ROGER HODGSON Video Footage

    ROGER HODGSON Audio rare recordings

    ROGER HODGSON Other works


    ¡ Bienvenidos !
    Se supone que sabeis bastante sobre Supertramp, el grupo y su discografía, y os gustaría saber de un vistazo qué os que corre por ahí además de la discografía oficial.
    Felicidades !! Habeis caído en el sitio perfecto !!
    Tras muchos años en contacto con la banda y con fanse intercambiando material, he podido elaborar esta exhaustiva lista de todo lo que han dado de si tanto en Audio como en Video.

    Evidentemente aquí he relatado todo lo más interesante y de mejor calidad, emitido por radio y TV la mayoría.
    No he incluido muchas grabaciones privadas que han llegado a mis manos por su baja calidad o poca representatividad. Si os gusta la banda, esto es mucho mas que suficiente.
    Todo esto es relativamente fácil de conseguir con un poco de interés intercambiando con fans en foros de Internet.
    También hay mucho de esto en Youtube.
    No necesitais acudir a coleccionistas a gastaros los dineros. Todo este material está muy repartido entre los fans y nadie posee nada en exclusiva.

    Lo he separado en dos partes: Supertramp (con y sin Roger) y Roger Hodgson (tras Supertramp).





    ]]> (MAC) Biography Thu, 09 Sep 2010 20:12:34 +0000
    BREAKFAST IN AMERICA, the making off


    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."

    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."

    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.



    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."

    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



    ]]> (MAC) Discography - Albums Thu, 09 Sep 2010 14:19:04 +0000
    SUPERTRAMP in the GRAMMY's Awards



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

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

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

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

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

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

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

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




    ]]> (MAC) Supertramp Press and Media Thu, 09 Sep 2010 13:10:06 +0000

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

    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
    Pony Express

    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)

    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
    If Everyone Was Listening
    Bloody Well Right

    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) Discography - Albums Thu, 09 Sep 2010 13:05:42 +0000
    SUPERTRAMP AUDIO rare recordings

    OFFICIAL Recordings


    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


    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

    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 


     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


    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


    ]]> (MAC) Discography - Albums Thu, 09 Sep 2010 12:42:58 +0000
    Restoration of PARIS tapes

    September 2006

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

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

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

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

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

    For more information, visit

    March 2011

    From Roger Hodgson management to fans:

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



    ]]> (MAC) Supertramp Press and Media Thu, 09 Sep 2010 12:26:16 +0000



    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

    Video Interview with John Helliwell & Peter Henderson, about the Paris'79 DVD and Blu-Ray



    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.
    Video Entrevista con John Helliwell & Peter Henderson, sobre el Paris'79 DVD y Blu-Ray




    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


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

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


    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)

    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.).





    - DADDY PORTRAIT 1970: First video recorded with the band, mark I. The name of the band was "Daddy" at that time, Roger on bass. Filmed in the P.N. Club Munich on Dec 1969 / January 1970. Directed by Haro Senft, just a short 10 minutes documentary. This is the only known footage of original member Richard Palmer on lead guitar and Keith Baker on drums. They played the Bob Dylan song "All along the watchover".
    - Apart from the audience recordings, obviously the best bootlegs 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 !!!
    Below you'll find the summarize of the best.


    - DADDY PORTRAIT 1970: El primer video filmado a la banda (cuando aún se llamaban "Daddy") fué en Diciembre 1969 / Enero 1970 durante una actuacón en el P.N. Club de Munich. Era un corto del director Haro Senft, con la primera formación de la banda, con Roger aún al bajo. Es la unica grabación conocida con los miembros originales Richard Palmer a la guitarra y Keith Baker a la batería. Dura unos 10 minutos, interpretando el tema "All along the watchover" de Bob Dylan

    - 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.


    ]]> (MAC) Discography - Albums Thu, 09 Sep 2010 12:05:24 +0000
    Breakfast in America DELUXE EDITION

    September 6, 2010

     New Double CD - "Breakfast in America DELUXE EDITION" 



    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


    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. 


    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


    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....)


    ]]> (MAC) Discography - Albums Tue, 07 Sep 2010 21:01:22 +0000
    PICTURES: SUPERTRAMP in Halle, 2nd of September 2010

    SUPERTRAMP in Halle, 2nd of September 2010 - PICTURES

    Source: BZ_Signet_kl




















    ]]> (Miguel Angel Candela MAC) Pictures Fri, 03 Sep 2010 13:02:49 +0000
    2010 TOUR - SUPERTRAMP, Halle 2nd of Sept

    Nice photos here !!!

    BUY the official audio recording (mp3 or CD)   You can listen "Dreamer" for free.

    COMPRAR la grabación oficial (mp3 o CD)   Podéis escuchar "Dreamer" gratis


     1 Review in Spanish, 2 Reviews in English:



    You started laughing
    Gone Hollywood
    Put on your old brown shoes
    Ain't nobody but me
    Breakfast in America (sung by Jesse Siebenberg)
    Poor boy
    From now on
    Give a little bit (sung by Jesse Siebenberg)
    It's raining again (sung by Gabe Dixon)
    Another man's woman
    Take the long way home (sung by Gabe Dixon)
    Bloody well right
    The logical song (sung by Jesse Siebenberg)
    Goodbye stranger


    School (sung by Jesse Siebenberg)
    Dreamer (sung by Gabe Dixon)
    Crime of the century 

     REVIEW from Olivier (text and photos)

    I just wanted to update you concerning the tour start in Halle/Westfalia.
    Supertramp visited Halle for the second time (2002) whereas they played in Bielefeld (20 km distance) in 1997. The event took place in the tennis stadium in which also handball and basketball events are organized. Many bands do play in the stadium as well. It offers 12000 seats. Due to the stage being placed at one side approx. 8400-8500 seats were available. Approx. 6500 people visited the event (not bad for a band not touring for eight years and presenting no new album). The roof of the arena was closed because we had much rain in the region the days before (It’s raining again) but temperatures were pretty okay.

    The event
    should start at 19.00 but was postponed for 30 minutes. A big and simple stage
    could be seen. At the beginning of the show we did not experience a dramatic
    curtain falling or a spectacular announcement that a legend is back. The
    members of the band simply came in, walking in a relaxed way to their
    instruments, John had a glass of red wine in his hands - and then they began
    playing “You started laughing”. I liked this style very much, quite unusual in
    a very fast world, some kind of slow motion attitude.

    After some songs
    of concentrated playing, the band members relaxed a little bit and the
    spectators began to party. After 40 minutes, more and more people stood up celebrating the songs. With the time passing the audience became more and more enthusiastic.

    The show
    lasted exactly two hours; it was a very good concert. From my point of view,
    the quality was as good as it was in 1997 and 2002. We experienced definitely
    no song from the 1997 and 2002 albums (which I think is a pity because the
    songs are extraordinary). As far as I can remember, we heard no song from the
    album "Free as a bird".

    Jesse and
    Gabe were singing Rogers old songs which they did in a very good manner (I
    personally did not miss Roger although I also liked his concert in Paderborn in
    September 2009). Cassie Miller was staying in the back - maybe it would not
    have been bad to experience a woman singing one of the old songs.

    We listened
    to very goods solos (e.g. Rick: Another man’s woman [incredible], Lee: Poor
    boy) and could see a very good team play (e. g. Lee playing the piano, Jesse
    being almost everywhere at the same time running from the keyboards in the back to the piano in the front, to the Wurlitzer and to a second keyboard in the
    front). Even though you could feel that Rick is the boss there were many
    opportunities for the younger team players to show their creativity (is a
    second generation of Supertramps born?). I was impressed by this harmony.

    goes modern: on the left and on the right of the stage big screens were fixed. In
    the back a mega big screen was installed. Some video sequences were shown (e.g. Gone Hollywood, Rudy). Some video sequences were displayed on the closed curtain of the big screen (e.g. a monkey walking over the curtain during “Cannonball” and a woman laughing during the same song). Several small cameras were installed showing e.g. Ricks piano finger play on the two small screens but not on the big one.

    To sum it
    up: A fantastic event - don't miss one of the concerts!
    Greetings, Oliver


     REVIEW from Markus (text and photos)

    Yesterday my wife and me went to the first Supertramp-Concert oft he 2010 Europe-Tour.


    I was very excited because I asked myself whether Rick still has his voice after all these years and whether the band still has it´s magic. And I have to say that the band still has it ! Rick Davies really is in good shape. Obviously he does sport because he still is in good condition. His voice still is very strong and expressive. In the beginning he seemed to be tensed. Obviously he was a little bit stressed about the negative PR by Roger Hodgson and the possible unkind reaction of the audience if the play songs originally sung by Roger Hodgson. In the middle of the concert Rick became more relaxed. The reaction oft he audience was enthusiastic.

    Jesse Siebenberg sung Roger´s songs and he did it much better than Mark Hart in the past. He really was not only a bad copy. He had his own style and gave the songs a new freshness.


    Unfortunately we had very bad seats. We sat directly in front oft he stage but extremly left-hand side. The result was that WE had no good sound. But I took some cool photographs. I was very surprised that they played "Gone Hollywood" for the first time. In the past the band said that this song did not work live. BUT it really rocked ! Also very nice was "Poor Boy" because it is one of my personal favourites.

    For me I was a little bit disappointed they did not play any song from the last three albums.

    The tennis-stadium has capacity for about 8.000 guests. The press said there were about 4.500-5.000 tickets sold but I would appreciate that there was about 80 % sold out. That would mean that there were about 6.500 people inside.

    Many greetings,


    REVIEW from Ramón Royes

    La primera curiosidad de este viaje tiene relación con la ciudad de Halle, o más bien el pueblo de Halle. Si vais a cualquier agencia de viaje y solicitais billetes para Halle sin más, os van a mandar al lado de Leipzig, a unos 500 Km del estadio Gerry Weber. El estadio Gerry Weber estan en medio de nada, como me dijo un ciudadano de Halle. Un importante empresario de este pequeño pueblo quiso cumplir un sueño y construir una instalación excelente más propia de una capital de estado. Aquí se celebra un importante torneo de tenis sobre hierba y numerosos conciertos de primer nivel. Esto puede ser el motivo por el cual el estadio no se llenó y podria ser un espacio ideal para un primer concierto de gira en el que muchas cosas deben acabar de ajustarse.
    Llegué al estadio sobre las 15:30 y fuí directamente a preguntar por John Helliwell. Todavia no habian llegado los músicos y tuve que esperar. Estuve hablando con el responsable del concierto de Halle y pude entrar en el interior del recinto donde estaban acabando de montar los instrumentos. A las 16 horas llegaban cuatro Mercedes de los que bajaron primero Rick y Sue y a continuación el resto de la banda. Tenian los dos un aspecto físico excelente. Sue está muy delgada. El último en llegar fué John. Solo pude hacer unas fotos desde la distancia porqué por motivos de seguridad no dejaban que nadie estuviera en esta zona. El director del concierto de Halle vino en seguida para decirme que John vendria a saludarme en unos minutos y así fué. Dijo acordarse de mi y mi familia cuando les visitamos en Vitoria en el año 2002 y se quedó asombrado de que viniera a verles a Halle desde tan lejos. "Vamos a visitar España durante la gira!" dijo sorprendido. Le expliqué que queria experimentar la sensación de ver un primer concierto sin ninguna información previa sobre él para que todo fueran sorpresas. Le pregunté sobre como se sentía de nuevo en la carretera y me dijo que muy bien y ilusionado. Me habló de las nuevas incorporaciones y de que la cosa iba a sonar muy bien. Nos hicimos la foto de rigor y quedamos en vernos en España. De fondo se oía ya el resto de la banda iniciando el soundcheck.
    Tuve el privilegio de poder ver las pruebas de sonido donde ya advertí la primera gran sorpresa. Después de algunos ajustes, Rick dice a todos "Gone Hollywood"! y empieza a tocar el piano. No me lo podia creer. Era la mejor de las sorpresas que podia darme. Nada más empezar el coro, Rick para la máquina para decir que la entrada de Bob a la bateria debe ser más contundente y vuelven a empezar y la tocan enterita. Ya dije tiempo atrás que el famoso falsete de los discos de Supertramp no suena igual en directo, donde es más rudo y grave. Creo que la incorporación de Cassie y la participación de Gabe en el coro es clave para que este falsete suene lo más parecido al disco en toda la historia de la banda.

    En el soundcheck tocaron por este orden :
    Put on your old brown shoes
    Crime of the century - solo unas notas
    Gone Hollywood 
    It's raining again
    Give a little bit
    Bloody well right - solo unas notas
    La verdad es que duró poco, pero fue excelente. Ya no me moví del recinto del estadio. Sobre las cinco de la tarde ya empezaban a llegar los primeros asistentes. En el exterior habia un montón de paraditas típicas alemanas para comer salsichas y beber cerveza con mesas y bancos largos donde sentarse. Estuve mirando las paradas de merchandasing y pregunté por el tema del USB. Me informaron de que seguirian toda la gira y que se podia comprar al final del concierto por 25 euros con el estuche o por internet a 15 euros. En el USB de este primer concierto estan las primeras 14 piezas del concierto.
    Por lo que respecta a los productos de Supertramp, no hay mucho donde elegir. Camisetas de diversos modelos a 25 euros, bolsas y gorras entre 10 y 15 euros. Tambien vendian el poster de la gira.

    Pendrive poster_Halle
    Entré en el estadio una hora antes aproximadamente y todavia estaban afinando el piano. En seguida se vió que el concierto empezaria con retraso.
    El techo del recinto es retractil y aunque estaba cerrado, permite la entrada de luz por lo que durante al menos una hora tendriamos luz natural, cosa que no me gusta demasiado.
    En el estadio, unos 4.000 espectadores como mucho. Tengo fotografias y me he dedicado a contarlos, por formas geométricas que luego extrapolo y diria que no me equivocaré de mucho. Es una mania que tengo siempre que voy a un espectáculo. Me salen unos 3.100 justo en el momento de empezar el show, más los que pudieran llegar tarde.
    El escenario es muy sencillo pero más que correcto, con una gran pantalla al fondo de unos 7x7 metros tapada por una gran cortina negra. En los laterales hay dos pantallas de 4x4 en las que se va a ver el concierto que registran diversas cámaras colocadas estratégicamente.
    A las 19:28 aparecen en el escenario. Entran sin intro ni presentación ni nada. Lo hacen tranquilamente y saludando al público. John aparece elegante con una copa de vino en la mano. Cogen los instrumentos, ajustan las alturas de los micros, Rick se pone a los teclados y empiezan a sonar las primeras notas de "You started laughing". Me sorprende la posición de Gabe, Cassie y Lee formando el coro en la parte derecha del escenario, en la parte de atrás. Gabe tiene al lado unos teclados con los que va haciendo acompañamiento. Afortunadamente la tocan entera y no solo a modo de intro como en el 88.
    El sonido me parece fantástico y la voz de Rick, en forma. Pequeños detalles en nuevos arreglos le dan un toque un punto más blues. Tenemos a nueve grandes músicos en el escenario.
    Con "Gone Hollywood" se abre la pantalla con imágenes de las calles de Hollywood. Aquí se aprecia el papel de Cassie y Gabe que juntos logran un gran parecido al falsete de la versión de estudio.
    Le siguen "Put on your old brown shoes" y "Ain´t nobody but me".
    John coge la palabra para saludar al público en alemán y les dice luego en inglés que tenemos el privilegio de ver el primer concierto de Supertramp en ocho años.
    Jessie toma el relevo con "Breakfast in America". En este momento el público se pone de pié para estar así toda la canción. John lo presenta como miembro de la banda desde que nació. Creo que Jessie coge un gran protagonismo en la banda al tocar guitarras y teclados aparte de coro y voz principal en algunas de las piezas de Roger. La ovación es total.
    La sexta pieza es "Cannoball". Aquí detecto el primer fallo. Es muy divertido. Todos conoceis la actitud de John en el escenario. Es un tipo divertido, que se mueve y va haciendo gracietas al público. Pués bien, en Cannoball sabeis que hay tres momentos en los que los instrumentos de viento suenan con fuerza dando un toque orquesta Glen Miller. En la que deberia ser la tercera entrada, que es la que más me gusta, John estaba haciendo el payaso en el escenario sin el saxo, pero lo bueno es que habia contagiado a Lee que estava tambien moviendose en su salsa. La cara de Rick a pesar de estar yo a 20 metros, como queriendo decir "y estos dos cuando piensan entrar?". En este momento, John reacciona y corre hacia el saxo. Lee que se da cuenta y le sigue para coger su trompeta. Hacen la entrada por separado y 5 segundos tarde! Si teneis la grabación, poneros en el minuto 4:33 y se oye claramente que donde deben sonar instrumentos de viento con fuerza se oye solo el piano de Rick. Al final de la canción John se presenta a si mismo y dice que después de 25 años tocando este tema, todavia no lo recuerda. Fué un momento divertido.
    Al inicio de la canción se proyecta la imagen del simio de la portada del "Brother.." que recorre la parte superior del telón de izquierda a derecha.
    Llega otro gran momento de la noche con "Poor boy" con Lee como protagonista. Suena excelente con respetando el sonido especial de los teclados de 1975. Al inico de la pieza se projecta sobre el telón "1975 POOR BOY".
    Sigue "From now on". Se abre de nuevo el telón y en la pantalla aparecen unas imágenes sugerentes semi psicodélicas con una chica en bikini moviéndose sensualmente. Curioso. El último "From now on" de Rick es largo largo y el público hace la mayor ovación hasta el momento.
    La novena pieza es "Give a little bit" con Jessie a la guitarra. El público de nuevo de pié desde las primeras notas. Creo que la interpretación de Jessie es fantástica. No entro para nada en la polémica de si debieran o no tocar canciones de Roger. Yo preferiria que no, pero Jessie canta realmente bien y en su estilo sin pretender para nada en ningún momento imitar a Roger. Creo que supera en mucho a Mark.
    Rick se queda solo para interpretar "Downstream" com imágenes de un lago en el atardecer.
    Sigue "Rudy" con la anécdota del tren que casi descarrila de la velocidad que llevaba. Pusieron el video demasiado pronto y cuando el tren llegó a la estación, a la banda aun le quedaba trabajo. En los segundos de pausa antes de acabar la canción, Rick dice "first show" y se carcajea.
    Ahora coge el relevo Gabe con "It´s raining again" y de nuevo el público de pié.
    Nueva anécdota con "Bloody well right". El final de la canción no es el que todos conocemos, es un final más largo con un solo de John. Diferente. Esto a mi me gusta. Siempre he pensado que John no toca jamás una pieza de la misma forma.
    Jessie vuelve de nuevo con "The logical song" y le sigue "Goodbye stranger" justo después de presentar John a Rick como el fundador de la banda hace 40 años, para acabar a las 21:10 después de una hora y 42 minutos.
    Vuelven a los tres minutos exactos con "School" interpretada por Jessie. Otra curiosidad para los entendidos, el famoso solo de piano lo hace Rick en los teclados mientras Lee (digo bien, Lee) está sentado al piano acompañando. Pero el solo lo hace Rick y no Lee.
    En esto momento la banda empieza con una intro rara que reconozo al cabo de unos segundos. Los coros van cantando aquello de "come on and dream and dream a long, come on and dream and dream a long … con acompañamiento diria que jazzie de la banda y de repente empieza a sonar el teclado típico de "Dreamer" con Gabe a la voz.
    Acaban con "Crime of the century" a las 21:31 después de dos horas y tres minutos de gran música y sonido.
    Para resumir diria :
    Escenario sencillo.
    Luces correctas.
    Sonido excelente.
    Voz de Rick excelente.
    Calidad de la banda extraordinaria.

    Cassie está en un total segundo plano de cara a la galeria pero creo que es clave para que los coros suenen con la calidad con que suenan. Pienso que es un acierto su incorporación. Creo que Rick ha querido lograr al máximo el falsete y el coro típico de Supertramp poniendo en una cocktelera a Cassie y a Gabe. Lee, Jessie y John tambien participan activamente en algunas partes del coro.
    Tengo la sensación de que Carl y Cliff estan en un segundo plano. Carl solo coge un cierto protagonismo en el solo de "Goodbye..". Creo que Bob está muy bien y John como siempre. Sus solos son excelentes y creo que siempre diferentes. Sigue igual de simpático. En un momento del concierto dijo que hoy habia tres cosas importantes que explicar, la primera era que se habia comprado unos zapatos nuevos que mostró levantando un pié. Las otras dos ya no las recuerdo porqué el público se partió de risa.
    El protagonismo de esta banda lo tienen Rick, John y Jessie. Creo que Jessie tiene un papel primordial en esta nueva composición y demuestra su calidad como músico.
    Hablo de protagonismo de cara al público. Cada uno de los miembros de esta banda es imprescindible para que la banda suene como suena. Si no estuviera Cassie no pasaria nada, pero el falsete seria como el de otras giras y los coros no sonarian como suenan. De hecho, hasta 1979 en los conciertos eran solo cinco músicos. Poner a cuatro más debe notarse y vaya si se nota.
    El setlist me parece adecuado teniendo en cuenta que ellos hablan de Greatest hits. Si quisieran dar más importancia a los 40 años de la banda, faltarian los grandes temazos de Rick desde "An awful.." hasta "Tenth Avenue.." pasando por "Cest what" o muchas otras. Creo que han dado lo que el público queria.
    Rick le da mucho protagonismo a las piezas de Roger, poniendo dos de tres bises. La sensación es que el público no da tanta importancia a que no esté Roger. De hecho, al acabar el concierto estuve hablando con unos alemanes que se hacian llamar fans de Supertramp y no sabian quien era Roger y supongo que tampoco conocerian a Rick. Les gusta la música de Supertramp y ya está.
    Yo no creo que el setlist cambien mucho, pero esto es hablar por hablar. Sí creo que van a incorporar a "Asylum" por la anotación a mano (la mano de Sue?la letra aseguraria que es femenina).
    Finalmente decir que son una gran banda de grandes músicos que interpretan canciones extraordinarias, por tanto, no hacen falta escenarios espectaculares ni efectos galácticos. Prefiero ver lo que he visto y sobre todo oir lo que he oído y para nada me ha decepcionado. Creo que somos afortunados de poder ver en directo 13 canciones de Rick más 18 o 20 de Roger en un mismo año. Esto suman más de 30! Con la formación clásica de los 70 difícilmente podria ser. Quedémonos con lo positivo.
    Un saludo a todos.
    Ramon Royes


    ]]> (MAC) Touring: Concert Reviews Fri, 03 Sep 2010 12:03:15 +0000
    Supertramp NEWS - Summary


    May 2020 - John Helliwell announces new album: "EVER OPEN DOOR". First single: " The ballad of the sad young man".  The songs are instrumental, and composed by John's friends, like Mark Hart. Includes a Rick song (Ever open door) and a Roger song (If everyone was listening) The band is formed by John (clarinet and tenor sax) a string quartet and a Hammond organ. Six members
    John Helliwell anuncia un nuevo disco: "EVER OPEN DOR". El primer single se llama "The ballad of the sad young  man".  Las canciones son instrumentales, y compuestas por amigos suyos, uno de ellos Mark Hart. Incluye un tema de Rick (Ever open door) y uno de Roger (If everyone was listening) La banda está compuesta por John (clarinete y saxo tenor) un cuarteto de cuerdas y un organo Hammond. Seis miembros.
    November 2019 - John Helliwell plays in a special gig EXCALIBUR IV on November 23, Ploemeur (Bretagne, France) and BING BANG event (Alan Simon) on November 3 in Nantes
    John Helliwell participa el 23 Noviembre en un evento especial EXCALIBUR IV en Ploemeur, Bretaña francesa. Y el 3 Noviembre en el evento special BING BANG de Alan Simon en Nantes
    August 2019 - John Helliwell plays in a special gig EXCALIBUR IV on August 15, Motocultor Festival (Bretagne, France)
    John Helliwell participa el 15 Agosto en un evento especial EXCALIBUR IV dentro del Motocultor Festival en la Bretaña francesa 
    Sept 2018 - Rick Davies. See this interesting interview
    Ver ésta interesante entrevista con Rick Davies (Ricky and the Rockets)
    May 2018 -  Rick Davies is doing a show in Amagansett, NY on Tue 8/28 at 8p at the Stephen Talkhouse. Tickets are $100 They are calling it Ricky and the Rockets with Mike Reilly and friends from Pure Prairie League
    Rick Davies reaparece tras su enfermedad por primera vez en concierto, en Amagansett, NY el martes 28 Agosto en The Stephen Talkhouse. Los tickets cuestan $100 Se hacen llamar Ricky and the Rockets con Mike Reilly y amigos de Pure Prairie League
    April 2018 - John Helliwell and Jesse Siebenberg in the Rock meets Classic 2018 Tour 
    John Helliwell y Jesse Siebenberg participan en la gira Rock meets Classic 2018  
    August 2017 - Russel Pope died on 15th of August. He was in charge of the Supertramp sound on tour from 1971 to 1983
    Russel Pope falleció el 15 Agosto. El estuvo a cargo del sonido de Supertramp en las giras desde 1971 hasta 1983
    February 2017 - John Helliwell in the Spanish TV. See the Interview
    John Helliwell en Television Española. Ver la entrevista
    December 2016 - Rick Davies is recovering from his illness. Good News!!!
    Rick Davies se está recuperadno satisfactoriamente de su enfermedad. Son muy buenas noticias !!! 
    October 2016 - John Helliwell records a song with the spanish group "Asfalto" and he will play a gig with them in Madrid on February 2017 
    John Helliwell ha grabado un tema con el grupo español "Asfalto" y tocará con la banda un concierto en Madrid en Febrero 2017 

    September 2016 - John Helliwell and Jesse Siebenberg in the Excalibur tour 2016.  
    John Helliwell y Jesse Siebenberg participan en la gira Excalibur 2016
    September 2015 - New BOOK about SUPERTRAMP, from Fabrice Bellengier. La bio ultime.
    Nuevo LIBRO sobre SUPERTRAMP, de Fabrice Bellengier. La bio ultime.
    August 2015 - August 4, SUPERTRAMP cancels upcoming European Tour because of Rick Davies' cancer 
    SUPERTRAMP cancela la gira debido a la grave enfermedad de Rick Davies
    February 2015 - SUPERTRAMP announces autumn 2015 EUROPEAN TOUR
     SUPERTRAMP anuncia su próxima Gira Europea para éste otoño 2015

    October 2014 - "Crime of the Century" DELUXE Edition will be released on December. Just a new remastered copy and the Hammersmith concert '75, well known by fans. No video, no surprises :o(
    La edicion DELUXE del "Crime of the Century" se publica en Diciembre. Solo incluye una nueva remasterización, y el concierto de Hammersmith del 75 viejo conocido de los fans. No se incluyen videos ni novedades :o(

    January 2014 - No News about more Supertramp tours, but we hope to see "Crime of the Century" DELUXE Edition this year. Stay tuned.
    No hay noticias sobre nas posibles giras de Supertramp, pero se espera que la edicion DELUXE del "Crime of the Century" vea la luz éste año. Permanecer atentos.
    December 2013 - Our new web site updated -  We've migrated to a new platform. All sections are active again after several months of hard work. Lots of info about Roger Hodgson and Supertramp: history, albums, tours, interviews, curiosities, photos, etc.
    Casi finalizada la migracion a la nueva plataforma para nuestra web. Todas las secciones vuelven a estar activas. Encontraréis cantidad de informacion sobre Roger Hodgson y Supertramp, Historia, discos, giras, rarezas, curiosidades, fotos, entrevistas, etc.
    September 2012 - Supertramp Paris Live 79 DVD and Blu-Ray: Interview with John Helliwell & Peter Henderson
    - Entrevista con John Helliwell y Peter Henderson sobre el DVD Live in Paris '79
    July 2012 - Supertramp Paris Live 79 DVD and Blu-Ray will be available in Amazon on August 27. 
     - Finalmente se lanza el tan esperado por los fans, Supertramp Paris Live 79, en DVD y Blu-Ray. De momento ya lo anuncia Amazon para el 27 Agosto.
    May 2012 - Abbey Road to Ziggy Stardust book launch, June 6, Ken Scott's official memoir . Read More
    - Se lanza el libro de memorias de Ken Scott, "Abbey Road to Ziggy Stardust" el 6 Junio. Ver mas
    March 2012 - The Legends Tour has been cancelled due to poor ticket sales.
    - La gira "The Legends Tour" ha sido cancelada pues la venta de tickets no ha cumplido las espectativas.
    February 2012 - John Helliwell and Bob & Jesse Siebenberg in "The Legends Tour" 2012. Read More
    - John Helliwell junto con Bob y Jesse Siebenberg en "The Legends Tour" 2012. Ver mas
    November 2011 - No News about "Crime of the Century" DELUXE Edition or Paris 1979 DVD 
    - Sigue sin haber noticias de la edicion DELUXE del "Crime of the Century" o del DVD de Paris 1979
    July 2011 - Supertramp tour 2011 ends in France. See this Review . No News about more gigs or tours
    - La gira de Supertramp 2011 finaliza en Francia. Ver una Cronica. No hay noticias sobre más conciertos o giras.  
    June 2011 - Supertramp tour 2011 kick off in Victoria. See this Review and Press Review
    March 2011 - Supertramp announces Spring and Summer 2011 TOUR DATES
    Supertramp anuncia la próxima gira 2011 para primavera y verano
    January 2011 - New section full of  interesting things about Supertramp:Did you know ?
     Nueva sección repleta de curiosidades acerca de Supertramp:¿ Sabías qué ? 

    January 2011 - John Helliwell in Excalibur III tour. Several shows in Germany, within Alan Simon's project. See more info, and also an interesting INTERVIEW, exclusive for Excalibur journal.

    November 2010 - Supertramp Tour 2010 ends in Paris, see the REVIEW. Maybe more gigs next year..... Another interesting John Helliwell INTERVIEW  Don't miss it !!!

    October 2010 - John Helliwell INTERVIEW

    September 2010 - New Breakfast in America DELUXE EDITION, Double CD, to be released on October 4, 2010.

    September 2010 - Supertramp Tour 2010 kick off in Hale, Germany  REVIEW / CRONICA

    August 2010 - Rick Davies INTERVIEW

    June 2010 - John Helliwell with Alan Parsons. A great special show in Paris  REVIEW / CRONICA

     May 2010 - Official STATEMENTS about Supertramp tour.

    April 2010 - Supertramp TOUR 2010 announced

    January 2010  - John Helliwell in Excalibur II tour. Several shows in Germany, with Alan Parsons and Alan Simon. REVIEW / CRONICA



     More News about / Más noticias sobre:


    Rick Davies

    John Helliwell

    Bob Siebenberg

    Jesse Siebenberg




    Rick Davies is doing a show in Amagansett, NY on Tue 8/28 at 8p at the Stephen Talkhouse. Tickets are $100! They are calling it Ricky and the Rockets with Mike Reilly and friends from Pure Prairie League

    ]]> (MAC) supertramp-LATEST-NEWS Thu, 02 Sep 2010 14:12:13 +0000
    JOHN HELLIWELL featuring Alan Parsons

    Paris, first of June 2010

    John Helliwell, guest star.


                                   Text and photos by Miguel Angel Candela

    en español a continuación

    ALAN PARSONS Live Project at the Olympia, Paris, 1st June 2010

    Alan Parsons was in Paris for a unique show at the Olympia... John Helliwell (Supertramp) was the special guest of the show and performed saxophone solos on three tracks.

    What a superb show for the Alan Parsons and Supertramp fans like me !!
    In case you knew my review about Excalibur show and tour in January, you already know that both artists were playing together on that tour, so it was easy to keep in touch for some collaborations, now and future.

    For all of you that already know the Alan's show (else, you can know the show thanks to the official DVD Alan Parsons in Madrid, on his own website there are three big changes on this tour 2010:

    1. Band line up has changed this year. Only the singer PJ Olson remains in the band. the rest of members are new.

    2. This year Alan has included the number "The turn of the friendly card" (the whole B side !!) to please many fans.
    By the way Alan said before the song, that it was recorded precisely in Paris, which caused great applause.
    Actually, was one of the best numbers, we enjoyed a lot. Thank you so much Alan for this nice surprise !

    3. For this show John Helliwell, member of Supertramp on saxophone, performing three numbres:
    "Don't answer me", "Old and Wise" and "Games people play".

    Alan is an active part of the show, playing the guitar, the electric guitar and Yamaha Motif keyboard. In addition to singing background vocals on all tracks, where he is lead vocals on several tracks like "Don't answer me", "Eye in the sky", "The turn of the friendly card", "Games people play", among others.
    And he came to the public on numerous occasions, feeling very comfortable and always giving love to the audience.
    Audience had a great time and sent back lots of love and care to Alan.

    Also performed a new song (find more info on his website) called "All our yesterdays".

    Alan is one of the biggest names in modern music history, having worked and produced countless bands, apart from his long discography. So it's an honor to enjoy one of his shows, where everything sounds great.

    But this site is about Supertramp and we have to focus on John too!
    The truth, just go on stage on "Don't answer me" and before start playing, the theater collapsed under a tremendous applause. People did not know anything about his performance in the show, so it was clear that his image is well known and loved in Paris.
    Perhaps most of people remember his "Bonsoir Paris" speach on the famous Paris album, Supertramp.

    The truth is that John's solo was wonderful, everyone stand up.
    Later came back to the stage in the encore to play the last two songs of the evening, "Old and Wise" and "Games people play." John's playing was great. Chills!!
    It's amazing how a song, that can be heard hundreds of times, improves thanks to the addition of a long saxophone jam, that makes the difference. Marvellous. Thank you so much dear John !

    John gives color to the songs, it's hard to explain, but all sounds wonderful and without mistakes, melodic and pleasant, with a fluency that only few can imitate.

    Curiously, the saxophone he used in the concert is current Laurent's saxophone, from "The Logical Tramps (Supertramp tribute band who lives in Paris.
    The saxophone, it's actually an old (and terrific) saxophone John sold to Laurent years ago, thanks to my contact in 2003 after an interview I did with John in Manchester. The circle was completed :o)

    At the end of the concert, the audience standing, Alan and John were merged into a hug to say goodbye to the audience, who had a great time.
    It was a great show! And John will be on stage with Supertramp soon ! Can't wait !



    John Helliwell and Alan Parsons together on stage !



    Olympia de Paris, 1 Junio 2010

    Alan Parsons Live Project en el Olympia de Paris, único concierto, con la inestimable colaboración de John Helliwell, saxofonista de Supertramp !

    Vaya un pedazo de show para los amantes de Alan y Supertramp como yo !!!
    Si habéis visto en esta web mi crónica sobre el show y gira Excalibur en Enero, ya sabréis que allí coincidieron ambos artistas, con lo que ha sido fácil mantener el contacto para esta y futuras posibles colaboraciones.

    Para los que ya conozcáis el show de Alan (y si no lo conocéis, podéis haceros una idea con en DVD oficial de Alan Parsons en Madrid, en su propia web han habido tres grandes novedades en este show:

    1. Este año ha cambiado la banda, solo queda el cantante PJ Olson. El resto de componentes es novedad.

    2. Este año Alan ha incluido el tema "The turn of the friendly card" (la cara B entera !!) para satisfacer a muchos fans. Por cierto Alan comentó antes de comenzar la canción, que el tema fué grabado precisamente en París, lo que provocó un gran aplauso del público.
    De hecho fué uno de los mejores temas de la noche. Muchas Gracias Alan por esta sorpresa !

    3. La presencia de John Helliwell de Supertramp al saxo, interpretando tres temas:
    "Don't answer me", "Old and Wise" y "Games people play".

    Alan es parte activa del show, interpretando la guitarra acústica, la eléctrica y su teclado Yamaha Motif a lo largo de todos los temas. Además de cantar coros en todos los temas, donde es voz principal en temas como Don't answer me, Eye in the sky, The turn of the friendly card, Games people play, entre otros.
    Y acercándose al público en numerosas ocasiones, con quien se encuentra muy a gusto y siempre dando cariño a la audiencia, cosa que sorprende por su gran tamaño y aspecto serio.
    El público se lo pasó en grande y le mostró su admiración y cariño a Alan continuamente durante todo el concierto.

    También interpretaron un tema inédito (encontraréis más info en su web) llamado "All our yesterdays".

    Alan es uno de los nombres más importantes en la historia de la música moderna, habiendo trabajado y producido a infinidad de bandas, aparte de su larga discografía. Así que es todo un honor disfrutar de uno de sus shows, donde todo suena impecable.

    Pero esta web es de Supertramp y nos tenemos que centrar en John también !!
    La verdad, y sin exagerar, solo salir al escenario en el tema "Don't answer me" y antes de empezar a tocar, el teatro se vino abajo del estruendo de aplausos. La gente no sabía nada sobre su actuación en el show, así que quedó claro que su imágen es muy conocida y querida en París.
    Quizás todos recuerdan su "Bonsoir Paris" del famoso album Paris de Supertramp.

    La verdad es que el solo de John fué tremendo, y nos puso a todos en pie.
    Más adelante volvió a salir ya en los bises para interpretar los dos últimos temas de la velada, "Old and Wise" y "Games people play". donde John se lució de lo lindo. Que pasada !!!!
    Es increíble como una canción que puedes haber escuchado cientos de veces, cambia tanto añadiendo una larga improvisación de saxo que te pone los pelos de punta. Una maravilla. Mil Gracias John !!

    John da un color a las canciones difícil de explicar, y todo suena maravilloso y sin estridencias, mas bien melódico y agradable, con una fluidez que pocos son capaces de imitar.

    Como curiosidad, el saxo que usó en el concierto es el de nuestro amigo Laurent, de "The Logical Tramps" (banda tributo de Supertramp que vive en Paris.
    Dicho saxofón, se trata en realidad de un viejo ( y buenísimo ) saxo que John le vendió a Laurent, gracias a mi contacto, en el año 2003 tras una entrevista que le hice a John en Manchester. Todo queda en casa :o)

    Al final del concierto, con el teatro entregado Alan y John se fundieron en un abrazo para despedirse de la audiencia, que lo pasó en grande.
    Fué un gran show !! Y en cuatro días tenemos a John por aquí con Supertramp !


    Alan Parsons on stage: Paris13

    Con mi amigo John y Mr. Alan:




    ]]> (MAC) John Helliwell Thu, 02 Sep 2010 13:57:17 +0000

    Cologne, January 18

    John Helliwell and Alan Simon on stage:


    Text and photos by Miguel Angel Candela

    en español a continuación

    EXCALIBUR show. the celtic Opera

    Big show with good music, important artists, orquesta, electric band, dancers, acrobats, medieval fights, horses, fire, fire works, explosions, huge video screen, sirs, monsters, ... a big Celtic Opera. More than 60 people on stage some times.

    All created by Alan Simon (composer, producer and co-director) who already created Excalibur I a decade ago (album in 1998, and tour in 1999-2000, with Roger Hodgson)

    Excalibur-II album was release February 2007 (see "news" in home page) and since year 2009 tour is on-going, despite Crisis times. A big sucess all nights.

    Main artists are Alan Parsons, John Helliwell (Supertramp), Johnny Logan, Les Holroyd (Barclay James Harvest) and Martin Barre (Jethro Tull)

    On backstage I was able to see the nice atmosphera, lots of people everywhere, (like a fancy dress party), and big organization.
    Show is really nice, I enjoyed a lot, lot of visual effects and good music, all synchronized.

    Alan Parsons performs couple new songs, and John Helliwell is the saxophone player during all show, performing some "solo" too.

    Interesting thing, show includes couple songs from last edition (last decade with Roger Hodgson) like "Celtic Dreams" and "The elements" (performed now by Johnny Logan instead of Roger Hodgson).

    Last part of thw show is spectacular, Alan Simon performs last number and then he say thanks to the audience, really touched, and he introduced to all artists one by one, they doesn't fit on stage !.

    I admire what Alan Simon managed, that's not easy. I mean lot of important artists, orchestra, dancers, acrobats, actors, all together like a big family as I was able to see on bakstage, really nice feelings around. Chapeau Monsieur Alan !

    I added my little speck of sand, when three years ago I managed contact between organization and Alan Parsons, who joined the project. This makes me happy, big pleasure. And, how to explain my feelings when I saw Alan Parsons and John Helliwell together on stage, Wonderful !!!.
    Now, my next dream, Alan Parsons and Roger Hodgson together. Who knows....

    Excalibur show, Please don't miss it !!!

    02/01/2010 - Bremen AWD Dome
    04/01/2010 - Mannheim SAP Arena
    07/01/2010 - Hamburg Colorline Arena
    08/01/2010 - Leipzig Arena
    09/01/2010 - Hannover TUI Arena
    13/01/2010 - Munich Olympiahalle
    16/01/2010 - Berlin Max-Schmeling-Halle
    18/01/2010 - Cologne Lanxess Arena
    19/01/2010 - Stuttgart Schleyerhalle
    21/01/2010 - Zurich Hallenstadion
    22/01/2010 - Oberhausen Arena
    23/01/2010 - Frankfurt Festhalle
    26/01/2010 - Nuremberg Arena Nürnberger Versicherung


    John Helliwell and Alan Parsons together on stage !


     Colonia,18 de Enero

    Fantástico mega-show con importantes artistas, orquesta, acróbatas, bailarinas, luchas medievales, caballeros y caballos, fuego, explosiones, enormes pantallas de video, zancudos, monstruos, y buena música. Más de 60 personas en el escenario en varias ocasiones, toda una Opera Celta como se definen a sí mismos.

    Todo ello obra de Alan Simon, que ya comenzó la andadura de Excalibur con el primer disco en 1998 (y gira posterior durante 1999-2000) y ahora vuelve con una segunda versión mucho más espectacular. El disco de Excalibur-II se publicó en Febrero 2007, y desde el año pasado, a pesar de la crisis, se están haciendo representaciones por varios paises con bastante exito de audiencia.

    Entre los artistas destacan Alan Parsons, John Helliwell (Supertramp), Johnny Logan, Les Holroyd (Barclay James Harvest) y Martin Barre (Jethro Tull)

    Entre bambalinas he podido ver el gran ambiente entre los artistas, muy buena atmósfera, gente disfrazada por todas partes como en una fiesta de disfracs y lo complicado del montaje. Que locura !
    El show es muy entretenido por la variedad de números y efectos visuales.
    Alan Parsons interpreta un par de canciones inéditas, y John Helliwell es el saxo de la banda durante todo el show, con algún que otro número solista para destacar.

    Como curiosidad, en el show se han incluido algunos temas de la edición de hace una decada (donde participaba Roger Hodgson) como "Celtic Dreams" y "The elements" (antes interpretado por Roger y ahora por Johnny Logan.

    Los minutos finales son apoteósicos, donde Alan Simon interpreta el último tema y visiblemente emocionado da las gracias al público y va presentando a todos los artistas uno por uno, que practicamente no caben en el mega-escenario.

    La verdad tiene un gran mérito lo que ha conseguido Alan, conseguir juntar todos estos artistas en un proyecto común, orquesta, acrobatas, actores, performers, etc,... y moverlos de ciudad en ciudad a diario con un gran espíritu de familia.
    Me quito el sombrero Alan !

    Yo personalmente aporté mi granito de arena al poner en contacto a la organización con Alan Parsons hace tres años y de esta manera se sumó al proyecto. Para mi todo un placer, y sobre todo ver juntos a Alan Parsons y John Helliwell en el escenario, que pasada !!!. Eso me hace muy feliz.
    Ahora solo me falta cumplir otro gran sueño, ver juntos a Alan Parsons y Roger Hodgson. Estoy en ello..

    Si teneis oportunidad de ver este show no os lo perdáis !!


    Alan Parsons on stage:



    Con mi amigo John y Mr. Alan:




    ]]> (MAC) John Helliwell Thu, 02 Sep 2010 13:48:30 +0000
    SUPERTRAMP para novatos

    ¡ Bienvenidos !

    Imagino que conoceis alguno de los éxitos de Supertramp que aún suenan en la radio (Dreamer, The Logical song o Give a little bit por citar algunos). Pero no teneis ni idea quién o qué hay detrás de todo ello. Felicidades, habeis encontrado el sitio adecuado !!!

    Supertramp ha sido uno de los grupos más famosos de la historia de la música moderna, con millones de discos vendidos, y megagiras en las que batieron records de asistencia, y entraron en todos los hogares en las decadas de los 70 y 80.
    Pero siempre se ha caracterizado por ser poco mediático, una banda sin rostro. Su interés se centraba en hacer buena música y mantener su privacidad. Es lo que querían y así ha sido.

    De hecho no fué un grupo de facilonas canciones pop o baladas al estilo Abba u otros, sino todo lo contrario, musica muy precisa y sofisticada, llena de matices y gran calidad y letras con contenido. De ahí lo raro de su tremendo éxito, en lugar de haber pasado solo como banda para minorías como otras. Desde luego un fenómeno curioso.

    Para entender qué hay detrás de todo ello, solo teneis que mirar la foto y el secreto quedará descubierto ....

     roger y rick
    Supertramp se basó principalmente en la unión de King Arthur (a la izquierda)
    y el mago Merlin (a la derecha) como se aprecia claramente en la foto.
    Aunque desde un punto de vista informático también se podrían describir como un procesador doble
    trabajando en paralelo gracias a un potente bus serial y a tres buenos periféricos :o)

    Ahora en serio....
    El de la izquierda, llamado Rick Davies, un genio del Rhythm and Blues con una peculiar voz nasal.
    A la derecha, Roger Hodgson, un genio multi-instrumentista con una prodigiosa voz, a la vez cálida y aguda, que es capaz de convertir en mágica cualquier melodía.
    Ambos fueron los pilares de Supertramp.

    A ellos les acompañaba una potente y sólida base rítmica (Bob a la batería y Dougie al bajo) y un
    extraordinario y extrovertido saxofonista aficionado al jazz, y maestro de ceremonias en los conciertos de Supertramp, llamado John Helliwell.

    Esa formación de 5 miembros es la que les llevó al éxito desde 1973 hasta la marcha de Roger en 1983, la década gloriosa .....
    Se habían formado en Londres, pero desde la grabación del album Crisis en 1975 se trasladaron y establecieron a Los Angeles, donde están los estudios de A&M. Roger se compró una casa de estilo español, aunque más tarde se trasladó a las montañas del norte de California. Rick y los demás en la zona de Los Angeles. ( John en Topanga Canyon por ejemplo)

    Roger está en la onda de la meditación, vida sana y comida vegetariana, y vive desde mediados de los 70 en una cabaña sin grandes comodidades, lo justo, en las montañas de Sierra Nevada (California), su base de operaciones.

    Rick tras varios años en Los Angeles se trasladó a Long Island en New York, donde el paso de las estaciones le recuerda más su tierra natal... disfrutando de la vida junto con su mujer y seguro que disfrutando de buenas veladas "bluseando" con sus amigos.

    John vivió muchos años en Topanga pero hace pocos años se volvió a Manchester, su tierra (me dice que por las pintas de cerveza, ente risas...) donde continuó sus estudios de saxo y montó una banda de jazz.

    Bob se trasladó años después de LA a una granja también en Sierra Nevada (California) pero viaja bastante, le encanta hacer escapadas para surfear en Mexico.

    Dougie se trasladó a Chicago, en donde lleva una productora importante (entre otros artistas tiene a Moby)

    Era pues una banda británica formada en Londres, con un batería californiano.
    En la actualidad, décadas después, y por paradojas de la vida tras la marcha de Roger y Dougie, y con Rick (Roger también) nacionalizado americano, se podría decir que ahora es una banda americana con un saxofonista inglés ....


    Sus canciones casi siempre se basan en sonidos de piano de cola (Take the long way home, Babaji, Ain't nobody but me o Breakfast in America por poner un ejemplo) o de piano eléctrico Wurlitzer (el que suena en Dreamer, Logical song, Goodbye stranger, Oh Darling por ejemplo) interpretados tanto por Rick como por Roger en sus respectivas composiciones (ambos excelentes teclistas) así como bastantes temas compuestos por Roger a la guitarra acústica de 12 cuerdas (Sister Moonshine, Give a little bit, Even in the Quietest moments por ejemplo).

    Todo esto acompañado por el peculiar estilo de Roger a la guitarra eléctrica y del también peculiar estilo de John al saxofon, con la potente y concisa y nada recargada batería de Bob, siempre protagonista también.

    Todas las canciones están compuesta exclusivamente por Roger y Rick, y cada uno canta sus propias canciones, con lo que es fácil saber de quién es cada tema, aunque siempre han firmado Davies/Hodgson siguiendo el estilo de Lennon/McCartney de los Beatles o Waters/Gilmour en Pink Floyd (bandas que tienen ciertas semejanzas con Supertramp), para evitar suspicacias o problemas y dar una imágen de equipo y discreción.
    Esto más tarde le creó un problema a Roger a la hora de separarse, pues el grupo siguió tocando algunas de sus canciones a pesar de un acuerdo verbal entre Rick y Roger, en el que Rick se quedaba con el nombre de la banda, pero Roger con sus canciones, para tener ambos cierta seguridad en sus respectivos futuros profesionales.

    Los estilos musicales de Rick y Roger son bastante distintos, pero complementarios, y gracias a ellos se creó la magia de sus canciones. Musicalmente el estilo de Rick (influenciado en el jazz) es más blusero y rítmico, a veces con aire Soul y Godspell, más oscuro y potente, mientras que el estilo de Roger (influenciado por Beatles, Steve Winwood, etc) es más melódico y pop, también rítmico, pero con aires místicos en ocasiones y potente en otras. Con aires folk en ciertos temas de guitarra.

    Pero grandes genios ambos dos, sin ninguna duda. Cualquier experto en piano y guitarra os podrá hablar de las extraordinarias melodías y armonías, nada triviales.
    El resultado es difícil de etiquetar pero se considera pop/rock progresivo, o "sofisto-rock" como lo llegó a describir John Helliwell.

    En cuanto a las letras, las de Rick son más bien irónicas o criticas cínicas sobre la sociedad y las de Roger más bien trascendentales, introspectivas, siempre buscando respuestas sobre el sentido de nuestra existencia y comportamiento ....

    El tercer disco del grupo, Crime of the Century, que fué el primero con esta formación y el primer disco que les llevó a la fama, gracias al tema "Dreamer" que Roger compuso con 17 años, bastante antes de entrar en Supertramp, lo que demuestra la tremenda influencia de Roger en el éxito de la banda.
    Este album fué en realidad la última vez en la que Rick y Roger colaboraron en la composición.

    Han comentado en entrevistas su mutua colaboración en la composición sobre todo en los temas School y Crime of the Century, tanto en las melodias como en las letras.
    Pero a partir de ahí solo colaboraron en ciertas aportaciones sueltas cada uno sobre temas del otro ya acabados, como por ejemplo las frases "come on dreamer, come along" de Rick en el tema Dreamer, la frase "what you got? Not a lot" de Rick en Logical song, o las segundas voces de Roger o solos de guitarra eléctrica de Roger en temas de Rick.

    Las canciones de Roger, algunas de ellas compuestas años antes de entrar en Supertramp, cosa que le gusta remarcar (los éxitos Dreamer, Breakfast in America y Logical song por ejemplo) son las que llevaron a Supertramp a los primeros puestos de las listas, por su caracter más pop y comercial, siempre sin dejar la faceta espiritual o trascendental (salvo excepciones como Breakfast in America) , más fáciles de emitirse por las radios y sin duda porque tienen la especial característica de Roger de conectar con la gente de todo tipo, tanto en la música como en la letra.

    Pero por otra parte hay canciones de Roger menos comerciales pero más intimistas que ponen la piel de gallina a la mayoría de la gente, por su especial maestría en hacer crecer una simple melodía en pocos minutos hasta convertirse en algo grandioso,
    una epopeya musical, propio de los grandes clásicos. Melodías que empiezan casi sin darte cuenta, acaban creciendo hasta alcanzar un climax grandioso que te hace tener un "subidón" en tu ánimo cuando las escuchas.

    Roger Hodgson cursó estudios básicos de música, y aunque excelente pianista, se considera a si mismo más como guitarrista acústico básicamente. Es el instrumento que le da más libertad, se lo puede llevar a todas partes y componer en cualquier momento de inspiración, en un hotel, en la playa, en la montaña, etc. Para eso el piano tiene más limitaciones (por ejemplo es un problema que tenía Rick durante las largas giras)

    Además siempre utiliza guitarra de 12 cuerdas, que tiene un sonido mucho más especial y lleno que la normal de 6 cuerdas.
    Roger comenta que el sonido es como más oriental y exótico y si pones atención verás que es así. Sobre todo en los arpegios, que suenan mágicos y solo el sonido de la guitarra lo llena todo. (en la 12 cuerdas, cada vez que golpeas una cuerda, en realidad golpeas 2 a la vez, una fina y otra grave, que dan una sonoridad especial que no tiene la 6 cuerdas)
    Pero también es más difícil tocarla, exige más precisión. De ahí lo de tocar con pua.

    Roger es muy perfeccionista en lo relacionado con sus canciones, y le gusta que todo suene tal como el lo tiene en mente desde la composición, cada cosa en su sitio, el bajo de tal manera y los golpes de batería de tal otra, de forma muy precisa y sin cambiar nada. Por eso siempre componía en solitario y grababa una demo completa de la canción con bajo y percusión incluido, que luego mostraba al grupo para que lo interpretara al pie de la letra. Solo se añadían pequeñas aportaciones de los demás como las ya comentadas y quizás el único que tenía algo más de libertad en su parte era John, en los huecos que Roger le dejaba, aunque siempre siguiendo las indicaciones de Roger.

    Dicho esto, y aunque no colaboraban en la composición, aún así es evidente que el estilo de John al saxo/clarinete y el estilo de Bob a la batería le añaden cierto aire personal que enriquece el resultado. Bob seguía al pie de la letra la composición de Roger, pero los redobles de mano izquierda del jazz y ciertos "tics" en los golpes y transiciones que se repiten en muchas canciones son marca de Bob. Un sonido muy sólido y preciso.
    La prueba es que si escuchas viejas grabaciones de las BBC series de antes de 1973, donde no estaba Bob, se nota otro mundo en las canciones, la percusión se nota más simple y atolondrada, sin gancho.

    Definitivamente la percusión de Bob aporta bastante al sonido final, junto con el especial cuidado de Ken Scott al grabar los sonidos de batería, muy trabajados, y se puede decir que es uno de los puntos fuertes en los discos de la década gloriosa, y a mi personalmente fué una de las cosas que más me llamó la atención cuando descubrí a Supertramp a mediados de los 70, y luego he podido comprobar que a otra gente le ocurrió lo mismo.
    (mi experiencia personal es que gasté mi primer salario en un equipo hi-fi con grandes altavoces de 3 vías para escuchar a todo volúmen la batería en Hide in your shell, Dreamer, Asylum, Crime of the Century, y sentir en mis pulmones los increibles climax finales de los temas de Roger,...... el sonido espectacular de bajo sintetizado final en "Lady" hacía temblar las paredes, para molestia de mi familia y vecinos .... ¿ lo habéis escuchado a todo volúmen ?)

    Con respecto a Rick, no es tan quisquilloso en la composición, y una vez compuesta la canción, da más libertad al resto para incorporar sus partes. (aunque es bien sabido que se inició en la música como batería y seguro que también daría buenas indicaciones al respecto)
    Pero el es más un músico de blues o jazz al que le gusta tocar en compañía de buenos compañeros tomando una cerveza, sin buscar un objetivo concreto más que pasar un buen rato, ya me entendeis.

    John representa el lado práctico de la vida.
    Le encanta tocar y disfrutar esta pasión con la gente. Una persona sencilla que disfruta de cosas sencillas como tocar jazz con buenos músicos, dar paseos en bici o tomar una cerveza en el pub.
    Ama su profesión, se tomó muy en serio su carrera de saxofonista y tiene un talento fuera de duda en su interpretación.
    Muchos de sus solos como en "If everyone was listening" o "Lord is it mine" te ponen la piel de gallina aunque los escuches 100 veces. Hoy día a los 60 años sigue disfrutando con ello. Toca aún mejor que antes, con más matices y experiencia.
    Le gusta la gente, la buena comida, y entiende bien tanto a Rick como a Roger, pues tiene ciertas caracteristicas de ambos: por un lado tiene los pies bien asentados en el suelo, y por otro lado valora mucho la amistad y las personas, y le gusta hacer
    feliz a la gente, aunque sin llegar a la trascendentalidad de Roger y destaca sin duda por su diplomacia.....  se podrían escribir libros sobre ello ....
    Lo que ha tenido que "capear" este hombre, sobre todo con las incisivas preguntas de la prensa :o)

    Dougie fué un buen elemento para el grupo en cuanto aportó estabilidad. Era como el pegamento que mantenía personalidades tan diferentes unidas. Buen amigo de Roger, ayudaba en la Producción e incluso en el management, y sabía cómo intermediar en los conflictos por su buen caracter escocés.
    De hecho, años después de la marcha de Roger, fué el único en criticar el hecho de interpretar temas de Roger, y eso le distanció de Rick, que ya no contó con él para el siguiente disco "Somethings never change".


    Siempre se han caracterizado por llevar sus discos tal cual al directo, sin improvisaciones, y sonando lo mejor posible.
    Quizás algo frío comparado con otras bandas del momento, pero con un sonido potente en todo caso.
    John ha comentado en alguna entrevista que su objetivo era que en sus conciertos sonaran sus discos como en un gran equipo estéreo, mejor que escucharlos en casa.

    Rick y Roger se mantenían en un segundo plano y el que se dirigía al público era siempre John, también por su caracter extrovertido y en parte porque Rick y Roger estaban más ocupados con todo el peso de las canciones.
    Con Crime of the Century comenzaron a desplegar una puesta en escena más dramática y espectacular, que fué mejorando y aumentando con los años. Llevaban una pantalla gigante de cine tras ellos para proyectar algunos videos a juego con la música como el alucinante viaje en tren en Rudy o el firmamento estrellado en Crime of the Century.
    Introdujeron ciertos toque irónicos, como la sombrilla y amaca de la portada del Crisis en un lado del escenario, donde se tomaba una copa alguien del equipo.... o estrambóticos coros de gente disfrazada en los coros finales de "Hide in your shell" u otros temas.

    Eso junto con su música tan particular les dió popularidad en las giras y llenaron estadios. Compraron su propio equipo de luces y sonido, lo mejor de la época, para no depender de nadie, con el que recorrieron el mundo.
    Pero tampoco llegaban ni de lejos a la espectacularidad y teatralidad de Pink Floyd por ejemplo, que en 1979 ya viajaban con su mega-espectaculo "The Wall", bastante más teatral.
    De hecho Supertramp tampoco buscaba eso.


    Los dos primeros discos con las formaciones anteriores, aunque eran buenos trabajos, no atrajeron demasiada atención mas que en circulos universitarios y gente entendida del mundillo.
    En algunos temas se adivina algo de lo que vendrá después (la voz y guitara de Roger, el sonido Wurlitzer y Hammond, el estilo de Rick, etc)
    Crime of the century es una obra maestra en muchos aspectos, y les catapultó a la fama. Curiosamente no incluye ningún tema a la guitarra de Roger. De hecho, las canciones escogidas para al album no eran las que consideraban las mejores entre las que tenían preparadas, sino las que mejor se complementaban y encajaban en la idea que tenían para el album, desde tiempo atrás.

    El siguiente disco, Crisis, ya incluye temas de guitarra, y fué grabado con un poco de prisas y presiones de la discográfica ante el éxito inesperado del disco anterior. No lo pudieron trabajar tanto como les hubiera gustado, pero el resultado es excepcional y en la línea del Crime, tan potente y sólido, pero algo más marchoso.
    Para muchos, me incluyo, Crisis recoge lo mejor de la banda.

    A medida que pasaban los años, el propio éxito de las canciones de Roger y el interés de Roger por el perfeccionismo en las grabaciones y en la Producción, provocaron que los temas y la influencia de Roger tuvieran cada vez más peso en los albumes, y eso ya se nota en el siguiente disco (Even in the quietest moments).
    De hecho a Rick le aburría tremendamente trabajar en la mesa de mezclas, y dejaba que Roger y el ingeniero hicieran de las suyas. En el fondo lo agradecía, pues el resultado valía la pena.
    Roger impuso en cierto modo un cambiar de registro en este album, grabado en un estudio en las montañas Rocosas, (¿ a quién del grupo le gusta vivir en la montaña ? ) buscando no tanto la perfección del sonido como la calidez e intimismo de las canciones.
    Cuatro canciones de Roger por tres de Rick. En este album Roger introduce ya elementos de su influencia yoga: "Even in the Quietest moments" está grabada en tono "Om" un tono mantra muy profundo y relajante que se usa en la meditación, que ayuda a conectar cuerpo y mente. O el tema Babaji, un personaje divino sacado del libro "Autobiografía de un Yogui" que Roger acababa de leer, un libro muy extendido en ambientes Yoga.

    En el siguiente álbum, Beakfast, de nuevo el peso de Roger vuelve a ganar, supongo que para frustración de Rick que acabó cediendo en estas decisiones, y se impone su visión de hacer un disco más pop y ligero tras tres albumes más serios. También porque ellos estaban madurando y los tiempos estaban cambiando.
    y la jugada les salió bien a nivel comercial, aunque para los fans enganchados a los discos anteriores (yo me incluyo) supuso una pequeña decepción, esperando una nueva epopeya musical, algo grandioso.
    El punto positivo de eso, entre otros, es que sirvió para que mucha otra gente en el mundo descubriera las obras maestras anteriores de Supertramp.

    Como se ve, Roger es muy inquieto y no para de pensar en cambios, evolucionar. De hecho Los Beatles y otros grupos lo hicieron. Sino, te estancas. Tras el Breakfast, los puntos de vista musicales de Rick y Roger se distanciaban mucho y parecía imposible que encajaran por más tiempo. Aún así encontraron la forma de trabajar en un último proyecto (de ahí el nombre "Famous last words") aunque con muchas concesiones y limitaciones, y guardándose cada uno buenas canciones para posteriores proyectos en solitario. Las grabaciones fueron complicadas, entre los studios de Los Angeles y el estudio de Roger en el norte de California, a gran distancia. A Roger no le gustaba bajar a Los Angeles y a Rick no le gustaba subir a la montaña.

    El resultado es un disco no demasiado equilibrado, en el que volvieron en cierto modo al sonido más dramático e intimista que les había llevado a la fama. Obras conmovedoras como "Know who you are" o "Waiting so long", salpicadas también con alegres toques pop como "Crazy" o "It's raining again" o un R&B intrascendente como "Put your old brown shoes" con cierto aire Godspell, o una balada "retro" como "My kind of lady". Por cierto, cuando pruebas a tocar "Know who you are" te das cuenta que son puros acordes de bossa-nova !!! sólo un genio como Roger puede hacer que eso no se note en absoluto .... Increible.

    Un buen disco en general, que les sirvió para hacer una última gira, a la vez despedida de Roger.
    Pero que salió al mercado en una época en donde la música estaba cambiando a pasos agigantados, la música pop-disco había evolucionado al "New age" de grupos jovenes con buena estetica y electrónica (Duran Duran, Spandau Ballet, Thompson Twins, etc..) y nuevos estilos como Police, U2, y por tanto los dinosaurios de los 70 ya empezaban a no encajar y dejaron de estar de moda rápidamente a mediados de los 80.




    Como en todas las bandas, prácticamente sin excepciones, las relaciones entre los miembros a medida que pasan los años nunca son del todo fáciles. No fueron malas, pero tampoco es que tuvieran mucho en común entre ellos, con aficiones e ideales muy diferentes.
    Las personalidades de Rick y Roger son totalmente opuestas por ejemplo.
    Roger era algo tímido en público en aquella época, pero bromista y extrovertido en privado, casi más que John. Mientras que Rick es más introvertido y distante. Disfruta mucho con la música y tocando en grupo, pero no es fácil relacionarse con el.
    Lo raro no es que se separaran, lo raro realmente es que estuvieron 14 años juntos !!! pero con la juventud ya se sabe, nada es imposible !!

    Luego, a medida que te haces mayor, tienes dinero, familia, proyectos personales, presiones de la discográfica, todo se hace más complicado....
    Cada uno se fué comprando su casa en diferentes puntos, montandose su vida tras muchos años de lucha en el mundo de la música, y eso crea distancias, aunque eso no quiere decir que las relaciones fueran malas.
    John, Bob y Dougie son personas muy afables que nunca dieron problemas.
    Más allá de la tipicas discusiones a la hora de preparar discos o giras, no hubo ningún problema destacable entre ellos.



    Se puede deducir de lo explicado anteriormente que es algo que tenía que pasar tarde o temprano, en una banda con dos compositores.
    Todo en esta vida llega a su fin. Con intereses musicales diferentes, con formas de vida diferentes (uno en la ciudad y otro en el campo), con familia, diferentes ideales, etc, es dificil mantener eso por mucho tiempo. (ya lo dice Rick en el video "The story so far": cuando dos pintores intentan pintar sobre el mismo cuadro, llega un momento en el que uno quiere poner el rojo y otro el azul en el mismo sitio ....")

    Y ha pasado con los Beatles, los Pink Floyd y la mayoría de las bandas de la historia.
    Solo algunas raras excepciones como los Stones ( básicamente porque es una banda basada en un lider y por tanto no hay discusión posible) rompen esta norma universal. Pero es ley de vida.

    Si leeis alguna entrevista de la gira del Breakfast en 1979, ya tienen muy claro que va a ser su última gira, pues están agotados de ese ritmo de vida desde jovencitos. (el círculo album y gira sin final) Roger por ejemplo pasó de la escuela a Supertramp con 19 años, sin transición, y eso no te permite una vida normal, disfrutar de las cosas normales de la vida, tener una familia, pues cada día cuando te levantas no sabes dónde estás y acabas viviendo en una burbuja.
    Por tanto necesitaban un cambio.
    Pero a pesar de ello hubo un nuevo disco y gira dos años después, en parte pienso que para despedirse de los fans como banda y hacer promoción de cara a sus próximos proyectos, estár en la mente de la gente, cuestión de marketing (mi opinión) pues no hay que olvidar que la música es su fuente de ingresos.

    Por tanto no tiene sentido buscar respuestas sobre la separación o buscar culpables. Eso no lleva a ninguna parte. Es parte del ciclo de la vida, todo es cambio y negarlo es rechazar la evidencia.
    Es la suma de todos estos factores, muy meditado por parte de Roger y consensuado con la banda, que preferían seguir en la misma línea.
    Roger se planteó la posibilidad de compaginar trabajos en solitario con la banda, pero le veía más inconvenientes que ventajas, pues no se veía haciendo el mismo tipo de cosas con la banda, sería como engañarse a si mismo, en eso era honesto.

    Durante la gira 83 el mismo Roger se dedicó a despedirse cada noche de los fans, agradeciendo su apoyo durante años, y explicando que los cambios son buenos en la vida y que este cambio iba a suponer buenas cosas para ambas partes en el futuro.

    De hecho era la primera gira en la que Roger se dirigía a la audiencia cada noche, que siempre había dejado ese papel a John, más extrovertido en público.
    Y el calor del público le dió confianza en su proyecto en solitario.

    De hecho tenía acabado el nuevo disco y preparada la promoción antes de comenzar la gira de Supertramp de 1983, lo que le hizo ir con prisas para llegar a tiempo. Ese disco se llamaba "Sleeping with the enemy", pero por razones que solo Roger podría explicar, decidió aparcar el proyecto hasta después de la gira de Supertramp, y finalmente tras la gira decidió cambiar el proyecto, cambiando algunas canciones (para hacerlo menos intimista y más potente y alegre) y llamándole "In the eye of the storm", deshaciendo todo lo programado.

    El disco se promocionó con dos temas bastante pop y quizás continuistas con la línea del Breakfast (los temas "Had a dream" y "In jeopardy") y en general el album no reflejaba un verdadero cambio en el estilo sea por la razón que fuera. Buenas canciones, los fans lo disfrutamos como un tesoro, pero sin excesiva sorpresa.
    También la imágen con la que Roger se presentó al mundo era de artista pop (se afeitó la barba y se cortó el pelo y vestía ropa de rockero de colores vivos) abandonado la imágen de místico con el pelo largo y vestuario hippie siempre blanco en Supertramp. Era un cambio difícil de asimilar...

    El siguiente album "Hai Hai" era aún más pop y menos intimista. Roger explicó que tenía que atender a las presiones discográficas, y que no pudo hacer el disco que deseaba, pero por lo que sea nos quedamos sin saber qué tipo de cambio estaba buscando cuando dejó Supertramp, pues a partir de ahí, debido el terrible accidente doméstico en que se rompió las muñecas justo en el lanzamiento del album, se retiró de la música por una década, dedicando sus esfuerzos a su familia y su realización personal, un poco harto quizás de todas las presiones, de tener que complacer siempre a todo el mundo y no poder seguir a su corazón, mi opinión, por su caracter afable y fácilmente influenciable.
    Realmente un tipo encantador, todo corazón.

    Por su parte el resto de la banda, bajo el nombre Supertramp (Nombre en poder de Rick y su mujer, "Rick Davies Productions"), también lanzó dos albumes coincidiendo con los de Roger.
    El primero "Brother were you bound", mantenía la líneas de los temas de Rick en Supertramp, que gustó bastante en general, pero sin el éxito de antaño.
    Rythm and blues de calidad, con un buen sonido y una buena transición de canciones, fácil de escuchar. Solamente el largo tema de la segunda cara, que da nombre al album, se hace un poco largo , con un trozo en medio dificil de digerir, y un mensaje catastrofista y ya desfasado, y una pequeña colaboración a la guitarra de David Gilmour (Pink Floyd) desaprovechada, pues podía haber sido firmada por cualquier otro guitarrista, nada especial.
    Todas las críticas a ese disco entre los fans son buenas, excepto la importante falta de Roger, claro... pero el material estaba bien. Solo la primera canción, "Cannonball", se apartaba del estilo tradicional de la banda, buscando un sonido más "disco" siguiendo la moda del momento. No fué un mal intento y funcionó bastante bien. Destacaría que tanto John como Bob pueden lucirse en muchos temas y eso hace que el sonido te sea familiar y guste.

    En cambio el segundo album "Free as a bird", es bastante flojo, frío, con poco carisma. Temas con aires disco, pop e incluso latino y alguna balada antigua que Rick recuperó de sus archivos. El mismo Rick no quedó contento con el resultado ( ver el video oficial "The story so far").
    En este album el trabajo de John y Bob pasa casi desapercibido, salvo en algún tema. Y se incorporaban temas con la voz de Mark Hart (ex-Crowded-House) que interpretó algunas canciones de Roger en la gira correspondiente.(1988)

    A partir de ahí, una década de silencio tanto por parte de Roger como por parte de Supertramp, que en 1997 volvieron a publicar discos. 


    Roger Hodgson en Gran Canaria. Octubre 2007. Foto: Miguel Angel



    A día de hoy (Septiembre 2010) Roger sigue en activo haciendo giras por todo el mundo (ver sección ALL TOURS  de Roger Hodgson) tanto en conciertos en solitario acompañado de un saxofonista, o conciertos acompañado incluso de otros músicos y de grandes orquestas sinfónicas (los más espectaculares) interpretando sus temas que compuso para Supertramp y después de Supertramp. Se puede decir que ciertos temas de Roger, interpretados por una orquesta sinfónica, como "The fool's overture", alcanzan así su verdadero sentido y esplendor.
    Todo esto con gran éxito de público y crítica, gracias a conservar una buena voz, una gran maestría en la interpretación y una gran carisma con el público, con el que conecta fácilmente, cumpliendo sus sueños de juventud de tocar para gente que realmente quiere disfrutar el show y repartir un sencillo mensaje de paz y amor a través de la música.

    Supertramp dió su última gira en 2002. Esa gira y la anteriores, se han basado pricipalmente en el material de la década gloriosa, que es lo que los fans esperan escuchar, con apenas algunas pocas canciones de los nuevos discos, e incluso algunos blues standar de otros artistas.
    Desde entonces no se había vuelto a tener noticias. Cada uno de los miembros estába ocupado con sus respectivos proyectos personales.

    Ahora en Septiembre 2010 arrancan una nueva gira, de nuevo sin ponerse de acuerdo con Roger, que lo sigue intentando. De momento no hay noticias de nuevo album, solo re-ediciones especiales de antiguos discos con algunas rarezas de conciertos.

    Sobre una posible reunificación de Roger con sus excompañeros de Supertramp no hay buenas noticias de momento para los que esperen eso (aunque no hay que olvidar que Roger ha tenido colaboraciones en diversas giras o conciertos por parte de John Helliwell, Bob Siebenberg, e incluso Dougie, pero nunca todos juntos. Y que Rick y Roger colaboraron por un corto periodo a principio de los 90, pero no fructificó)

    Durante una época Roger no fué partidario de una reunificación, que no aceptaba las condiciones de Rick, y ahora la pelota está en el tejado de Rick, que no acepta las condiciones de Roger que ahora si se muestra favorable.
    El caso es que no hay acuerdo y parece que a estas alturas no lo habrá (con Rick de gira a los 65 años) .... aunque cosas más raras se han visto....

    ¿ Acaso no trabajó Sean Connery en "Nunca digas nunca jamás" en 1983, doce años después de haber dejado de hacer de James Bond en "Diamonds are forever" en 1971 ?

    Miguel Angel Candela

    Para saber más, leer las ENTREVISTAS a SUPERTRAMP


    1974 Supertramp1974

    1977 Supertramp1977

    1983 Supertramp83photo

    1986 Supertramp1986

    ]]> (MAC) Biography Mon, 30 Aug 2010 14:12:50 +0000
    SUPERTRAMP for beginners

                                                                                                Versión en ESPAÑOL

    Welcome !                                                              

    I guess you know some of the Supertramp hits, still being played on the radios around the world, Dreamer, The Logical song or Give a little bit to mention a few, but you have no idea about who, or what, is and was behind all this. Congratulations, you've found the right place !!!

    Supertramp is one of the most famous bands in the history of modern music, with millions album sold, several endless tours around the world in which they beat attendance records, and their music penetrated every home through the 70s and the 80s.
    However, Supertramp was a band without a face. Their aim was to make good music and to keep their privacy, more than becoming pop-stars. This is what they wanted and they got what they wanted.
    In fact Supertramp was not a band producing light and catchy pop songs or ballads like Abba or other groups, but on the contrary, it was very precise and sophisticated music, full of nuances and good quality, with deep messages in the lyrics. Hence, it's hard to understand their tremendous success, instead of being just a band for minorities. Of course, a curious phenomenon.

    In order to understand what is behind all this, just take a look at the picture and the secret will be shown.... 

    roger y rick
    Supertramp was based mainly on the union of King Arthur (left)
    and the wizard Merlin (right) as the photo proves.
    Although from a computational point of view, it could also be described as a dual processor system,
    parallel working thanks to a powerful serial bus and three good peripherals: o)


    Now seriously ....
    On the left, Rick Davies, a rhythm and blues genius with a distinctive nasal voice.
    On the right, Roger Hodgson, a genius, a multi-instrumentalist musician with a prodigious voice, warm and sharp at the same time, able to sing high notes, who is able to convert any simple melody into a magical thing.

    They were accompanied by a powerful and solid rhythmic base (Bob on drums and Dougie on bass ) and an extraordinary and extroverted saxophone player, fan of jazz, and master of ceremonies in the Supertramp shows, called John Helliwell.

    This 5 member line-up is the one that took them to the big successes from 1973 until the departure of Roger in 1983, the glorious decade .....
    The band was born in London, but they moved to Los Angeles in 1975 for the recording of the album "Crisis, what crisis?", in the A&M studios. L.A. became their base of operations for the following years. Roger got a Spanish-style house, but he moved to the mountains in north California years later. Rick and the others were based in the Los Angeles area. (John was in Topanga Canyon for example).

    Roger is into meditation, vegetarian food and a healthy lifestyle, and has lived in the mountains of the Sierra Nevada (California) since the mid-70’s in a little house without many luxuries, just the basic needs. His base of operations.

    Rick, after several years in Los Angeles, moved to Long Island in New York, where the passing of the seasons reminds him of his homeland ... enjoying life with his wife and, for sure, enjoying good evenings jamming with friends.

    John stayed many years in Topanga, but he came back to his homeland -Manchester- a few years ago, (due to the pints -good beer- he told me just joking ...) where he continued saxophone studies and formed a jazz band, his passion.

    Bob moved to a farm in the Sierra Nevada (California), but he's travels a lot, he loves surfing and is used to escaping to Mexico.

    Dougie moved to Chicago, he's an important manager for artists (Moby and other artists)

    Supertramp was a British band formed in London, with a Californian drummer.
    Now,a few decades later, the paradoxes of life, after the departure of Roger and Dougie, and Rick (Roger too) nationalized Americans, one could say Supertramp is an American band with an English saxophone player ....


    Their songs are almost always based on grand piano sound ,"Take the long way Home", "Babaji", "Ain't nobody but me" or "Breakfast in America" for instance, or electric piano Wurlitzer ( “Dreamer”, Logical Song”, “Goodbye Stranger”, “Oh Darling “for example ) as interpreted by both Rick and Roger in their respective compositions (both excellent keyboard players), as well as quite a few themes composed by Roger to the acoustic 12-string guitar: "Sister Moonshine", "Give a little bit",
    "Even in the Quietest moments" for example.
    All this accompanied by the peculiar style of Roger to the electric guitar and also the peculiar style of John on the saxophone, together with the powerful, concise and not overloaded percussion, by Bob, also a protagonist.

    All the songs are composed exclusively by Roger and Rick, and each one sings their own songs, so it's easy to know the "owner" of each song, although they always signed Davies/Hodgson imitating the style of Lennon/McCartney in the Beatles or Waters/Gilmour in Pink Floyd (both bands have certain similarities with Supertramp), in order to avoid suspicions or problems and to give an image of a "team" and discretion.

    This decision was a problem later for Roger by the time of the split, as the group continued playing some of Roger's songs despite the verbal agreement between Rick and Roger, in which Rick retained the name of the band, but Roger kept their own songs, in order to asure their professional future careers.

    The musical styles of Rick and Roger are quite different, but complementary, and this rare balance contributed to the magic of their songs. Musically, Rick's style (jazz influenced ) is more rhythm and blues, sometimes soul and godspell , darker and powerful. On the othe hand, Roger's style (influenced by the Beatles, Steve Winwood, Traffic, etc) is more melodic and pop, good rhythm too, but sounding mystical sometimes and powerful too. There is even a little folk flavour on some guitar numbers.
    Both composers are great geniuses, without a doubt,any piano and guitar expert will tell you about the extraordinary melodies and harmonies, not trivial at all.
    The result is difficult to label, but it's considered progressive pop/rock, or "sophisto-rock" as John Helliwell liked to say.
    As for the lyrics, Rick's are basically ironic and cynical criticism of our society, and Roger's are more introspective, always looking for answers about the meaning of our existence and behavior ....

    The third album, Crime of the Century, actually was the first album by this line-up, and it took them to the top, thanks to the song "Dreamer", composed by Roger when he was 17, years before Supertramp. This is an evidence about the huge influence of Roger in the Supertramp's big succes.
    This album was actually the last time that Rick and Roger collaborated in the composition.

    They explained in some interviews their mutual collaboration in the composition, like the songs "School" and "Crime of the Century", in both aspects, music and lyrics.
    Since then, they only collaborated with certain single contributions on the other's songs, once finished, such as Rick's sentence "Come on dreamer, come along" in "Dreamer", or Rick's "What you got? Not a lot" in "Logical song", or the backing vocals by Roger or the electric guitar solos by Roger in many of Rick's songs.

    The songs composed by Roger, some of them composed years before he joined Supertramp, (the hits Dreamer, Breakfast in America and Logical song for example) took Supertramp to the top of the hit parades, because of their pop aspect, but without leaving the spiritual or transcendental dimension (with some exceptions such as "Breakfast in America"). Roger's hits are more suitable for radio broadcast and they have that special feature of Roger’s, of touching all kinds of people, music and lyrics.

    On the other hand there are also Roger's songs, less commercial but more intimate, that chill most people. Roger is a supermaster in the art of developing a simple melody until it becomes something grandiose in few minutes, an epic musical, like what the big classics used to do. Melodies that start innocently, increasing to a grand climax that make you get high when listening.

    Roger Hodgson studied in a music school, and although he's an excellent pianist, he considers himself an acoustic guitar player basically. This is the instrument that gives you more freedom, you can carry it around and compose at any moment of inspiration, in a hotel, on the beach, in the mountains, etc... For this reason, the piano has more limitations (for example this was a problem for Rick during the endless tours)

    Roger always plays the 12-string guitar, which has a better sound, compared to the regular 6 strings. Roger says that the sound is more far-eastern and exotic and if you pay attention, you will realize that. Especially in the arpeggios, that magical sound when only the sound of the guitar fills the room. (On the 12 strings, each time you hit a string, you actually hit two strings at the same time, a thin and another bass, which gives a special sonority, impossible for a 6 strings guitar), but playing is more demanding, it needs more precision, and Roger always use a pick.

    Roger is a perfectionist for everything related to his own songs, and he wants everything to sound like the sound he has in his head for the composition. Everything in it’s place, the bass line and the percussion bits have to be exactly to his design, very precise and without changing anything. So he always writes solo, and used to record a full demo of the song including the bass line and percussion, which he then showed to the group to be performed literally. Just adding small contributions from the others as already described before, and perhaps the only one who had some more freedom was John, in the gaps that Roger left him, but always following the directions of Roger.

    Having said that, though they didn't contributed in the composition process, it's obvious that that the style and skill of John on saxophone/clarinet and of Bob on drums adds to the final result. Bob follows Roger's directions, but his left-hand roll of drums (from the jazz influence) and certain patterns in the fill-in you can hear in many songs, are Bob's.
    Typically Bob's sound is very solid and accurate.
    The evidence that proves this, are the BBC series recordings, before 1973. Bob was not there, and you can realize that the same songs sounds very different, another world, the percussion is simpler, not special.

    Definitely Bob's percussion improves the final sound a lot, along with the special care of Ken Scott in the recording of the drum sounds, a very hard job and very well done. It could be stated that this is one of the good points in the albums of the glorious decade, and in my case, it was one of the things that caught my attention when I discovered Supertramp in the mid-70, and now I know that other people had the same feelings as well.
    My personal experience, I spent my first salary on a stereo hi-fi with big speakers 3-way in order to listen to the drums in "Hide in your shell", "Dreamer", "Asylum", and "Crime of the Century", etc and to feel in my lungs the incredible end-climax in several of Roger's songs,...... the spectacular synthetized-bass sound at the end of "Lady" made the walls shake, to the annoyance of my family and neighbors .... Did you listen to it that loud ? )

    Rick is not as fussy in the composition, and having composed the song, he gives more freedom to the rest of the parts. Although it's well known that he was a good drummer in the early years, so he was able to give the best tips and advice about the drums parts.
    However he's more a blues/jazz musician who loves playing together with good musicians drinking a beer, having a good time, just for fun, without any mysticism or the goal of fame in mind, you know what I mean.

    John represents the practical side of life.
    He loves playing and enjoys sharing this passion with people. A simple man who enjoys simple things like playing jazz together with good musicians, going for a bike ride, a bicycle ride or having a beer in the pub.
    He loves his profession, he took his career very seriously and his talent and skill were proved.
    Many of his solos, for instance "If everyone was listening" or "Lord is it mine" are chilling, even after listening a hundred times. Today, he's around 60 years old and continues to enjoy his work. He plays better than ever, with more "colours" and experience. He likes people, good food, and he understands both Rick and Roger pretty well, he has some characteristics from both, in some ways he has his feet firmly on the ground, and on the other hand he loves people and appreciates good friendship, and likes to make people happy, but he doesn’t reach Roger's spirituality. His best point is diplomacy ..... He could write several books about it ....
    What has he had to mediate on, this nice man over the years, mainly during the interviews :o)

    Dougie was a good element for the group as he provided stability. He was like the glue that held such different personalities together. Roger's good friend, he supported the production tasks and even the management tasks, and he knew how to mediate in the conflicts thanks to his nice Scottish character.
    In fact, years after the departure of Roger, he was the only one who criticized the fact that they performed Roger's songs, and this distanced Rick who didn’t count on him for the next album
    "Somethings never change."


    The main feature was transporting their albums to the live shows with no changes, no jamming, and trying always to get the best sound quality. Maybe a little bit cold compared with other bands of the moment, but powerful shows nevertheless.
    John has commented on some interviews that their goal was to manage the albums so they sounded live, like a big stereo hi-fi, better than listening at home.

    Rick and Roger remained in the background letting John be the speaker and master of ceremonies, also because of his extrovert character and partly because Rick and Roger were busier with the full weight of the songs.
    By the time of "Crime of the Century", they began to deploy a bigger scenario, better lights and a more spectacular stage, which was improving and growing over the years. They carried a giant movie screen, installed behind them for projecting some videos synchronized with the music, like the amazing train ride in "Rudy" or the dark sky full of stars and galaxies in "Crime of the Century".

    They introduced a certain ironic touch, like the umbrella and hamaca (from the cover of the Crisis album) on one side of the stage, where some crew had a drink during the show .... Funny choirs or people disguised in the final choruses of "Hide in your shell" or other songs.
    All that, along with their peculiar music gave them fame and popularity on the tours and large audiences in big stadiums. They brought their own lights and sound equipment, the best at that time, in order to avoid being dependent, and toured the world.

    But their show was never as spectacular as Pink Floyd for example, more in the theatre and visual side, Pink Floyd had already performed their mega-show "The Wall" in 1979.
    In fact, Supertramp was not looking for that show concept either.


    The first two albums with the previous line-up, although they were good, did not attract much attention except in schools and University circles.
    In some numbers you can guess some of the sounds and features that will come later ( Roger's voice and guitar, the Wurlitzer and Hammond sound, Rick's style, etc.)

    The Crime of the century album is a masterpiece in many ways, and catapulted them to fame. Curiously it does not include any acoustic guitar song from Roger. In fact, the songs chosen for the album, which were not considered the best they had ready, but the most suitable in the running order, following the idea they already had in mind some time earlier for this project.

    The next album, Crisis, includes guitar songs, and was recorded a little bit in a hurry under pressure from the record company due to the unexpected success of the previous album. They weren’t able to work on the album as much as they would have liked, but the result is excellent. A similar quality compared to Crime, as powerful, strong and intimate, but something more rock.
    For many people, me too, Crisis gather the best from the band.

    As the years passed, the real success of Roger's songs and his interest in perfectionism in the recordings and production, meant that his songs and influence had more weight in the albums, and that's already noticeable in the next album (Even in the quietest moments).

    Actually, Rick gets terribly bored working on the mixing desk, and so he left Roger and the engineer to do the job. And he felt grateful because the final result was worthwhile.

    Roger inspired or persisted in some way, a change of concept for this album, recorded in a studio in the Rocky Mountains,(who in the band loves living in the mountains ? ) The goal this time was not the perfect sound, but the warmth and intimacy of songs.
    Four of Roger's songs and three of Rick's. In this album Roger introduces elements from his yoga/meditation influence: "Even in the Quietest moments" is on "Om tune" -mantra, used in meditation- very relaxing, which helps to connect your mind and physical body. And "Babaji", a divine figure from the book "Autobiography of a Yogi" that Roger had just finished reading, a book well-known in the yoga environment.

    In the next album, ”Beakfast”, the weight of Roger won again. It's easy to guess Rick's frustration after yielding to all the decisions. Roger inspired or persisted again his point of view about making an album more pop and light after three "serious" albums. Also, due to the fact that the guys were maturing and the times were changing.

    And the bet was good again, at least in the commercial and business side, but for the fans hooked on the previous albums (me too)it was a little disappointing, we were hoping for a new musical epic, something great.
    The positive point was, among others, it served to introduce Supertramp to the rest of the world, and many people discovered the previous masterpieces as a result.

    As you can see, Roger is very restless and always thinking about changes, evolution. In fact, The Beatles and other groups did it. If not, you would stagnate. After Breakfast, Rick's and Roger's musical viewpoints became more distant and it seemed impossible to fit any longer. Even so, they found the way to work on a final project (hence the name "Famous last words") but with many concessions and limitations, and each one keeping the good songs for future solo projects. The recording sessions were difficult, some times in L.A., some times in Roger's studio in north California, far away. Roger didn't like to go down to L.A. and Rick didn't like go up to the mountain.

    The result is a not too balanced album, where they returned, in some way, to the old dramatic sound that took them to fame. There are some wonderful numbers like "Know who you are" or "Waiting so long", splashed with light catchy-pop songs like "Crazy" or "It's raining again" and a light R&B like "Put your old brown shoes" with a certain Godspell taste, and a ballad "retro" like "My kind of lady."
    By the way, when you try to play the song "Know who you are" you realize the chords are pure bossa-nova !!! only a genius like Roger can do that .... That's incredible.

    A good album anyway, which served as a last tour and Roger's farewell at the same time.
    But this album was released, unfortunately, in a changing time for music: new groups, new styles, new technology. The market at that time was changing quickly, pop and disco music had evolved into the "New Age" groups, young people with a new look and electronic help (Duran Duran, Spandau Ballet, Thompson Twins, etc. ..) and new styles such as Police, U2, etc, hence the big dinosaurs of the 70s started to be non-fashionable quickly in the mid-80s.




    Like in all bands, almost without exception, the relationships between members over the years, are never too easy. They were not bad, but they didn't have much in common (different hobbies, goals, etc) .
    Rick and Roger are totally different for instance.
    Roger was pretty shy on stage at that time, but a joker and extroverted privately, almost more than John. While Rick is a more introverted and distant person. He really enjoys playing music in a band a lot, but it's not easy to get on with him.

    So, the split was not an unusual thing. Actually, the unusual thing was the fact that they were 14 years together !! But during our youth, we know, nothing is impossible !!
    Then, as you get older, you get money, family, personal projects, pressure from the record company, etc, everything becomes more complicated ....

    Every member of the band got a house in a different place, their own lives, after many years of struggle in the music world, and all that creates distance, but it does not mean that the relationships were bad.
    John, Bob and Dougie are very affable people who never caused problems.
    Apart from the routine discussions during the preparations for the albums and tours, there was no remarkable problem between them.

    THE SPLIT IN 1983

    From what you've read until now, it can be inferred that the split had to happen sooner or later, in a band with two composers.
    Everything in this life has an ending. And, with different musical goals, with different ways of life (one in the city, one in the country), with family, different ideals, etc., it's very difficult to manage it for long time. (Rick explain this very clear in the video "The story so far": when two painters try to work on the same picture, there are problems when one wants to put the blue and the other one wants to put the red colour in the same place....")

    This situation happened with the Beatles, Pink Floyd and most of the bands.
    There are only a few rare exceptions such as the Stones to break this universal rule, because it was, and is basically a band based on a leader and therefore, there are no fights. But it's just the law of life.

    If you read some interviews from the Breakfast-tour in 1979, Roger and Rick explained very clearly that the endless tours were killing them and they decided that the Breakfast-tour would be their last tour. They were exhausted with this way of life, since their youth, recording albums and touring again and again. Roger for instance, went from school to Supertramp when he was 19 years old, without transition, and that does not allow for a normal life, enjoying the normal things in life, having a family, because it's like living in a bubble.
    Therefore they needed a change.

    But despite this, there was a new album and a tour two years later, in some way, I think, to say goodbye to the fans as a band and also to promote their future projects, to stay in the minds of people, just marketing (my opinion), since it must not be forgotten that music is their source of income.

    Therefore it makes no sense to look for magic answers about the split or looking for someone to blame. That take you nowhere.
    It's part of the cycle of life, everything is changing and to deny that is just to reject the evidence.
    It was the sum of all these factors, a very meditated decision by Roger and agreed with the band, who preferred to keep working in the same direction.
    Roger raised the possibility of working in solo projects as well for the band, but he saw more disadvantages than advantages, he didn't want to do the same sort of things with the band, it would be deluding himself, he was honest.

    During the 1983 tour Roger was devoted to saying goodbye every night to the fans, thanking them for their support over the years, and explaining that changes are good in life and this change would mean good things for both parts in the future. In fact it was the first tour in which Roger was speaking to the audience every night. He always left that role to John, the more extroverted on stage.
    And the warm feedback from the public gave him confidence for his solo adventure.

    In fact the new album was finished and the promotion ready, just before starting the Supertramp tour in 1983, which made him work in a hurry to do it on time. This album was called "Sleeping with the enemy", but for some reasons that only Roger could explain, he decided to shelve the project until the end of the Supertramp tour. And finally after the tour, he decided to change the project, changing some songs (in order to make it less intimate and more powerful and joyful) and the new name was "In the eye of the storm," undoing everything already scheduled.

    The album was promoted with two pop songs, continuing the same style as the Breakfast album (songs "Had a dream" and "In jeopardy") and, the album did not reflect a real change , for some reason. Good songs, the fans treasured them, but without big surprises really.
    Also Roger's image to the world during the promotion was of such a pop star (he shaved his beard and cut his hair and wore colourful rocker clothes) leaving the image of a mystic with long hair and white hippie clothes in Supertramp. It was a big change, hard to assimilate ...

    The next album "Hai Hai" was even more pop and less intimate. Roger explained that he had to yield to the market pressures, and he was not able to do the album he would have liked, but whatever the reasons were, we can not know the kind of change he was seeking when he left Supertramp, because after that, due to the terrible accident he suffered at home, both wrists broken, the album promotion was cancelled, and he left his music career for a decade. He spent the following years focusing his efforts on his family, bringing up the kids, and on personal self-realization. Perhaps, just my opinion, a little bit tired of all the pressures from the market, having to always please everybody and not being able to follow his heart, because of his affable nature and being easily influenced. A really nice man, big heart.

    On the other hand, the rest of the band kept going under the name "Supertramp". (this name is the property of Rick and his wife, "Rick Davies Productions") They released two albums coinciding with Roger's.
    The first album "Brother were you bound," just Rick's style obviously, good feedback from the market, but not a big success like in the glorious decade.
    Rhythm and blues quality, with a good sound and a nice listening. Only the long track on the second side, which gives the name to the album, is a bit long, with a part in the middle difficult to digest, and a negative and out-dated message in the lyrics. It includes a small contribution from David Gilmour (Pink Floyd) on electric guitar, wasted, because it could have been signed by any other guitarist, not special at all.

    All the feedback from the fans about this album are good, except the important absence of Roger, of course ...
    But the material was fine. Only the first song, "Cannonball", didn't follow the traditional style of the band, looking for a "disco" sound, according to the tendency of the moment. It was not too bad a try, and it worked well. I'd like to point out that both John and Bob were able to shine in their playing and that makes the sound familiar.

    On the other hand, the second album "Free as a bird", was pretty weak, cold, with no charisma, some tracks disco and pop and even latin styles, some old ballad Rick recovered from his archives (the tittle track for instance). The same Rick was not too happy with the result (see the official video "The story so far").
    In this album the work of John and Bob passes almost unnoticed, except in some little parts. And a new voice, Mark Hart (ex-Crowded House), which also performed some of Roger's songs on the tour. (year 1988)

    From then, a decade of silence by both Roger and Supertramp. They returned in 1997 with new albums.


    Roger Hodgson in Gran Canaria. October 2007. Foto by Miguel Angel



    Today (September 2010) Roger is still touring around the world (see the section Roger Hodgson's ALL TOURS) Some solo (acoustic) concerts together with a saxophone-player, and even concerts with large symphony orchestras (the most spectacular) playing the songs he wrote for Supertramp, before Supertramp and after Supertramp.
    It could be said that certain songs of Roger's performed by a symphony orchestra, like "The fool's overture," reach their true meaning and glory.
    All this with great audience and media success, thanks to his great voice and playing, and a great charisma with the public. Roger connects easily to the audiences, he's a loved man, and now he's doing what he has wanted to do for ages, just make the people happy, giving and receiving a little bit of love, and spreading a simple message of peace and love through the music.

    Supertramp did their last tour in 2002. That tour and the previous ones have been mostly based on the material of the glorious decade, which is what fans expect to hear, and only a few songs from the new albums, and even some classic blues from other artists.
    Since then, we had no news. Each member was busy with their own personal projects.

    But now, September 2010, Supertramp is on tour again, without Roger, who keeps trying a reunion. No news about a new album at the moment, just re-editions deluxe (remastered) including some rare live shows.

    About a possible Supertramp reunion with Roger, there is no good news at the moment for those who are waiting for that (though you must know that Roger has had several contributions from John Helliwell, Bob Siebenberg and even Dougie, in some tours and shows over the years, but never all together. And Rick and Roger were working together for a short period at the beginning of the 90's, but that finally didn't work out)

    For several years Roger was not in favour of reunification, he didn't accept Rick's conditions, and now the ball is in Rick’s court, who doesn't accept Roger's conditions. (Roger is in favour of reunification now)
    The fact is that there's no agreement and it seems that at this point there won’t be with Rick soon, 65 years old.
    Although, stranger things have been known ....
    Didn’t Sean Connery do "Never say never again" in 1983, twelve years after giving up the role of Bond in "Diamonds are forever" year 1971 ??

    Miguel Angel Candela

    To know more, please read the SUPERTRAMP Interviews 


    1974 Supertramp1974

    1977 Supertramp1977

    1983 Supertramp83photo

    1986 Supertramp1986

    ]]> (MAC) Biography Mon, 30 Aug 2010 14:00:19 +0000
    RICK DAVIES in MorgenMagazin, August 2010

    - english version follows the german one-

    Morning Magazine
    19th August 2010

    Zur Person
    Rick Davies

    Der Sänger und Keyboarder wurde am 22. Juli 1944 im englischen Swindon geboren und lebt heute als US-Bürger auf Long Island (USA).
    Rick Davies ist die dunklere Stimme von Supertramp, die er 1969 mit Frontmann Roger Hodgson gründete. Ihr erstes Album erschien 1970, vier Jahre später kam der große Durchbruch mit "Crime Of The Century" und Hits wie "Dreamer" und "Bloody Well Right".
    Bis zum Ausstieg Hodgsons 1983 avancierten Supertramp zu einer der erfolgreichsten Rockbands. Danach ebbte das Interesse ab, die Band löste sich 1988 auf. 1997 formierte Davies das Projekt neu, das letzte Studioalbum erschien 2002.

     "15 Monate ging es hin und her"
    ROCK: Interview mit Rick Davies über 40 Jahre Supertramp, Konflikte mit Ex-Sänger Roger Hodgson und neue Platten
    Von Marcel Anders

    Auch anlässlich des 40. Bandjubiläums müssen sich die Fans von Supertramp ihre Lieblingsband quasi zusammensetzen: Während die Hauptgruppe um Keyboarder Rick Davies am 23. September in der SAP Arena mit ihren größten Hits auftritt, war der frühere Frontmann Roger Hodgson vor kurzem solo im Weinheimer Schlosspark zu sehen. Wir sprachen mit Davies über die aktuelle Besetzung und den Dauerzwist mit dem Ex-Partner.

    Herr Davies, was ist das für ein Gefühl, mit 66 Jahren erneut auf Tour zu gehen?

    Rick Davies: Nun, ich muss sagen, dass diese Vorstellung Angst einflößend, aber natürlich auch sehr verlockend ist. Ich habe keine Ahnung, was passiert, aber ich und der Rest der Band haben hart trainiert, um das abzuliefern, was man von uns erwartet.

    Das heißt?

    Davies: Wir haben vor, die komplette Geschichte der Band auf die Bühne zu bringen. Was bedeutet, dass wir viele von unseren Hits spielen und eine Produktion auffahren, wie man sie von uns gewohnt ist. Mit vielen Filmen und aufwendigem Licht.

    Wer ist 2010 überhaupt in der Band?

    Davies: Natürlich haben wir immer noch John Helliwell, unseren Saxofonisten, dabei. Aber auch Bob Siebenberg, der Schlagzeug spielt - und seinen Sohn Jesse, der so etwas wie der Historiker der Band ist. Er kennt jeden einzelnen Takt und jede Note, die je auf einem Supertramp-Album veröffentlicht oder bei einem Konzert gespielt wurde. Was unglaublich ist. Und wir haben Publikumsliebling Lee Thornburg am Start, der Trompete und Tuba beisteuert und zudem noch singt. Genau wie seine Frau, Cassie, die ebenfalls eine wunderbare Sängerin ist.

    Gibt es Neuzugänge?

    Davies: Zum Beispiel Gabe Dixon, der aus Nashville kommt und ein umwerfender Musiker ist. Er singt, spielt Keyboards und bildet eine tolle Ergänzung zur aktuellen Besetzung. Dann sind da noch Carl Verheyen, der ja viel mit seiner eigenen Band durch Deutschland tourt, und Cliff Hugo am Bass. Was ich bisher sagen kann, ist, dass es wunderbar harmoniert.


    Und warum ist Ihr Ex-Partner Roger Hodgson nicht dabei?

    Davies: Ich glaube, es ist mittlerweile 27 Jahre her, dass er die Band verlassen hat. Und damals hat niemand verstanden, warum er das getan hat. Er meinte, er wolle sein eigenes Ding machen, sich selbst finden und mit anderen Leuten spielen. Und so sehr wir uns auch bemüht haben, wir konnten ihn nicht daran hindern, zu gehen. Dabei war die ursprüngliche Idee dieser Tour, es noch einmal gemeinsam zu probieren - also er, ich und die anderen. Denn wer weiß, vielleicht ist es das letzte Mal, dass es dazu kommt. Womit ich nicht sage, dass es so ist oder eben nicht. Aber wir haben lange darüber geredet und verhandelt. Ich glaube, es ging 15 Monate hin und her, bis wir den Punkt erreichten, da wir eine Entscheidung treffen und die Termine bekanntgeben mussten. Leider, und aus Gründen, die uns nie mitgeteilt wurden, hat sich Roger dagegen entschieden, an der Tour teilzunehmen.

    Obwohl er in jedem Interview erklärt, genau das wäre nicht der Fall, und man habe ihn schlichtweg davon ausgeschlossen?

    Davies: Was soll ich dazu sagen? Ich kann nur meine Sicht der Dinge schildern.

    Gibt es eine Vereinbarung, die besagt, dass sie keine der Stücke spielen dürfen, die er für Supertramp geschrieben hat? Und wenn ja, warum halten Sie sich nicht daran?

    Davies: Da müssen wir zurückgehen bis ins Jahr 1983 - und Tatsache ist, dass es ungefähr 600 Seiten an Dokumenten und Verträgen gibt, die genau das regeln. Was mich betrifft, halte ich mich an meinen Teil der Abmachung: Ich spiele die Musik von Supertramp. Und damit meine ich alles, was wir damals zusammen veröffentlicht und auf die Bühne gebracht haben - das ist für mich Supertramp-Musik.

    Also haben sie keine Angst vor einem Rechtsstreit?

    Davies: Nicht wirklich.

    Welche Alben sind demnach Teil der Jubiläumstour - wie weit gehen sie historisch zurück?

    Davies: Bis zu "Crime Of The Century", wo sich ja erstmals die wahre Stärke dieser Band gezeigt hat. Damit fangen wir an und arbeiten uns anschließend durch alle Alben, die danach kamen - also die bekanntesten Stücke, aber auch einige unserer persönlichen Favoriten.

    Warum liegt der Schwerpunkt der Tour auf Deutschland - mit mehr Shows als in jedem anderen Land? Ist das hier ihre Hochburg?

    Davies: Oh ja! Gerade unsere letzte Tour, die ja schon ein Weilchen zurückliegt, lief besonders gut in Deutschland. Vorher waren unsere größten Märkte eigentlich immer Frankreich und Spanien, aber aus irgendeinem Grund hat sich das mit der letzten Tour in Richtung Deutschland verschoben. Und ich muss sagen: Ich fühle mich hier wirklich sehr wohl. Ich mag diese Mentalität, von wegen: "Wenn es um 9 Uhr losgehen soll, dann geht es auch um 9 Uhr los". Und es ist sehr angenehm, hier zu touren, weil alles glatt läuft und das Publikum sehr enthusiastisch ist.

    Welche Erinnerungen haben sie sonst an Deutschland? Was sind die besten Momente, die sie hier erlebt haben?

    Davies: Da müssen wir weit zurückgehen - bis zu den Tagen, da wir in einem kleinen Club in München, dem "PN", gespielt haben. Das war ganz am Anfang unserer Karriere. Also quasi so etwas wie unser "Star Club".

    Supertramp haben ihr letztes Album 2002 veröffentlicht. Warum haben sie danach nichts Eigenes gemacht, sprich, sich als Solist versucht?

    Davies: Gute Frage. Wahrscheinlich, weil mir das gar nicht in den Sinn gekommen ist. Ich meine, ich liebe den Blues. Und ich schätze, dass ich irgendwann etwas in der Richtung machen werde. Schließlich habe ich eine Menge Arrangements und auch fertige Bluesstücke auf Halde.

    Und in den letzten acht Jahren, was haben Sie da gemacht - waren sie praktisch im Vorruhestand?

    Davies: Nein, ich habe sogar mehr geübt als je zuvor. Denn ich bin immer noch von der Musik fasziniert, und ich trete auch ab und zu mit ein paar lokalen Musikern auf - einfach zum Spaß und mehr in dieser Blues-Manier, die ich gerade erwähnt habe. Wobei ich immer das Ziel verfolge, noch besser zu werden und mich immer weiter zu steigern.

    19. August 2010


    (Software translator and brief checking)

    Rick Davies

    The singer and keyboard player was on 22 July 1944 born in Swindon and now lives as U.S. citizens on Long Iceland (USA). Rick Davies is the dark voice of Supertramp, which he founded in 1969 with frontman Roger Hodgson. Their first album was released in 1970, four years later the big breakthrough came with "Crime Of The Century" and hits like "Dreamer" and "Bloody Well Right." Until the Hodgson's leaving in 1983, Supertramp became one of the most successful rock bands. Then the audience's interest died down, the band broke up in 1988. Davies and the band were working in 1997 in a new project, and the last studio album was released in 2002.


    "it went back and forth for 15 months"
    ROCK: Interview with Rick Davies of Supertramp 40 years, conflicts with ex-singer Roger Hodgson and new things
    Marcel Anders

    Also on the 40th anniversary must be the fans of Supertramp assemble their favorite band quasi: while the main group on at keyboardist Rick Davies 23rd September in the SAP Arena with their biggest hits was occurring, the former frontman Roger Hodgson recently in solo Weinheimer park to see. We spoke with Davies about the current occupation and the duration of the dispute with ex-partner.


    Mr Davies, how does it feel to go again on tour at 66 years of age?

    Rick Davies: Well, I must say that this idea scary, but of course is also very tempting. I have no idea what will happen, but I and the rest of the band have been training hard to deliver on what is expected of us.


    The name of Tour?

    Davies: We plan to bring the entire history of the band on stage. Which means that we will play a lot of our hits under a big production, as we are used to do. With many films and lavish lights.


    Who is in the band on this tour?

    Davies: Obviously we still have John Helliwell, our saxophonist, with us. But also Bob Siebenberg, who plays the drums - and his son Jesse, who is a kind of band historian. He knows every single beat and every note that was ever published on a Supertramp album or played at a concert. What it's incredible. And we have crowd favorite Lee Thornburg on trumpet and tuba and also sings. Just like his wife, Cassie, who is also a wonderful singer.


    Are there any new additions?

    Davies: For example, Gabe Dixon, who comes from Nashville and a stunning musician. He sings, plays keyboards and is a great addition to the current line-up. Still Carl Verheyen, who was touring a lot with his own band through Germany, and Cliff Hugo on bass. What I can say now is that it blends beautifully.


    And why is your ex-partner Roger Hodgson not taking part in the tour?

    Davies: I think it's been 27 years now since he's left the band. Back then no one understood why he did that. He said, he wanted to do his own thing, find himself and play with other people. And no matter how hard we tried, we couldn't keep him from leaving. But the idea behind this tour was to try it together once again - that is him, myself and the others. Because, who knows, maybe this will be the last time it can happen. I'm not saying that it is the case or not. But we have talked it over and have been negotiating for a long time. I think it went back and forth for 15 months until we reached the point where we had to make a decision and announce the dates. Unfortunately and for reasons we were never told, Roger decided he won't join the tour.


    Eventhough he keeps explaining in each single interview that just this would not be the case and he was simply excluded from the tour?

    Davies: What can I say? I can only tell you about my point of view.


    Is there an agreement which says that you are not allowed to play any of the pieces that he wrote for Supertramp? And if so, why don't you stick to it?

    Davies: Well, we'll have to go back to 1983 - and fact is, there are about 600 pages of documents and contracts which regulate exactly that topic. As for me, I am sticking to my part of the agreement: I am playing the music of Supertramp. And by that I mean everything which we jointly published and brought to the stage back then - that for me is Supertramp-music.


    So, you don't fear a lawsuit?

    Davies: Not really.


    What albums are thus part of the anniversary tour - how far will you go back historically?

    Davies: Up to "Crime of the Century", when it was the first time the band has shown the true strength. Thus we start and then work our way through all the albums that came after that - ie the most famous pieces, but also some of our personal favorites.


    Why is the focus of the tour to Germany - with more shows than any other country? Is this your stronghold?

    Davies: Oh yes! Especially our last tour, which already lags for a while, things ran particularly well in Germany. Before that, our biggest markets were actually always France and Spain, but for some reason, the last tour moved to Germany. And I must say: I feel really well. I like this mentality, because of: "if it's supposed to start at 9 o'clock, it will actually start at 9 o'clock.'. And it is very pleasant to tour here because everything is running smoothly and the audience is very enthusiastic.


    What other memories do you have from Germany? What are the best moments you have experienced here?

    Davies: we must go back far- to the days when we played in a small club in Munich, the "PN". It was at the very beginning of our career. So quasi something like our "Star Club".


    Supertramp released their last album in 2002. Why didn't you made anything from your own, did you try a solo project?

    Davies: Good question. Probably because it just hasn't been a desire of mine. I mean, I love blues. And I guess I'll do something at some point in that direction. Finally, I have a lot of arrangements and Blue pieces finished and ready in the heap.


    And in the last eight years, what have you been doing - were you practically in retirement?

    Davies: No, I have even practiced more than ever before. I am still fascinated for  the music, and I also play from time to time with a few local musicians - just for fun and more in the blues style, which I have just mentioned. Although I always pursues the aim to become even better and I always continue improving.

    Morning Magazine
    19th August 2010


    ]]> (MAC) Interviews Thu, 26 Aug 2010 14:34:22 +0000
    Jesse Siebenberg BIO


    Birth date: February, 1977
    Birth place: Hammersmith Hospital, London

    Photo: Supertramp in Barcelona 2002, Jesse on the right


    Works for Supertramp and Roger Hodgson:

    Jesse Siebenberg joined Supertramp (percussions) for the 1997 world tour. He was 20 years old.
    Please see full info about the SUPERTRAMP TOUR 1997 here.

    Jesse was a member of the band with Roger Hodgson european tour, together with Bob Siebenberg, Andrew Hodgson and Norbert Fimpel.
    They played several gigs in France, Belgium and Switzerland, during winter year 2000. ("Open the door" album promo tour)

    Jesse was working in the studio sessions for the recording of "Slow Motion" album (Supertramp).

    Jesse improved his role in the Supertramp world tour (percussions, acoustic guitar, special sounds & effects).
    He performed "Give a little bit" with a 12 strings guitar. (lead vocal and guitar)
    Please see full info and photos about the SUPERTRAMP TOUR 2002 here.

    Jesse was working in the studio sessions for the recording of "Gaia" album (Alan Simon project)
    He sang the song "loves call love".
    John Helliwell (Supertramp) was working in the project too.


    He was the bass player in the "Art on Ice" gigs in Zurich, with important artists (like Roger Hodgson, John Helliwell, and members of Moody Blues and Fleetwood Mac )
    Please see full info and photos about ART ON ICE 2004 here.

    After 2004
    He was working in several bands, based in Ventura (California) and also producing several albums for other artists.

    Jesse met fellow singer/songwriter/producer Todd Hannigan at a session at Brotheryn Studios.
    They partnered up and have been operating Brotheryn studios since 2002.

    He produced an album with Kenny Loggins as well as his son's debut album who is currently a contestant on MTV's "Rock The Cradle".

    Jesse produced 2 albums for named Todd Hannigan- The 2nd album will be available in a few weeks on itunes- Bob Siebenberg is playing drums on 2 songs. His albums are called Vol.1 and Vol.2.

    Jesse is promoting his debut album UNDISCOVERY.

    He was touring Europe with "A fine frenzy" band in April. He's on drums/percussion, acoustic and electric guitar and lap steel. They will come back to Europe again this summer.

    He joined Roger Hodgson as bass player for three shows in Brazil and a show in Paris too, in September:
    Sao Paulo 2008
    Paris 2008

    Jesse joined Roger Hodgson as bass player again for a tour in South America, five gigs in February:
    Roger Hodgson Tour 2009
    And also a Gig in Germany in August, with orchestra:
    Aachen August 22

    In March Jesse Siebenberg cancelled his already planned collaboration with Roger Hodgson for 2010 tour, and he joined Supertramp for this tour.
    Supertramp Tour 2010
    The Legends Tour  CANCELLED

    June 2012: interesting article in  Ventura County Star 

    Excalibur Live, by Alan Simon (with John Helliwell)

    See our Report (Berlin December 13th of December) 



    Rock meets Classic Tour, with John Helliwell

    See our Report (Zurich, April 9) 



    Photos: Jesse and Alison on stage, Zurich 18 April 2008. By MAC



    Photo: "Terminator" Jesse, MAC and Bob Siebenberg, Los Angeles 2002 Supertramp tour



    All texts by Miguel Angel Candela (MAC)

    From Jesse's Myspace:


    Jesse Siebenberg’s debut album "Undiscovery" is available for download on iTunes and the snocap store above as well as Amazon, Napster, emusic, Rhapsody and Groupy Tunes. The CD release party was held at Zoey’s in Ventura, CA. and was sold out stuffed- thanks to all that showed up- big time. Hard copies of the album will be available at future shows, stores and online. stay tuned..

    Stoked about sweeping at the Jameson Irish International Film Fest with "Wave Riders" which beat out "There Will Be Blood"!---ALSO--- look out for a stunning new surf/documentary filmed by Dave Homcy and conceived of by Britton Caillouette and Nicholai Lidow called "SLIDING LIBERIA" with original score by Todd Hannigan and Jesse Siebenberg; sound design by Brotheryn Studios- just won the Alpinist Film Fest Peoples’ Choice Award, and it was also nominated for Best Score at XDance. is done as well as V.1 of our reel at the. Production of Todd Hannigan’s Vol. 2 is nearly complete and the album will be released 4/20/08.

    Just produced Lee Koch's "Same As Blood", Delaney Gibson's "The Worst Kind Of Way" and Todd Hannigan's "Volume 2 Courtside for the Apocalypse". Hopefully a new JS album out by the winter.

    Also working with Amy Adams(American Idol), Liz and Josh Golden, Joey Ryan, etc

    On tour with Roger Hodgson and A Fine Frenzy in 2009, producing new Kenny Loggins childrens album for Disney coinciding with Pooh/Tigger movie.


    Born in London into a musical family (father Bob Siebenberg drummer in Supertramp and mother Vicki Gorham Sieberberg, sister of Scott Gorham guitar player in Thin Lizzy), Jesse spent a lot of time in studios and on the road getting aquainted with life as a musician.

    As Jess puts is, “They were best friends growing up (and still are), so I was around them a lot, soaking up the music thing. I never figured I’d grow up to do anything else. I started out on toys ‘r’ us Muppets drum kits, and as I got bigger was able to reach the pedals of my dad’s kit. I then moved on to learning bass, guitar, keys, and whatever else was laying around that I wouldn’t get grounded for tampering with!” Jesse began doing professional gigs at age thirteen as a drummer.

    Around that time he was given access to his father’s home studio to learn to write and record his own compositions. After finishing high school and with a few national tours under his belt, Jesse attended Berklee College of Music in Boston on a scholarship to study film scoring, music production/engineering and composition.

    His entrance exam tested him out of over 60% of the cirriculum and he ultimately returned to California to continue his studies at Westmont College.

    At the age of 20, he joined Supertramp and contributed keyboard, guitar, vocal and percussion work on stage and in the studio. Playing various instruments on numerous albums, Jesse began branching out into production.

    In the mid 90’s he co-produced Jonathan McEuen’s Sampolin’ 14 as well as 2 albums for local heros “The Jonathan Raffetto Band”. Around this time he did a European tour playing bass for Roger Hodgson’s "Open The Door" release.

    Producing a few other groups and honing his craft, he then co-produced Crosby Loggins’ debut album “We All Go Home”. From there he caught the attention of Crosby’s father Kenny, and completed co-production of his new album “How About Now”.

    Jesse met fellow singer/songwriter/producer Todd Hannigan at a session at Brotheryn Studios. They partnered up and have been operating Brotheryn studios since 2002. Brotheryn won awards for “Shelter” (best film X-Dance), “Hallowed Ground” (ESPN’s Action Sports Movie of the Year), “Thicker Than Water” (Surfer Magazine’s Video of the Year), “September Sessions” (ESPN’s Best Sports Movie of the Year), “Flow” (Best Documentary X-Dance), "Sliding Liberia" (people’s choice Alpinist FF, nominated for best score XDance), "Wave Riders" (Jameson’s Irish Int. FF Viewers’ Choice), “Shape Of Water” (Best Feature Documentary, World Cinema Award, Best Director (San Francisco Women’s Film Festival), National Association for Film and Digital Media Artists INSIGHT awards of excellence: Original score, editing, human rights, post-production, research, and original score…

    Jesse also co-produced Todd Hannigan’s critically acclaimed debut album Volume 1. Todd and Jesse acquired a third partner in Jason Mariani (Local H, Supertramp). Jesse has traveled extensively nationally and internationally as a touring musician with groups such as Supertramp, Hanna-McEuen, A Fine Frenzy, Kenny Loggins, Crosby Loggins, Todd Hannigan and the Heavy 29’s, John McEuen and the String Wizards, Whisky Falls, Mark Hart (Crowded House) and many other bands of different genres.

    In 2003 he had a lead single hit in Europe with a project called Gaia which he promoted extensively, performing at such events as “Art On Ice” featuring Olympic gold medalist Evgeni Plushenko.

    He has co-billed with groups such as Coldplay, Wilco, Lenny Kravitz, The Black Keys, and has performed on Jay Leno and many other national and international TV promotion.

    His debut album, “Undiscovery”, is complete will be promoted extensively in the coming months. Jesse describes it as an accumulation of everything he’s learned about life and music thus far, and is looking forward to putting out much more music over the coming years.

    ]]> (MAC) Jesse Siebenberg Wed, 25 Aug 2010 15:41:27 +0000


    DADDY 1969 (the first name of the band)

    Rick Davies Keyboards
    Roger Hodgson Bass guitar
    Richard Palmer Guitar
    Keith Baker Drums



    Roger Hodgson (vocals, bass guitar)
    Rick Davies (vocals, piano-armonica)
    Richard Palmer (guitar)
    Bob Millar (percussion)
    Dave Winthrop (flutes, saxophones, vocals)



    1971 - 1972 (Indelebly Stamped album)

    Roger Hodgson (vocals, guitars)
    Rick Davies (vocals, piano, harmonica)
    Frank Farrell (bass guitar, piano, accordion, harmony vocals)
    Kevin Currie (Percussion)
    Dave Winthrop (flutes, saxophones, vocals)


    1973-1983 The Golden decade, 5 albums

    Roger Hodgson - vocals, piano, guitars, keyboards
    Rick Davies - vocals, piano, harmonica, keyboards, Melodica
    Dougie Thomson - bass
    Bob Siebenberg - drums, percussion
    John Helliwell - saxophone, woodwinds, backing vocal, keyboards, melodica



    1984-1988 (after Roger, two albums)

    Rick Davies - vocals, piano, harmonica, keyboards
    Dougie Thomson - bass
    Bob Siebenberg - drums, percussion
    John Helliwell - saxophone, woodwinds, backing vocal, keyboards, melodica
    Marty Walsh - guitars
    Mark Hart - vocals, keyboards, guitar
    Lee Thornburg - backing vocals, trombone, trumpet (1987-1988)
    Steve Reid - percussion (1987-1988)
    Brad Cole - keyboards, saxophone (1987-1988)
    Carl Verheyen - guitars (1985-1986)


    1997 Somethings Never Change album

    Rick Davies - vocals, piano, harmonica, keyboards
    Bob Siebenberg - drums, percussion
    Mark Hart - vocals, keyboard, guitar
    John Helliwell - saxophone, woodwinds, backing vocal, keyboards, melodica
    Carl Verheyen - guitar
    Lee Thornburg - backing vocals, trombone, trumpet
    Cliff Hugo - bass
    Tom Walsh - percussion


    2002 Slow Motion album

    Rick Davies - vocals, piano, harmonica, keyboards
    Bob Siebenberg - drums, percussion
    Mark Hart - vocals, keyboard, guitar
    John Helliwell - saxophone, woodwinds, backing vocal, keyboards, melodica
    Carl Verheyen - guitar
    Lee Thornburg - backing vocals, trombone, trumpet
    Cliff Hugo - bass
    Jesse Siebenberg - backing vocals, percussion, acoustic guitar (playing "Give A Little Bit in live performances)


    The NAME Supertramp

    Where does Supertramp name comes from ?

    De dónde viene el nombre de Supertramp ?

    1974 Supertramp1974

    1977 Supertramp1977

    1983 Supertramp83photo

    1986 Supertramp1986


    Pete Makowski traces the success of Supertramp


    December 27, 1975

    Two years and two months, that’s how long Super tramp have been together believe it or not. Two years and two sensational albums – ‘Crime Of The Century’ and ‘Crisis? What Crisis?’ – Supertramp have carved their name in a market that’s literally crying out for quality. That’s what the ‘Tramp are; a quality band who, with bands like 10cc, set themselves high standards that they continually maintain.

    Supertramp are: Rick Davies (keyboard/vocals), Roger Hodgson (guitar/keyboards/vocals), Dougie Thompson (bass) John Helliwell (saxophone, various instruments) and Bob C. Benberg (drums). But Supertramp have been around for quite a while in various forms, this line-up is the culmination of years of ‘paying dues’, I caught the band towards the end of their tour, where they reflected on their past exploits which led them to join together on their musical venture.


     *"The actors and jesters are here

     The stage is in darkness and clear

     For raising the curtain

     And no one’s quite certain whose play it is."

     The story really begins with Rick Davies who debuted his professional career with The Lonely Ones, a band from Folkstone formerly led by Noel Redding. "We worked in England for about six months playing should stuff," he explained, "then we went to Europe for supposedly two weeks but we got stuck there….didn’t come back for a year and a half!"

    The band eventually found themselves stranded in Munich. "We were gigging at night and making film music during the day. It was good experience but Germans make the worst films in the world. We were just a cheap way for them to get music on their films. We worked for a guy called David Lluellyn, who was an unbelievable character we met over there. He used to get us all these film jobs.

    "The band were broke when Dave mentioned the fact that he knew this guy in Switzerland who was a millionaire. We thought ‘sure pull the other one’, but then again it was worth a try. We were all destitute at the PN Club living on soup. We’d play at the weekends and that would give us enough money to last us through till Thursday then we had to pilfer until Saturday.

     "It was on a Saturday that Dave went to see this guy and then he just didn’t get in contact for about three months, and we thought ‘that’s it, he’s gone’. Then we got a telephone call from Dave saying that the guy would be interested in seeing us. We wouldn’t believe it! We were all walking around in a dream thinking ‘this is it’".


    The man Dave was referring to was none other that Same, the Dutch millionaire, to whom ‘Crime Of The Century’ is dedicated. Sam was the man responsible ‘for making it all possible’.

    Rick: "He had these ideas for us to get classical themes and turn them into pop music. Of course we all went charging down to his house and when we got there we spent the first two weeks playing ping-pong. We had an attempt at getting this thing together. It was completely bizarre, this buy’s music and the pop idea on top of it. We eventually came over and signed to Robert Stigwood and ended up playing the Rasputin Club every week, that was about it."


    Rick: "One morning Same phoned me up at nine o’clock in the morning and told me to have a look out of the window and I said ‘There’s nothing out there, except an old coach and he said;’ it’s yours boys’, so we got in and Andy (our singer) drove it around Finchley while we played football in the back. It’s only when we started playing the Marquee that it got to be a problem. We had to park in Oxford Street and you’d see a huge chain of people on Wardour Street carrying equipment, anyway that was taken away from us when something wasn’t pleasing Same. I went over to see what was grieving him."

    It transpired that Sam didn’t feel that the group were living up to his expectations. "I knew the band wasn’t that good, but everyone was heartbroken when we had to split, we were so close." It seemed that the Dutch millionaire recognized a spark of songwriting talent developing in Davies and persuaded him to stay under his wing.

    *"For we dreamed a lot

    And we schemed a lot."

    "I went over to Sam’s to try and write my own music, so I could get enough confidence to start something off my own back and I stayed there just writing. Of course all sorts of crazy ideas popped up from Sam, like ‘Rick Around The World In Eighty Tunes’ whereby we’d hire a few LAN drovers and go round the world.

    "We’d sit in an Afghanistan village and be influenced by the music and then go onto somewhere else. It sounded fantastic but it wasn’t real at all. So I went back to London and I began auditioning for what was to become the first Supertramp."

    *"If we’d known just how right we were going to be,"


    Hodgson’s pale, gaunt, almost hawk like features seen either sitting behind a guitar, squeezing every ounce of emotion into each verse he sings, are a complete contrast to the cool, full-faced Davies, who only occasionally breaks his stern dead-pan features with a single grimace or offstage a burst of raucous laughter. This makes up the black and white of the Supertramp writing team.

    While Hodgson walks on stage wearing kaftan and jeans, you’ll see Davies on the other side sporting a suit and shirt, looking like a latter day Irving Berlin. Both equally intense, both equally talented, both equally different. It’s hardly surprising that one of Hodgson’s mainmen is Stevie Winwood – they’re both vagabonds of the wind, eternal music makers, living in their own time, their own reality.

    "When I joined Rick I had signed a contract with another guy the very same day," admitted a quiet spoken Hodgson. In fact he had been contracted by DJM to record a single under the name of Argosy.

    "The single had Elton John on piano, Nigel Olsson on drums and Caleb Quaye on guitar…it also flopped…Tony Blackburn liked it."

    When Hodgson first joined ‘Tramp, his main instrument was bass. "That’s my favourite instrument funnily enough, I love the bass more than any other instrument."

    Davies got Richard Palmer (who had previously written some lyrics for King Crimson) on guitar and Bob Millar on drums, completing the line-up of Supertramp Mk I. Purpose?

    Rick explains: "There was a huge change happening at the time I was away in Europe. That change was like Traffic, Jethro Tull, Spooky Tooth sort of nice up and coming bands, which I wasn’t away of until I went down to see Rory Gallagher and Taste at the Lyceum, only then did I reckon on the possibilities that something could happen, because I didn’t rate myself as a big pop star and I thought to get anywhere I was going to have to be like that. But with the new bands coming up, there was a new standard to live up to and that’s what we were aiming for.

    "Roger, Richard and Bob were all aware of these groups, so having them in the band was sort of an education for me. It was great because Richard Palmer was going about Traffic and The Band getting into their lyrics and I had never thought about their lyrics before."

    Supertramp signed to A&M and released their debut album in 1970. It was described in the liner notes of their second album as having a ‘melancholy mood’. The album vaguely indicates ‘Trams intention, without really making them clear. Not a totally memorable debut album, just interest.

    Rick: "We were very green then. There was this thing about not having a producer. Bands weren’t using producers then, and we decided ‘yeah we’re not going to have a producer’. Paul McCartney’s not using a producer, why should we use one? (breaks into hysterical laughter) it was that sort of greenness" "It worked on the first one", argued Roger, "it had its own kind of magic."


    Rick: "That first year, we must have played to an awful lot of people. We were doing Top Gear all the time, it was keeping us alive."

    Roger: "Our first album did sell quite a lot."

    Rick: "Yeah it did. It almost took off in actual fact, because we did the Croydon Greyhound where we pulled in a lot of people just once, after that Bob left and then it must crashed."

    Roger: "In that first year we were put in a country house together, we didn’t mix socially and the vibes got really bad. We never made any friends because the vibes were so bad, people hated coming up to the house."


    Rick: "We did that ourselves as well. The second album consisted of a different band. By that time Richard Palmer and Bob Millar had left. We got a guy called Dave Winthrop on saxophone, Kevin Currie on drums and Frank Farrel on bass."

    The second album titled ‘Indelibly Stamped’ (a cover sporting a nude female body festooned with tattoos) was a much more meatier effort that it’s predecessor, developing theme upon theme in musical layers, a sound not too dissimilar to Traffic. The same feel.

    Live gigs? Well that was a different story…

    Rick: "It was all rock and roll really. We used to get people up on the bloody stage and it was just chaos, bopping away doing about three encores, but there was meat and potatoes behind it. No more or less people would come to the next gig."

    Then came the next departure. Farrel left to pursue his own career, finally meeting up with Leo Sayer, while the very Scottish Dougie Thompson entered the scene. Like the rest of the band. Thompson is a quiet unassuming character. On stage you can see him bouncing around, pumping throbbing baselines that have become such an essential par t of Supertramps’ sound.

    "I joined the Mk II Supertramp about six months before that I was playing in some weird West End strip clubs. I’d played a bit in Alan Bown’s band. That was at a weird period of that band’s existence, when they parted company with Alan and we tried to get something happening, but we didn’t really get anything sorted out at all.

    "So I was just looking around for a job to get some money, and then I say this ad for Supertramp. Sometime before my brother, who’s one of our roadies now, had been to London and brought one of their album back. So I had been aware of them. I decided to go along and see what was happening. At this point they had been going through some incredible audition scenes. I remember going to the Pied Bull in Islington and there were some terrible scenes. Rick was there with his crash helmet and sleeping bag. Dave Winthrop had given up hope and had gone to play pinball. Roger and Kevin were they’re trying to get some kind of audition sorted out. So I went in, played my two minutes and left.


    "Roger phoned me up a couple of days later, asking me to come down to his house, and it just kind of evolved from there. It really was a strange period for the band, with Dave Winthrop. Sometimes he just wouldn’t come to gigs, and then he’d turn up a couple of gigs later almost as if nothing had happened…very strange."

    Rick: "We did one gig in Swansea when the drummer didn’t turn up. So me and Rog split the drumming duties between us, because we needed the bread, otherwise we’d starve. It didn’t go down too badly."

    Doog: "Towards the tail end of the Mk II band we did some gigs with Frankie Miller."  

    Which leads us very neatly to the entry of Bob C. Benberg from Los Angeles, who at that time was drumming with those infamous pub rock dudes – Bees Make Honey. "That was at the time Frankie had recorded an album with the Brinsleys, in fact that introduced us to him," explained Bob. "Frankie used to hang around the Tally Ho and sometimes he’d jump onstage and join us for a couple of numbers. When it was time for him to go out and work, he took us along to back him up and we did about three gigs supporting Supertramp. One of them was at Streatham where I didn’t meet the band at all, I just recognized Doog because I had seen him playing with the Alan Bown Set at the Greyhound about three months before, and the only thing I remembered about the band apart from the saxophone player with a black sax was the bass player who moved around a bit.

    "Then I remembered walking in one day and seeing this guy playing drums and thinking ‘hey he sounds pretty good’ and then 15 minutes later the drummer walked in." The guy Bob saw was Rick who began his musical life as a drummer. "A few weeks later we were at Barbarella’s, Birmingham, supporting Supertramp. We did our set, then everybody split, except the piano player and me, we stuck around and watch Supertramp, and they were pretty good. They were the first band that I had seen that I thought were nifty, and I thought I could get on playing with them. After that I was putting it around that they were pretty good. The way I put it was they were the closest thing to Traffic I’d seen, they were really punchy…

    "At that time we were doing some of the second album and a lot of ‘Crime Of The Century’," added Rick, "completely different versions."

    Bob: "The next time I saw them was when we were playing a gig in Barnet and I saw their drummer beaming in on me. About two weeks later Roger came up to me in The Kensington and said they were going to be doing a new album in September and the drummer was splitting and what did I think about doing sessions for them."

    This was a whole different thing to the Bees.  

    Bob: "In the Bees I never rehearsed for one day. We never rehearsed at all. With Supertramp it was different, the complete opposite. I remember the first time we got together was at the Furniture Cave in Kings Road."

    Rick: "I’d never heard such a loud drummer in my life. I couldn’t hear anything except cymbals."  

    "Yeah but they were pretty neat huh?’

    Pretty neat indeed. Bob’s punchy, clipped drum work, along with Doog’s bass makes up an invaluable and distinguished part of Supertramp’s sound. In a way they kind of weld Davies and Hodgson together into one accessible format. Now that the rhythm section had been sorted out there was one more thing to do.


    When Dave Winthrop finally stopped coming to gigs the band sat around and discussed their next move. Suddenly Doog remembered his old playing partner in the Alan Bown Set) the one Bob Benberg, referred to as the man with the black sax). John Helliwell, the band’s musician and comedian rolled into one. Doog immediately phoned John to find that his reed-blowing friend was away in Germany, still a lucrative home for out of work musicians. In fact John was playing air bases with ‘a 20 stone multi instrumentalist."

    Doog: "So we bumbled around for a couple of weeks without a replacement and then John came back. So I phoned him up and asked him to come down for a blow. By this time we were working in Manfred Mann’s old studios in the Old Kent Road. So John came down."

    Rick: "He had a blow, then he sat down and there was silence for about 20 seconds, and then he did his joke about the Irish man who got a pair of water skis for Christmas and spent the rest of the year looking for a lake with a slope. And everybody sat and I thought ‘who is this?’"

    John Helliwell is one of those natural comedians who has a static, relaxed, lunatic atmosphere that surrounds him both off and onstage. He’s also a bloody amazing musician. As Doog once described him: "The man who’ll play anything he can get his hands on."

    Helliwell can tackle almost any musical task and look completely relaxed. Supertramp’s music has a certain sense of dramatics about it. Helliwell counteracts it, stopping it from becoming anywhere near pretentious and his decorative illuminations bring it closer to becoming brilliant. He’s also an ace guy.

    Take it away John: "I went home after playing with them (Supertramp) and the wife asked me what it was like, and I said ‘yeah pretty good but I think I’ll go back tomorrow’. Then I went the next day and came home and she said ‘well how do you feel about it now?’ I said ‘It’s alright but I’ll have to go again’ and it kept on going like that.

    "At the same time I had to do a job during the day. So I enlisted with Manpower and the first job I got was as a petrol pump attendant. Then I got a job screwing nuts and bolts together at a factory in Maidenhead." In fact most of the band had to get jobs to keep surviving.

    Bob: "John recommended me to a friend of his who was playing in a band at The Park Towers Hotel in Knightsbridge and I played with them. I had loads of solo spots y’know we’d play about five sets a night, and I had about three solo spots in each set. If that wasn’t bad enough one night when we were playing our second set, d’y’know who rolled in? Carl Radle and Jim Gordon! They sat right in front of me! I was trying to play as good as I can…. but I was really nervous."

    On asking Mr Helliwell for a brief resume of his musical career, his immediate reply was, "have you got three more tapes on you?" Indicating that he’s a lad with a bit of experience behind him. I then asked for the shortened version of the John Helliwell story.

    "I was with Alan Bown for about six years through all the ups and downs, and then after that when it split up I went and worked for a few strip clubs. No hang on! The first job I got before that was working in a dry cleaning factory during the day and the Celebrity Club at night. Then when I sorted out my tax problem. I left the dry cleaning job and the Celebrity Club and went on to play the Twilight Rooms where Doog was working, and then I got my big break… I joined Jimmy Johnson and the Bandwagon! Then I joined up with Arthur Conley and later on with Jimmy Ruffin. Each one was a step up. Then I went to Germany and I came back in August to join this lot. They said they were making the album in September."

    Bob: "That’s what they told me."

    John: "Yeah that’s what they conned me into."

    Bob: "We still haven’t been paid for those sessions."

    Doog: "None of us were ever asked to join the group, we came along, stayed and nobody told us to leave.

    Sometime during this period (late ’73) the band severed their ties with Sam, taking them from the lap of luxury and throwing them straight into the cold, had facts of rock and roll. Especially Rick, who before had limitless time to sort himself out, although he points out: "There was almost too much wasted time, you get to rely on that beg money man, there’s no urgency, your life doesn’t depend on it. By the time we left him I thought ‘wow we could sink like a stone’!"  


    John: "After the rehearsal studios in the Old Kent Road, we used to rehearse under Kew Bridge. Then we got together with A&M Records who hired a cottage for us in Somerset, we managed to wangle a stay there. So we all went there with girlfriends, wives, kids and cats. We were there for about three months trying to get a producer together."

    One of the choices was Ian MacDonald: "He was just the wrong person, it was a simple as that," was the conclusion the band came to after MacDonald visited them. Then came Ken Scott, already renowned for his works with Bowie and the Mahavishnu Orchestra, to name a few. "We got him to re-mix our single which was called ‘Land Ho!’ and we dug what he was doing. So eventually we signed a contract for recording on February ’74. The birth of Supertramp Mk III!


    Rick: "That was really bizarre when we had that house, the big house in Holland Villas. This big house, Joe Cocker was in there and there was only supposed to be four people to pay the rent, which was astronomical, so there was 12 of us in the end. There were people in the roof all over the place. I was living in the shower.

    Rick: "You should have seen the scene when the landlady came around to collect the rent. I’ve never seen anything like it. She came round about 10 in the morning, and it was like panicsville. The alarm went off, I got up, walked straight out of the door with me pullover on, it was pouring with rain and I just walked round Shepherds Bush. I didn’t have money for breakfast or anything. I ended up bumming a quid off that guy at the Cabin. I expected everyone to be out in the street when I got back. I was surprised everyone was still there. It was like a farce. People stark naked rushing from room to room as they were showing the landlady around, there were people hiding in the cupboards. They were going to check in the attic and of course there were tents in there!

    The setting for the rehearsal of ‘Crime’ was a much more peaceful cottage in the country.

    Doog: "We had a room in the back with the gear in it and the mixer was set up in the kitchen."

    The band spent three months of solid rehearsals, and then laid down some backing tracks for Jerry Moss (the ‘M’ of A&M) to hear, "Fortunately he like them," quipped John, ‘he must have gone back to America and said let them get on with it."

    I asked John if ‘Crime’ was an expensive album to produce.

    "Well with A&M helping us out because we couldn’t work, it worked out that we’d have to sell three quarters of a million copies to break even, so we’ll be getting there soon enough."

    Rick: It’s nearly there already."

    John: "’Crisis’ was cheaper, not that much."


    The first time Supertramp played togethern their current format was a gig in Jersey for a Lord’s party. A friend of a friend of a friend, of a friend job. "I got so drunk I couldn’t play", revealed Bob Benberg, "so I spent the whole of the break sobering up and by that time the rest of the band got so drunk they couldn’t play!"

    The first time the band played ‘Crime Of The Century’ was at an A&M gathering in the Kings Road Theatre. "There were so many thing happening backstage you just wouldn’t have believed it," said John, Rick "We never worked with a full lighting crew so when they went out we couldn’t see a thing. And I remembered on one particular number I had to open a number in complete darkness, I couldn’t see anything so I couldn’t play, which meant the lights wouldn’t go on. We really bluffed through it and hoped for the best."

    Since those first gigs the band have toured Britain, Europe and the USA. It’s only been two years and two months but no one can accuse them of slacking, and they still enjoy playing ‘Crime Of The Century’.

    Roger: "I’m enjoying it more this time than I did last time."

    Rick: "I think it’s taken almost this long to get completely on top of it without worrying about little knobs and switches, so in a way you can go out there and relax. There’s only a couple of numbers that worry me technically.

    "Once you start getting on top of it, that’s when you have to be careful that you’re not going to become complacent. When you stop thinking ‘is it going to be alright!’ and start thinking ‘this is going to be a piece of piss’ – it’s only on the last gigs that I’ve thought this is nothing, I can do this easy, but you soon get brought down to earth about it all. 

    I asked Rick how he felt about the press reaction, second time around.

    "I expected a slightly harder time with the album," he said referring to ‘Crisis? "opposite to what I initially thought, I expected it to be good for ‘Crime’ and not for this one. But the press are funny, there’s only a few people that you’ve got confidence in as far as what they think and sooner or later they blow it for you by saying something completely silly".

    ‘Crisis?’ features a lot of old material (never recorded before), indicating that the band have slowed down writing wise, which is hardly surprising when you consider how hard they’ve been working.

    "There hasn’t been a great spate of writing," agreed Rick, "certainly not from me, I think Rog has done a bit more."

    Doog: "It seems easier for Rog as he only needs a guitar, while Rick needs to be locked away somewhere with a piano."

    Rick: "We need a break, where we can get fresh ideas."

    Doog: "We never stopped, and it will have been two years solid work by the time we do stop. The important thing is that the music stays good. If it needs stop and thinking about then that’s what’s going to happen!"

    Supertramp are here to stay.

    * Lyrics taken from ‘If Everyone Was Listening’ on ‘Crime Of The Century’ published by Delicate/Rondor Music.  

    From Wikipedia

    Supertramp are a British art rock and pop band that had a series of top-selling albums in the 1970s.

    Their early music included ambitious concept albums, but they are best known for their later, somewhat Beatlesque pop songs, including "Dreamer", "Goodbye Stranger", "Give a Little Bit" and "The Logical Song". Despite chart success, the band never attained superstardom in the UK (although they did in Canada, the United States and the rest of Europe); it was remarked at the height of their popularity that Supertramp was the best-selling group in the world whose members could walk down any street and not be recognized.


    Backed by a Dutch millionaire named Stanley August Miesegaes, vocalist and pianist Rick Davies (born July 22, 1944 in Swindon, Wiltshire, England) used newspaper advertising to recruit an early version of the band in 1969, an effort which brought aboard vocalist/guitarist and keyboardist Roger Hodgson (born March 21, 1950 in Portsmouth, Hampshire, England). Other members of this embryonic Supertramp group included Richard Palmer (guitar, balalaika, vocals) and Robert Millar (percussion, harmonica). Initially, Roger Hodgson sang and played bass guitar (and on the side, guitar, keyboards, cello and flageolet). The band was called Daddy from august 1969 to early 1970, when the band became Supertramp.

    They were one of the first groups to be signed to UK A&M Records. The first album Supertramp, although very interesting musically, proved a commercial disappointment. Desperate to achieve success, Davies and Hodgson changed their style and lineup for the next album. Frank Farrell (bass), Kevin Currie (percussion) and Dave Winthrop (flute and saxophone) replaced Millar and Palmer, Roger Hodgson switched to guitar and the new album Indelibly Stamped featured rocking Beatlesque tunes, (Davies now serving as the band's second lead singer, alongside Hodgson, who suggested that the band should have two lead vocalists), a more commercial approach and eye-catching cover artwork. Supertramp had established themselves as a "cult" band. Sales, however, did not improve much, which lost them the support of Miesegaes (Miesegaes withdrew his support from the band after paying off debts) and caused another re-shuffling of the band. Hodgson and Davies were back at square one. In fact, Supertramp briefly disbanded.

    Initial success and commercial breakthrough

    In late 1972, after being persuaded to carry on, Davies and Hodgson went on an extensive search for replacements to be brought aboard in Dougie Thomson (born March 24, 1951 in Glasgow, Strathclyde, Scotland) (bass), Bob Siebenberg (born October 31, 1949 in Glendale, California, USA, drums, and often credited as Bob C. Benberg), and John Helliwell (born February 15, 1945 in Todmorden, Yorkshire, England) (saxophone, other woodwinds, occasional keyboards, backing vocals), joining original members Davies and Hodgson, completing the line-up that would create the group's defining albums. Hodgson would also begin playing keyboards in the band in addition to guitar, usually acoustic and electric pianos on his own compositions. His inspirational piano method would become a staple in the band, as heard on "Dreamer," "The Logical Song," "Take the Long Way Home," and many others, and would earn him the nickname "hammerheads" in the band. The classic Supertramp keyboard is a Wurlitzer electric piano with its unmistakable bright sound and biting distortion when played hard.

    Crime of the Century, released in 1974, began the group's run of critical and commercial successes, hitting number four in Britain, supported by the top-10 single "Dreamer". Its B-side "Bloody Well Right" hit the US Top 40 in May 1975. Siebenberg would later note that he thought the band hit its artistic peak on this, their third album, though their greatest commercial success would come later.

    The band continued its run with Crisis? What Crisis? (1975) and Even in the Quietest Moments (1977). During this period, the band eventually relocated to the United States and moved steadily from the progressive styles of their early albums towards a more song-oriented, pop sound.

    This trend reached its zenith on their most popular album, Breakfast in America (1979), which reached Number 3 in the UK and Number 1 in the United States and spawned four successful singles, "The Logical Song", "Take the Long Way Home", "Goodbye Stranger" and "Breakfast in America". The album has since sold over 18 million copies worldwide.

    The run of successes was capped with 1980s Paris, a 2-LP live album, in which the band stated its goal of improving on the studio versions of their songs. Interestingly, instead of focusing on songs from the hugely successful Breakfast in America, it included nearly every song from Crime of the Century, another testament to the importance of that album in the group's development.

    Later career

    Hodgson and Davies' differing singing and songwriting styles provided these albums with an interesting counterpoint, contrasting Davies' determined blues-rockers and songs of broken relationships ("Another Man's Woman", "From Now On", "Goodbye Stranger") with Hodgson's wistful introspection ("Dreamer", "School", "Fool's Overture", "The Logical Song"), but Hodgson felt constrained by the arrangement and left the band after the tour for their next album, ...Famous Last Words... (1982) which contained the Top 20 hit "It's Raining Again" and the Top 40 hit "My Kind of Lady". In an interview in the 90s, Roger stated that one of the main reasons he left the band was not so much his not getting along with Rick Davies; but his wife at the time and Rick's wife did not get along at all. It ended up causing so much tension for them and the band, he decided it would be better if he left Supertramp! He said there were never any real personal or professional problems between him and Rick Davies as some people thought.

    Having left the band in 1983 Hodgson immediately began a solo career, his biggest hit "Had A Dream (Sleeping With the Enemy)" coming from his first solo album In the Eye of the Storm, in 1984.

    The Davies-led Supertramp soldiered on, releasing Brother Where You Bound the same year. This included a Top 30 hit single, "Cannonball", along with the title track, a 16-minute exposition on Cold War themes highlighted by guitar solos from Pink Floyd's David Gilmour; the album reached #21 on the US charts. 1987's Free as a Bird included more straightforward Davies rockers, including "I'm Beggin' You", which reached Number 1 on the US dance charts, a curious accomplishment for an "art rock" band.

    After 1988's tour, Thomson left the band due to a strong disagreement with Davies about the use of Hodgson-penned songs during live performances (such as "Take the Long Way Home" , “Breakfast in America” and "The Logical Song". These songs were usually sung by Crowded House's Mark Hart (Hodgson's replacement on stage), and the Scottish bass player was firmly against this move. When Supertramp reunited in 1997, Thomson declined an invitation to return and eventually quit playing for good.

    In 1993, Davies approached Hodgson in an effort to bring him back to the band, but this attempt failed. In interviews published on his and other fan forums, Hodgson later claimed he had been more than willing to rejoin Supertramp, but only if Davies's wife, Susan, abstained from interfering in band affairs. Sue Davies was A&R at A&M (in charge of welcoming the band and helping them settle) when Supertramp moved to Los Angeles in the mid-70s, and, as the romance between Davies and her blossomed, she eventually quit A&M and started managing the band herself. Having to fight two Davieses instead of one accrued to Hodgson's frustrations and misery, and ultimately prompted his departure, though whether this was due solely to her management style or competence still remains unclear. Ultimately, Davies declined to sideline his wife from his professional affairs, and Hodgson never heard from him again.

    In 1997, Davies finally managed to re-form Supertramp with former members Helliwell, Siebenberg, and Hart and a bunch of new musicians. The result was Some Things Never Change, a polished effort which echoed the earlier Supertramp sound. Ironically, that same year saw the release of Rites of Passage, Roger Hodgson's first solo album since Hai Hai in 1987. Rites of Passage was a live album featuring both new works from Roger as well as three songs he composed for Supertramp ("Take the Long Way Home", "The Logical Song" and "Give a Little Bit"). In an ironic reversal two years later, the re-formed Supertramp released a live album, It Was The Best Of Times while Roger released a studio album. Open The Door.

    Early 2002 saw the release of another album, Slow Motion (album) (sold direct in North America).

    Rick Davies has since left California behind and now resides in Long Island (East Hampton), less than an hour's drive from Manhattan.

    In the past few years, Roger Hodgson has donated Give A Little Bit to raise funds for Tsunami Relief efforts and other causes. It's been used by the Red Cross, United Way, the Make a Wish Foundation, and The Oprah Winfrey show requested the use of Give A Little Bit as part of their ”Gift of Giving Back Program“. In the UK it was used during the "ITV Telethon".

    2006 was a busy year for Roger Hodgson. Throughout the summer of 2006, he has been touring Europe (France, Belgium, Portugal, Denmark, Switzerland, and Germany), as well as the US (St. Paul, MN) and Canada (fall 2006) and his DVD "Take The Long Way Home – Live In Montreal" has gone Platinum and to the #1 spot in Canada, in its first 7 weeks of release. He has also been asked to mentor Canadian Idol’s Top 7 contestants, alongside Dennis DeYoung (a founding member of the group Styx).

    In March 2006, Roger Hodgson was honoured for his song Give A Little Bit at the 23rd Annual ASCAP awards in Los Angeles. The American Society of Composers, Authors and Publishers gave the award in acknowledgment of the song being one of the 50 most played songs of 2005.

    Roger Hodgson appeared solo at the Diana Memorial Concert at Wembley Stadium on 1st July 2007. The band were one of the late Princess of Wales' favourites.

    In 2008, Supertramp's music will be featured in the film movie adaptation of Irvine Welsh's best-selling novel Ecstasy: Three Tales of Chemical Romance.


    ]]> (MAC) Biography Sat, 14 Aug 2010 17:35:41 +0000
    Dougie Thomson BIO

    Birth date: March, 1951
    Birth place: Glasgow, Scotland


    Dougie Thomson (pronounced "doogie") was born Douglas Campbell Thomson on March 24, 1951 in Glasgow, Strathclyde, Scotland and raised in the Rutherglen area of the same city. Dougie was a member of the so-called Supertramp 'classic lineup' playing bass guitar from 1973 until Supertramp's initial break-up in 1988.

    Dougie's musical career began in August 1969 when he joined a local Glaswegian band "The Beings". Then in September of 1971 Dougie, joins The Alan Bown Set replacing Andy Brown and, as fate has it, first worked with future Supertramp bandmate John Helliwell briefly. In February of 1972, Dougie tried out for Supertramp and ended up playing with the band at several gigs as a temporary stand-in. In 1973, Dougie joined Supertramp as bass player and also helps take over the business management along with Dave Margereson. He also persuaded John Helliwell into joining the band.

    Dougie would play with Supertramp on its Crime of the Century, Crisis? What Crisis?, Even in the Quietest Moments, Breakfast in America, Paris, ...Famous Last Words..., Brother Where You Bound and Free as a Bird albums.

    After Supertramp initially disbanded in 1988, Dougie became a publisher in the music business creating Trinity publishing and works with a management company in Chicago, Illinois. He did not participate in Supertramp's regrouping in 1997 for the album Some Things Never Change.

    He is also an avid sailor owning a number of yachts.

    He has 3 kids, James Thomson, who is currently thirteen years old, Kyle Thomson, currently ten years old, and Emma Thomson, who is mid 20 to early 30 range. He also is working with JBM management, Managing New Sense, Disturbed, The Fags and Dark New Day.


    Please read this interesting  INTERVIEW  made in June 1998

    ]]> (MAC) Dougie Thomson Sat, 14 Aug 2010 17:21:43 +0000
    Bob Siebenberg BIO


    Birth date: October, 1949
    Birth place: Glendale, CA, U.S.A.

    Bob Siebenberg By Jane-Magarigal

    Year 2008 in Abbey road studios:

    - Don't miss this AMAZING VIDEO of Bob Siebenberg, Ken Scott collection.
    Bob reveal a big secret about Crime of the Century: the water gong !!!

    - Drum recording feature with Bob Siebenberg (and Ken Scott)

    - Pic of Ken and Bob during session


    June 2012: Interesting article in Ventura County Star

    Bob Siebenberg, (born Robert Layne Siebenberg, on 31 October 1949, in Glendale, California) also known as C. Benberg, is a member of the so-called 'classic lineup' of British progressive rock band Supertramp, playing drums and percussion and was the lone American in the Supertramp classic lineup.

    A skilled drummer, Siebenberg displays a great aptitude for the constantly changing patterns and rhythms typical of this genre. After the departure of Roger Hodgson, Rick Davies recruited Mark Hart (ex of New Zealand band Crowded House) to join Supertramp. Siebenberg's son Jesse has also been in the band since around the time of the release of the live album It Was The Best Of Times (live; 1999) but also appears on some concerts and albums released more recently.

    Bob also released a solo album in 1984 called "Giants in our own room" (and credited to "Siebenberg"), where he also sings lead on half of the songs and also contributes plays keyboards and drums.

    Joining Bob on this record were Scott Gorham of Thin Lizzy, Steve Ferris of Mister Mister, Procol Harum drummer B. J. Wilson, Kerry Hatch of Oingo Boingo and John Helliwell. An old friend Derek Beauchemin joined in to co-write and play keyboards.

    Siebenberg was also in a band called "Heads up" who released the 1989 album "The Long Shot". Joining Bob and his writing partner Dennis O'Donnell on this project were Mark Hart, Brad Cole, John Helliwell, Marty Walsh and again, Scott Gorham on guitar.

    In 1989, Siebenberg became the first major artist to compose original music for a video game in Sierra On-line's Space Quest III: The Pirates of Pestulon. Space Quest III's soundtrack has often been noted as one of the best the company ever produced.

    He appears to be planning to release another solo album tentatively titled "The Glendale River" which appears to have been in production since 1997.




    ]]> (MAC) Bob Siebenberg Sat, 14 Aug 2010 17:10:25 +0000
    Discography - Summary

    SUPERTRAMP Video Footage

    SUPERTRAMP Audio rare recordings                                         SUPERTRAMP in the Grammy's Awards



    Supertramp - 1970



    Indelibly Stamped - 1971



    Crime of the Century - 1974



    Crisis? What crisis?- 1975

    Even in the Quietest Moments- 1977

    Breakfast in America - 1979



    Paris - 1980 (Live)

    Famous Last Words - 1982


    Brother Where You Bound - 1985

    Free As a Bird - 1987

    The Autobiography of a ST- 1987 (compilation)

    Live 88 - 1988 (Live)

    Very Best of 1 - 1990 (compilation)

    Very Best of 2 - 1992 (compilation)

    Some Things Never Change - 1997

    It was the best of times - 1999 (live)

    Slow Motion - 2002

    Retrospectacle - 2005 (compilation)


    The NAME Supertramp

    Where does Supertramp name comes from ?

    De dónde viene el nombre de Supertramp ?



    ]]> (MAC) Discography - Albums Sat, 14 Aug 2010 16:43:16 +0000
    Rick Davies BIO



    Birth date: July, 22nd, 1944
    Birth place: Swindon, ENGLAND

    barcelona 1284930967000



    Rick Davies (born Richard Davies on July 22, 1944, in Swindon, Wiltshire, England) is a British musician, who is the founder and a member of the group Supertramp.

    He played keyboards and harmonica on the band’s many hit records. Although not recognized for a very distinctive voice (Rick's voice is more of a raspy baritone voice as opposed to Roger Hodgson's Jon Anderson-like vocals), he has composed many of Supertramp's songs like the US Top 15 hit "Goodbye Stranger", "Bloody Well Right", "Ain't Nobody But Me", the US Top 40 hit "My Kind of Lady" and the last Supertramp hit single "Cannonball" which hit #28 in 1985.

    Rick Davies currently owns a company, called Rick Davies Productions, which is the copyright holder of Supertramp's recordings.
    He married his wife Sue (who has been Supertramp's manager since 1984) in 1977.

    Rick Davies. (2006, November 19). In Wikipedia, The Free Encyclopedia.
    Retrieved 18:08, December 30, 2006, from


    DISCOGRAPHY (Source: The Dude)

    Apart from Supertramp discography, Rick was performing for:

    "Freak Street" by The Joint (Demos from 1969) : Davies on keyboards, backing vocals + composer one track.

    "You & Me" by Chick Churchill (1973) : Davies on Drums on 4 tracks (with also Roger playing bass & guitar on these tracks !!)

    "Bowser & Blue" by Bowser & Blue (1986) : Davies on Piano on 2 songs




    The biography below outlines Rick Davies musical beginnings up to his formation of Supertramp mk I.
    In 1956 in his home town of Swindon, the young Rick joins the British Railways Staff Association Brass and Silver Jubilee Band as a drummer.

    In 1959 he joins his first band "Vince and the Vigilantes" featuring Ginger Frantic. In 1962 whilst attending Swindon Art School he forms "Rick's Blues. His drummer is one Raymond (Gilbert) O'Sullivan who went on to have several hits of his own, such as "Claire". Gilbert would later in 1976 be best man at Rick's wedding to Sue.

    In August 1965 Rick disbands Rick's Blues and take a job as a welder at Square D in Swindon. In September 1966 he joins "The Lonely Ones" a band which formed in 1964. Rick handles keyboards and vocals with John "Andy" Andrews on bass and vocals; Trevor Williams on guitar and vocals; Keith Bailey on drums; Rick Davies on keyboards and vocals and Phil Ingham as road manager.


    The LASTEST NEWS we got about Rick Davies

    - 2002, Last Supertramp tour so far (Well... new Supertramp tour in 2010 ! )

    - 2006, October. Rick and Sue in Spain,
    just for holidays with friends, enjoying good spanish meal and wine, visiting a old friend, the promoter Gay Mercader in Barcelona.
    The little new in the spanish newspaper "La Vanguardia" (Barcelona):
    "Rick Davies, estrella de Supertramp, ha pasado unos días en Barcelona. Le encontramos en 'Abac', el restaurante de Xavier Pellicer en el Born. Le acompañaba el promotor Gay Mercader, que les asesoró en una ruta turístico-gastronómica que el solista de Supertramp empezó en San Sebastián y siguió por La Rioja. A bordo de un avión privado, con su esposa y unos amigos, Davies demostró buen paladar en caldos y comidas".

    - 2007, October. A special event at Rick and Sue Davies's house.
    Supporting the war against cancer (American Association for Cancer Research)


    - 2008, Sadly, Rick’s mum Betty died in late 2008 at a nursing home in Stratton St. Margaret.

    - 2009, Rick's last trip back to Swindon being in January ‘09 to organise a party in her (mum) honour for friends and family.

    - 2010, New Supertramp tour. NEW --> Interview with RICK DAVIES, August 19

    2015, February: Supertramp announces autumn 2015 European Tour. August: The tour is Cancelled due Davies' cancer



    PROFILE of Swindon's Rick Davies, by

    March 8, 2009
    To coincide with the 30th anniversary of the band's US number one hit album, Breakfast in America, we profile the man who helped put the ‘super’ in Supertramp - Swindon's Rick Davies.

    Davies was the founder of the group and played keyboards, harmonica and melodica on many of their records, even though his childhood days in Swindon were as a drummer.

    Unusually among European bands, Supertramp were, if anything, even more popular in America than on this side of the Atlantic, and Rick eventually not only took up residency in the United States - first in California, later in Long Island - but is now a US citizen.

    It’s a far fling from his early life in Swindon.

    He was born on July 22, 1944, at the family home of Betty and Dick Davies, at the bottom of Eastcott Hill (number 43), a stone’s throw from Swindon Town Hall.

    Betty was well known in Swindon, even before Rick made a name for himself, as she ran a hairdressing salon called Anne’s. When she retired and finally closed her Regent Circus shop in 1979 - coincidentally the year of Supertramp’s greatest album - she had been hairdressing for half a century.

    Rick’s father, Dick, a former Merchant Navy man, died in 1973 - sadly before Supertramp had enjoyed the phenomenal success that was to follow.

    Rick went to Sanford Street School (no longer a school but, as Sanford House, now a centre dealing with the administration of education in Swindon) and, according to mum Betty: “Music was the only thing he was any good at at school.”

    His first musical stirrings were at the age of eight, when his parents gave him a secondhand radiogram which included a few records left by the previous owner.

    Among them were Drummin’ Man by drumming legend Gene Krupa, and, in Rick’s owns words, “it hit like a thunderbolt”,
    I must have played it 2,000 times,” he said. “That was it.”

    A friend of the family made Rick a makeshift drum kit out of a biscuit tin, and at the tender age of 12 he joined the British Railways Staff Association’s Brass and Silver Jubilee Band as a drummer.

    Drums were - and still are - his passion.

    In an interview in 2002 he said: “As a kid, I used to hear the drums marching along the street in England, in my home town, when there was some kind of parade, and it was the most fantastic sound to me.
    “Then, eventually, I got some drums and I took lessons. I was serious about it... I figured if I could do that - I mean a real drummer, read music and play with big bands, rock bands, classical, Latin, and know what I was going to do - I would be in demand and my life was set...
    But, of course, it didn’t work out that way. Eventually, I started fiddling with the keyboards, and that seemed to go over better than my drumming, for some reason. So you’ve gotta go with what people react to

    He never did have lessons for keyboards, but, according to Betty, “taught himself most of what he knows about music”.

    The Davies’ household was unpopular with the neighbours because one day they received a visit from the local council’s noise abatement officers, following a complaint.
    Maybe the anti-social aspect of drumming inadvertently turned him into a pianist. The drums must have been the problem because Rick’s piano practice was mostly at his aunty’s house in nearby Horsell Street.

    By 1959, his attention had been captured by rock ‘n’ roll, and he joined a band called Vince and the Vigilantes, but in 1962 and now studying in the art department at Swindon College, he formed his own band, called Rick’s Blues.

    The drumming duties were passed to - of all people - Ray O’Sullivan!
    Like Rick, he would also later drop the drums in favour of the piano, adopting the stage name Gilbert O’Sullivan and scoring a string of hit singles.

    Another close friend was Ken White, the Swindon artist who later earned international fame for his work for Richard Branson and as a mural painter. The trio having lived together in a house in London in the early ‘60s.

    Rick’s Blues was disbanded and any hopes of any artistic career were put on ice while Rick took a job as a welder at Square D, a firm making industrial control products and systems, which had a factory on the Cheney Manor Trading Estate in Swindon.

    He ‘loathed’ it.

    But his musical aspirations remained and, in September 1966, he joined a band called The Lonely Ones, playing organ.
    He later confessed that he lied about his abilities to get into the group, admitting he couldn’t actually play the organ at the time, but it was the start of Rick’s professional music career, and his welding days were over.

    The following year saw The Lonely ones play tours in Rome and Geneva, and in July 1967 they were re-named The Joint.

    Their work included recording scores for low budget German feature films, but the band were struggling, and Rick was living off soup until they met the Dutch millionaire Stanley August Miesegaes (‘SAM’), who became a financial backer and manager.

    They also signed to the Robert Stigwood Organization, led by one of the most successful impresarios of the era.

    Photo: Rick in the 60s


    Bolstered by continuing success and recognition on the continent - they appeared on Swiss TV! - Rick decided to form a new band and returned home to place a small ad in the music magazine Melody Maker in August 1969, offering a ‘genuine opportunity’.

    Roger Hodgson was duly auditioned and, despite their contrasting backgrounds – Rick’s working class upbringing and Roger’s public school education - they struck up an instant rapport and formed a band called Daddy, which was renamed Supertramp in January 1970.

    Though other members came and went over the years, Davies and Hodgson were the core of the group and its driving forces.

    Supertramp became one of the first acts to sign to the emerging A&M Records, and by the summer of 1970 they had recorded their first album, simply called Supertramp, released on July 14. Just 13 days later, they played at the now legendary Isle of Wight Festival.

    But this was to be no fairytale rise to stardom.
    The album - especially by Supertramp’s later standards - flopped.

    Guitarist Richard Palmer-James quit, and drummer Robert Millar suffered a nervous breakdown following a disastrous tour of Norway.

    A second album, Indelibly Stamped, earned the band a cult following but sold even less than their first effort, and Supertramp continued to struggle. It was to be 1974 before they made their real breakthrough.

    Former guitarist Richard Palmer-James later explained: “I admire Rick and Roger greatly as performers and songwriters, but most of all I admire them for not giving up in the early Seventies. They worked very hard indeed for their success, which came after five difficult and frustrating years.”

    Their reward came with Crime of the Century, their third album, which finally brought them critical and commercial success when it was released in 1974. It reached number four in the album charts and produced their first top 20 single, Dreamer, which made number 13 in the UK.
    Even more importantly, Supertramp began to make it big in America.

    By 1977 they had relocated to the States, and it was there that they recorded their best-selling album, Breakfast in America. A seminal work that reached number three in the UK, and top of the charts in America.

    But Rick hadn’t forgotten his Swindon roots, and when it was suggested that the band all be pictured reading newspapers for the back of the album sleeve, Rick was duly seen with a copy of the Swindon Evening Advertiser.

    The album is reckoned to have sold 19 million copies since its release on 29 March 1979 and represents the pinnacle of the Supertramp story.

    Though more success followed, by 1983 Roger Hodgson was ready to move on. His reasons for leaving have been the cause of much speculation, but Hodgson has insisted he did it to spend more time with his family - and, indeed, began working from a state-of-the-art recording studio at home.

    But he also admitted there had been friction between his wife and Rick’s wife, Sue, who had taken over as the band’s manager. However, personal and professional disagreements between Rick and Roger themselves were said to have been exaggerated.

    One of the conditions of Supertramp continuing without Hodgson was that none of his songs would be performed, and this proved a source of friction since the split.

    RichardDavies RickPiano

    A reunion was mooted in 1993, and when Supertramp reformed in 1997, it was still without Hodgson. Another attempt to bring the two together in 2005 also failed.

    And, in truth, Rick’s role in the band over the years is sometimes misinterpreted and perhaps understated.

    Although he was credited with co-writing Supertramp’s hit singles - including Dreamer, The Logical Song and Breakfast in America - along with keyboard/guitar/bass player Roger Hodgson, they were really Hodgson’s songs.

    As with Lennon and McCartney, who were jointly credited but mostly composed independently, so Davies and Hodgson tended to work on their own projects, and the one who took the lead vocals was usually the main composer. And it was Hodgson - originally from Portsmouth and later from Wantage - who took lead vocal on those best-selling singles.

    But Supertramp’s success was about much more than singles, sales of which were comparatively modest compared with album sales.

    Even their most successful single, The Logical Song, only reached number six in the US and seven in the UK, and this was easily surpassed by critically acclaimed and highly commercial albums, particularly Breakfast in America, which was a best-selling album in several countries.

    It is also significant that this was the era of Seventies supergroups playing concerts in football stadiums and other large venues, and Supertramp had as big a reputation for wowing live audiences as almost any other band of the time.
    They were undoubtedly one of the top album/live bands of the era.

    Although often classified as progressive rock, they developed a distinctive sound which they sometimes called ‘sophisto-rock’ which, according to Rolling Stone magazine, was ‘a carefully arranged, generally medium-tempo amalgam of ethereal electric piano’.

    Between 1970 and 2002, Supertramp released 11 studio albums, six of them making the top 20 in the UK. The double live LP, Paris, released in 1980, was also a top ten hit on both sides of the Atlantic, and three compilation albums were top ten hits too.

    But even these enormous successes were eclipsed by Breakfast in America, which still stands as a landmark album in the history of rock music.

    There is no doubt that, from those early days in a little terraced house in Swindon, came a bona fide Seventies supergroup.


    Why Supertramp, you ask?

    The name comes from a 1908 book by Welsh author WH Davies (no relation to Rick), called The Autobiography of a Super Tramp. It’s about the life of a Welsh tramp who travelled to the United States and back.

    Sadly, Rick’s mum Betty died in late 2008 at a nursing home in Stratton St. Margaret.

    Rick having travelled every Christmas from his home in the USA to visit her. His last trip back to Swindon being in January ‘09 to organise a party in her honour for friends and family.

    Webmasters MAC & Jordi, with Rick Davies

    BCN2010A3  BCN2010A2 

    ]]> (MAC) Rick Davies Sat, 14 Aug 2010 16:29:14 +0000
    Youtube: Creme Anglaise John Helliwell – Interview

    Youtube: Supertramp & Creme Anglaise John Helliwell – Interview 2007

    ]]> (Miguel Angel Candela MAC) John Helliwell Fri, 13 Aug 2010 11:57:07 +0000
    2010 Supertramp 70-10 Tour



    NEW ---  Interview with RICK DAVIES, August 19, 2010

    Supertramp has announced their 70-10 TOUR, celebrating forty years since the release of their first album, “Supertramp”, in 1970.  (But again, without co-founder Roger Hodgson, who left the band in 1983 )

    The tour will begin on September 2, 2010 in Halle, Germany and will include thirty-five shows in France, Germany, Austria, Switzerland, Spain, Italy, Portugal, Belgium, Holland, England and Ireland.

    Joining Supertramp’s founder, lead singer and keyboardist, Rick Davies, are legendary Supertramp members John Anthony Helliwell, saxophones and woodwinds, and Bob Siebenberg, drums. Veterans of past Supertramp tours, Jesse Siebenberg, lead vocals, guitars and percussion, Cliff Hugo, bass, Carl Verheyen, guitars and Lee Thornburg, horns, will round out the lineup.

    Rick Davies, along with set and lighting designer, Michael Brian Duncan, is developing a new stage production that will provide the audience with a total Supertramp experience, a delight for both the eyes and ears. Rehearsals are currently underway in New York and during the two hour plus show the band will perform a plethora of classics from their forty year history, including Bloody Well Right, Dreamer, From Now On, Goodbye Stranger, The Logical Song, Rudy and many, many more.

    Rehearsals for the tour:
    - June 18 to 28 in Rick's place, New York. PHOTO1, PHOTO2, PHOTO3  NEW !
    - Two more weeks in August in Paris.

    Set List: Only songs from 1973-1983 period and one or two songs from last albums
    Line-up: Rick Davies, John Helliwell, Bob Siebenberg, Carl Verheyen, Cliff Hugo, Jesse Siebenberg, Gabe Dixon, Lee Thornburg and Cassie Miller (Lee's wife) 
    Official Statements from Supertramp and Roger Hodgson Management: Read all 


    En Español:

    Supertramp vuelve a los escenarios en 2010, para celebrar el 40 aniversario de su primer album "Supertramp" en 1970. pero de nuevo sin el co-fundador Roger Hodgson, que no estará en esta gira de Supertramp.

    Una situación extraña, ya que como habéis ido leyendo en estos últimos años en entrevistas de Roger, aunque dejó la banda en 1983 lleva los últimos años intentando sin éxito una gira-reunión con Rick, que Rick ha rechazado, y finalmente éste último ha decidido a última hora una inesperada gira bajo el nombre Supertramp, llamando al resto de músicos a partir de Febrero/Marzo, cosa que ha pillado por sorpresa a todos, tanto músicos y promotores, como fans.

    Es decir, Roger Hodgson y Supertramp harán giras simultáneas durante 2010, como ya pasó en 2002. Disfrutemos pues de ambas giras !

    Jesse Siebenberg canceló repentinamente la colaboración que tenía prevista con Roger en Sudamérica y otros conciertos con banda, para sumarse al proyecto de Rick. Arriba tenéis el resto de miembros de la banda, donde lo único que cambia es la ausencia de Mark Hart (de gira con Crowded House) y la vuelta del trompetista Lee.

    Comentan que están diseñando un nuevo escenario y luces para esta gira. Veremos si es cierto y se lucen un poco en este aspecto, ya que es el punto más criticable de anteriores giras. Y prometen un concierto de más de dos horas con todos los éxitos. De momento no hay noticias de material nuevo (lease single o album)

    Ensayos de preparación de la gira:
    - Junio 18 al 28 en casa de Rick, New York. FOTO1, FOTO2, FOTO3  NUEVO !
    - Dos semanas más en Agosto en Paris.

    Repertorio: Solo temas del período 1973-1983 y una o dos canciones de los últimos albums
    Componentes: Rick Davies, John Helliwell, Bob Siebenberg, Carl Verheyen, Cliff Hugo, Jesse Siebenberg, Gabe Dixon, Lee Thornburg y Cassie Miller (mujer de Lee) 

    Comunicados oficiales de Supertramp y Roger Hodgson managers: Leer los  comunicados 




    BUY Official audio recordings from tour (mp3 or CD)   You can listen free samples.

    COMPRAR Grabaciónes oficiales de la gira  (mp3 o CD)   Podéis escuchar muestras gratis



    Sep 02
    Gerry Weber Stadion
    Halle, Germany

    Sep 04
    Warsteiner Hockeypark
    Mönchengladbach, Germany

    Sep 05
    Ganser Open Air
    Freiburg, Germany

    Sep 07
    Verona, Italy

    Sep 08
    Vienna, Austria

    Sep 11
    Coruna, Spain
    Sep 12
    Lisbon, Portugal
    Sep 14
    Palacio Cristal
    Porto, Portugal
    Sep 15
    Palacio Deportes
    Madrid, Spain
    Sep 17
    Bilbao Exhibition Centre, Barakaldo
    Bilbao, Spain
    Sep 18
    Palau Sant Jordi
    Barcelona, Spain

    Sep 20
    München, Germany

    Sep 22
    Nuremburg Arena
    Nuremburg, Germany

    Sep 23
    Sap Arena
    Mannheim, Germany

    Sep 24
    Erfurt, Germany

    Sep 26
    Color Line Arena
    Hamburg, Germany

    Sep 27
    O2 Arena - Berlin, Germany
    Berlin, Germany
    Sep 29
    TUI Arena
    Hanover, Germany

    Sep 30
    Arena - Leipzig, Germany
    Leipzig, Germany

    Oct 01
    Frankfurt, Germany

    Oct 03
    Lanxess Arena
    Cologne, Germany

    Oct 04
    Arnhem, Netherlands

    Oct 06
    The 02 Arena (London)
    London, United Kingdom

    Oct 08
    The 02 (Dublin)
    Dublin 1, Ireland

    Oct 10
    Merksem, Belgium

    Oct 12
    Zenith (Nantes)
    Nantes, France

    Oct 14
    Zenith d’Auvergne
    Clermont Ferrand, France

    Oct 15
    Geneva Arena
    Geneva, Switzerland

    Oct 16
    Halle Tony Garnier
    Lyon, France

    Oct 18
    Paris, France

    Oct 20
    Le Zenith
    Toulouse, France

    Oct 21
    Zenith Omega
    Toulon, France

    Oct 23
    Torino Palavela
    Turin, Italy

    Oct 24
    Stuttgart, Germany

    Oct 25
    Zürich, Switzerland

    Oct 27
    Zenith Arena
    Lille, France

    Oct 28
    Paris, France

    --- Tickets info ---


    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 10:47:25 +0000
    2002 Slow motion Tour


    The official name of the tour was "One more for the road" tour.

    Jesse Siebenberg improved his role in the band (percussions, acoustic guitar, special sounds & effects).
    He performed "Give a little bit" (Roger Hodgson song) with a 12 strings guitar.

    European leg: more than 60 gigs form April to July around Europe.
    American leg: more than 20 gigs in Canada and USA in August and September.

    The tour started in Spain, Benidorm, and the BreakfastinSpain team was there, of course. A gang of spanish fans together with Walter (Brazil) and Annie (Ireland) joined the band during the shows in Spain. We rented a van, and... do we go !
    The last gig of the tour was in LA in September.

    The show starts everynight with the song "School", like in the Roger Hodgson times.
    "Breakfast in America" was not in the set list, but "Give a little bit" performed by Jesse.

    You also can see FULL information about this tour in a special section we've restored from our old website (all the dates, ALL reports, photos, press, spanish caravan, etc..) Just click on this link:



    Some of our REPORTS

    BENIDORM, APRIL 18TH, 2002









    LONDON, JULY 21, 2002









    Date: April 18, 2002 (Thursday)
    Location: Benidorm, Spain
    Venue: Bullring

    Date: April 20, 2002 (Saturday)
    Location: Lisbon, Portugal
    Venue: Pavilhao Atlantico

    Date: April 21, 2002 (Sunday)
    Location: Lisbon, Portugal
    Venue: Pavilhao Atlantico

    Date: April 23, 2002 (Tuesday)
    Location: La Coruma, Spain
    Venue: Coliseo

    Date: April 25, 2002 (Thursday)
    Location: Malaga, Spain
    Venue: Sports Palace

    Date: April 26, 2002 (Friday)
    Location: Granada, Spain
    Venue: Sports Palace

    Date: April 27, 2002 (Saturday)
    Location: Madrid, Spain
    Venue: Palacio Vistalegre

    Date: April 28, 2002 (Sunday)
    Location: Barcelona, Spain
    Venue: Palace St. Jordi

    Date: April 30, 2002 (Tuesday)
    Location: Vitoria, Spain
    Venue: Fernando Buesa Arena

    Date: May 2, 2002 (Thursday)
    Location: Bordeux, France
    Venue: Patinoire Meriadeck

    Date: May 3, 2002 (Friday)
    Location: Pau, France
    Venue: Zenith

    Date: May 4, 2002 (Saturday)
    Location: Marseille, France
    Venue: Dome

    Date: May 6, 2002 (Monday)
    Location: Paris, France
    Venue: Bercy

    Date: May 7, 2002 (Tuesday)
    Location: Paris, France
    Venue: Bercy

    Date: May 8, 2002 (Wednesday)
    Location: Rouen, France
    Venue: Zenith

    Date: May 10, 2002 (Friday)
    Location: Metz, France
    Venue: Galaxia

    Date: May 11, 2002 (Saturday)
    Location: Antwerp, Belgium
    Venue: Sports Palais

    Date: May 12, 2002 (Sunday)
    Location: Rotterdam, Holland
    Venue: Ahoy

    Date: May 13, 2002 (Monday)
    Location: Rotterdam, Holland
    Venue: Ahoy

    Date: May 15, 2002 (Wednesday)
    Location: Lille, France
    Venue: Zenith Arena

    Date: May 16, 2002 (Thursday)
    Location: Caen, France
    Venue: Zenith

    Date: May 18, 2002 (Saturday)
    Location: Lyon, France
    Venue: Halle Tony Garnier

    Date: May 19, 2002 (Sunday)
    Location: Nice, France
    Venue: Nikita

    Date: May 20, 2002 (Monday)
    Location: Toulon, France
    Venue: Zenith Omega

    Date: May 22, 2002 (Wednesday)
    Location: Zurich, Switzerland
    Venue: Hallenstadion

    Date: May 23, 2002 (Thursday)
    Location: Geneva, Switzerland
    Venue: Arena

    Date: May 24, 2002 (Friday)
    Location: Nimes, France
    Venue: Arenes

    Date: May 26, 2002 (Sunday)
    Location: Strasbourg, France
    Venue: Halle Rhenus

    Date: May 27, 2002 (Monday)
    Location: Luxembourg City, Luxembourg
    Venue: Ice Ring

    Date: May 30, 2002 (Thursday)
    Location: Oberhausen, Germany
    Venue: Arena

    Date: May 31, 2002 (Friday)
    Location: Bonn, Germany
    Venue: Museumsufer

    Date: June 1, 2002 (Saturday)
    Location: Braunschweig, Germany
    Venue: VW Hall

    Date: June 2, 2002 (Sunday)
    Location: Hannover, Germany
    Venue: Preussag Arena

    Date: June 4, 2002 (Tuesday)
    Location: Stuttgart, Germany
    Venue: Schleyerhalle

    Date: June 5, 2002 (Wednesday)
    Location: Munich, Germany
    Venue: Olympialle

    Date: June 6, 2002 (Thursday)
    Location: Bregenz, Austria
    Venue: Seebuhne

    Date: June 7, 2002 (Friday)
    Location: Mannheim, Germany
    Venue: Eisstadion

    Date: June 9, 2002 (Sunday)
    Location: Bad Mergentheim, Germany
    Venue: Schlobhof

    Date: June 10, 2002 (Monday)
    Location: Dresden, Germany
    Venue: Kulturpalast

    Date: June 11, 2002 (Tuesday)
    Location: Berlin, Germany
    Venue: Waldhbune

    Date: June 13, 2002 (Thursday)
    Location: Erfurt, Germany
    Venue: Messehalle

    Date: June 14, 2002 (Friday)
    Location: Fulda, Germany
    Venue: Schlobplatz

    Date: June 15, 2002 (Saturday)
    Location: Frankfurt, Germany
    Venue: Jahrunderthalle

    Date: June 16, 2002 (Sunday)
    Location: Regensburg, Germany
    Venue: Donahulle

    Date: June 18, 2002 (Tuesday)
    Location: Vienna, Austria
    Venue: Gasometer

    Date: June 21, 2002 (Friday)
    Location: Bologna, Italy
    Venue: Made In Bo

    Date: June 22, 2002 (Saturday)
    Location: Rome, Italy
    Venue: Valle Giulia

    Date: June 24, 2002 (Monday)
    Location: Milan, Italy
    Venue: Idropark

    Date: June 25, 2002 (Tuesday)
    Location: Treviso, Italy
    Venue: Campo Fiera

    Date: June 26, 2002 (Wednesday)
    Location: Torino, Italy
    Venue: Palastampa

    Date: June 28, 2002 (Friday)
    Location: Budapest, Hungary
    Venue: Kisstadion

    Date: June 29, 2002 (Saturday)
    Location: Bad Reichenhalle, Germany
    Venue: Altes Suline

    Date: July 5, 2002 (Friday)
    Location: Monte Carlo, Monaco
    Venue: Sporting Club

    Date: July 6, 2002 (Saturday)
    Location: Monte Carlo, Monaco
    Venue: Sporting Club

    Date: July 8, 2002 (Monday)
    Location: St. Dizier, France
    Venue: Festiv'Etes

    Date: July 9, 2002 (Tuesday)
    Location: Aix Le Bains, France
    Venue: Theatre de Verdure

    Date: July 12, 2002 (Friday)
    Location: Hamburg, Germany
    Venue: Stadtpark

    Date: July 13, 2002 (Saturday)
    Location: Hamburg, Germany
    Venue: Stadtpark

    Date: July 14, 2002 (Sunday)
    Location: Halle, Germany
    Venue: Gerry Weber Stadium

    Date: July 16, 2002 (Tuesday)
    Location: Glasgow, Scotland
    Venue: Armadillo

    Date: July 17, 2002 (Wednesday)
    Location: Edinburgh, Scotland
    Venue: Playhouse

    Date: July 19, 2002 (Friday)
    Location: Liverpool, UK
    Venue: Kings Dock

    Date: July 20, 2002 (Saturday)
    Location: Leicester, UK
    Venue: De Montfort Hall Amphitheatre

    Date: July 21, 2002 (Sunday)
    Location: London, UK
    Venue: Hyde Park

    Date: July 23, 2002 (Tuesday)
    Location: Zurich, Switzerland
    Venue: Landesmuseum

    Date: July 24, 2002 (Wednesday)
    Location: Nyon, Switzerland
    Venue: Paleo


    Date: August 20, 2002 (Tuesday)
    Location: St. John's, Newfoundland
    Venue: Mile One Stadium

    Date: August 22, 2002 (Thursday)
    Location: Halifax, Nova Scotia
    Venue: Halifax Metro Centre

    Date: August 23, 2002 (Friday)
    Location: Saint John, New Brunswick
    Venue: Harbour Station

    Date: August 24, 2002 (Saturday)
    Location: Moncton, New Brunswick
    Venue: Moncton Coliseum

    Date: August 26, 2002 (Monday)
    Location: Quebec City, Quebec
    Venue: L'Agora

    Date: August 27, 2002 (Tuesday)
    Location: Kanata, Ontario
    Venue: WordPerfect Theatre at the Corel Centre

    Date: August 29, 2002 (Thursday)
    Location: Toronto, Ontario
    Venue: Molson Amphitheatre

    Date: August 30, 2002 (Friday)
    Location: Buffalo, New York
    Venue: Darien Lake

    Date: August 31, 2002 (Saturday)
    Location: Walkerton, Ontario
    Venue: Walkerton Ball Diamond

    Date: September 4, 2002 (Wednesday)
    Location: Montreal, Quebec
    Venue: Molson Centre

    Date: September 5, 2002 (Thursday)
    Location: New York, New York
    Venue: Beacon Theatre

    Date: September 7, 2002 (Saturday)
    Location: Sudbury, Ontario
    Venue: Sudbury Arena

    Date: September 8, 2002 (Sunday)
    Location: Thunder Bay, Ontario
    Venue: Fort Williams Gardens

    Date: September 9, 2002 (Monday)
    Location: Winnipeg, Manitoba
    Venue: Winnipeg Arena

    Date: September 10, 2002 (Tuesday)
    Location: Regina, Saskatchewan
    Venue: Regina Agridome

    Date: September 12, 2002 (Thursday)
    Location: Edmonton, Alberta
    Venue: Skyreach Center

    Date: September 13, 2002 (Friday)
    Location: Calgary, Alberta
    Venue: Pengrowth Saddledome

    Date: September 16, 2002 (Monday)
    Location: Vancouver, British Columbia
    Venue: Pacific Coliseum

    Date: September 17, 2002 (Tuesday)
    Location: Kelowna, British Columbia
    Venue: Skyreach Place

    Date: September 18, 2002 (Wednesday)
    Location: Kelowna, British Columbia
    Venue: Skyreach Place

    Date: September 20, 2002 (Friday)
    Location: Los Angeles, California
    Venue: Universal Amphitheatre


    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 10:40:58 +0000
    1997 Somethings never change Tour


    Dougie Thomson (bass player) was not in this tour. According his words in some interviews years later, he didn't agree Supertramp play Roger's songs in previous tour, and that was a problem on his relation with Rick an Sue.

    Jesse Siebenberg (Bob's son) joins the band (percussions)

    A live double CD was recorded: "It was the best of times".
    Appart from Roger's "The logical song" and "Breakfast in America",  songs "School" and "Take the long way home" (Roger Hodgson too) were also included in the setlist.

    Coincidence or not, Supertramp and Roger Hodgson were on tour in 1997, promoting their new albums, 10 years after their previous albums in both cases....
    It was a very good year for the fans !!!

    1997 WORLD TOUR

    04/28/97 -- Stockholm, Sweden -- Annex

    04/29/97 -- Copenhagen, Denmark -- Falkoner Theatre

    05/01/97 -- Rotterdam, Netherlands -- Ahoy

    05/02/97 -- Rotterdam, Netherlands -- Ahoy

    05/03/97 -- Brussels, Belgium -- Forest National

    05/05/97 -- Paris, France -- Palais Omnisports

    05/06/97 -- Paris, France -- Palais Omnisports

    05/08/97 -- Lievin, France -- Stade Couvert

    05/09/97 -- Metz, France -- Galaxia

    05/10/97 -- Strasbourg, France -- Rhenus

    05/12/97 -- Geneva, Switzerland -- Geneva Arena

    05/13/97 -- Lyon, France -- Halle Tony Garnier

    05/14/97 -- Toulon, France -- Zenith Omega

    05/16/97 -- Nurburgring, Germany -- Rock In The Ring

    05/17/97 -- Nuremberg, Germany -- Rock In The Park

    05/18/97 -- Dresden, Germany -- Eisschnelaufbahn

    05/20/97 -- Hamburg, Germany -- Sporthalle

    05/21/97 -- Berlin, Germany -- Deutschlandhalle

    05/22/97 -- Prague, Czechoslovakia -- Prague Sport Hall

    05/24/97 -- Katowice, Poland -- Spodek Sporthall

    05/25/97 -- Budapest, Hungary -- Sports Hall

    05/26/97 -- Vienna, Austria -- Music Hall

    05/28/97 -- Imst, Austria -- Open Air Tent

    05/29/97 -- Bolzano, Italy -- Palasport

    05/31/97 -- Rome, Italy -- Palaeur

    06/02/97 -- Milan, Italy -- Forum

    06/03/97 -- Zurich, Switzerland -- Hallenstadion Zurich

    06/05/97 -- Toulouse, France -- Palais Des Sportes

    06/06/97 -- Marseille, France -- Le Dome

    06/07/97 -- Nimes, France -- Arenes

    06/09/97 -- Pau, France -- Le Zenith

    06/10/97 -- Bordeaux, France -- Patinoire

    06/11/97 -- Ferrand, France -- Maison des Sport

    06/13/97 -- Angers, France -- Amphitheatre

    06/14/97 -- Brest, France -- Pace de Penfeld

    06/16/97 -- Birmingham, England -- Academy

    06/18/97 -- London, England -- Royal Albert Hall

    06/19/97 -- London, England -- Royal Albert Hall

    06/23/97 -- La Coruna, Spain -- Coliseum

    06/24/97 -- Lisbon, Portugal -- Praca de Touros

    06/26/97 -- Barcelona, Spain -- Palau St. Jordi

    06/27/97 -- Murcia, Spain -- Plaza de Toros

    06/28/97 -- Málaga, Spain -- Plaza de Toros

    06/30/97 -- Zaragoza, Spain -- Principe Felipe

    07/01/97 -- Valencia, Spain -- Jardines De Los Viveros

    07/02/97 -- Madrid, Spain -- Sport Palace

    07/04/97 -- Monte Carlo, Monaco -- Sporting Club

    07/05/97 -- Monte Carlo, Monaco -- Sporting Club

    07/06/97 -- Monte Carlo, Monaco -- Sporting Club

    07/07/97 -- Montreux, Switzerland -- Montreux Jazz Festival

    07/15/97 -- Holmdel, New Jersey -- P.N.C. Bank Arts Center

    07/18/97 -- Philadelphia, Pennsylvania -- Mann Music Center

    07/19/97 -- Wantagh, New York -- Jones Beach Ampitheatre

    07/20/97 -- Buffalo, New York -- Darien Lake P.A.C.

    07/22/97 -- Quebec City, Quebec -- Coliseum de Quebec

    07/23/97 -- Montreal, Quebec -- Molson Centre

    07/25/97 -- Ottawa, Ontario -- Corel Centre

    07/26/97 -- Toronto, Ontario -- Molson Ampitheatre

    07/28/97 -- Chicago, Illinois -- Rosemont Theatre

    07/29/97 -- Clarkston, Michigan -- Pine Knob Music Theatre

    07/30/97 -- Milwaukee, Wisconsin -- Marcus Ampitheatre

    07/31/97 -- St. Louis, Missouri -- Riverport Ampitheatre

    08/04/97 -- Saskatoon, Saskatchewan -- Saskatchewan Place

    08/05/97 -- Edmonton, Alberta -- Edmonton Coliseum

    08/06/97 -- Calgary, Alberta -- Saddledome

    08/08/97 -- Vancouver, British Columbia -- Gen.Motors Place

    08/09/97 -- Ellensburg, Washington -- The Gorge

    08/11/97 -- Concord, California -- Concord Pavilion

    08/14/97 -- Los Angeles, California -- Greek Theatre

    08/15/97 -- Los Angeles, California -- Greek Theatre

    09/17/97 -- London, England -- Royal Albert Hall

    09/18/97 -- London, England -- Royal Albert Hall

    09/19/97 -- London, England -- Royal Albert Hall

    09/20/97 -- London, England -- Royal Albert Hall

    09/21/97 -- London, England -- Royal Albert Hall

    09/24/97 -- Glasgow, Scotland -- S.E.C.C.

    09/26/97 -- Sheffield, England -- Arena M

    09/27/97 -- Manchester, England -- Nynex Arena

    09/28/97 -- Dublin, Ireland -- Point

    09/30/97 -- Orleans, France -- Zenith

    10/01/97 -- Rotterdam, Netherlands -- Ahoy

    10/02/97 -- Rotterdam, Netherlands -- Ahoy

    10/04/97 -- Caen, France -- Zenith

    10/05/97 -- Paris, France -- Bercy

    10/06/97 -- Grenoble, France -- The Palais Des Sports

    10/08/97 -- Rennes, France -- Le Liberte

    10/09/97 -- La Rochelle, France -- Hall Expo

    10/11/97 -- Brussels, Belgium -- Forest National

    10/12/97 -- Munich, Germany -- Olympic Hall

    10/13/97 -- Frankfurt, Germany -- Festhalle

    10/15/97 -- Bremen, Germany -- Stadhalle

    10/16/97 -- Bielefeld, Germany -- Seidenstickerhalle

    10/17/97 -- Koeln, Germany -- Sporthalle

    10/19/97 -- Kiel, Germany -- Osteehalle

    10/20/97 -- Rostock, Germany -- Stadhalle

    10/22/97 -- Mulhouse, France -- Parc Expo

    10/23/97 -- Zurich, Switzerland -- Hallenstadion

    10/24/97 -- Geneva, Switzerland -- Arena

    10/25/97 -- Marseilles, France -- Le Dome

    10/27/97 -- Le Mans, France -- Antares

    10/28/97 -- Lille, France -- Zenith

    10/29/97 -- Nancy, France -- Zenith

    10/30/97 -- Stuttgart, Germany -- Schleyerhalle


    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 10:37:23 +0000
    1988 Free as a bird Tour


    The second tour after the split, Just 3 month tour.

    A live CD was recorded. (Supertramp LIVE 88): Just one CD (not double) and very poor quality.... read below the Rick's reasons for that. Horrible CD, kind of swindle for die hard fans .... (just few song and poor sound...)

    Couple songs of Roger were performed: Breakfast in America and The logical song, breaking the verbal agreement with Roger. And both sounded vey bad, what a shame...

    Included for the first time on any Supertramp album is outside material ('Hoochie Cooche...', 'Don't You Lie To Me'). It's really hard to understand this decision, having lot of good songs ready to play...

    Rick’s comments about the 1988 tour and live album

    "It may come as a surprise to some that the first part of 1988 was one of the most interesting periods in Supertramp's history.
    The band was able (for the first time) to visit Brazil and play two shows there, one in Rio and one in São Paulo.
    Rio, in fact, was the first show of our tour.
    Past tours had usually commenced with a series of smaller shows in out-of-the-way places that allowed us the opportunity to put the finishing touches on the production and to warm up the band. This time out we were not so lucky.
    We found ourselves preparing to play our first live gig in over a year to 75,000 impatient, screaming Brazilians.
    To make matters worse, the weather the day of the show consisted of torrential rains which rendered half of our equipment unusable.
    We finally got on stage at about midnight. After a disastrous start, with all kinds of buzzes and hums emitting from the P.A., we slowly pulled ourselves together and got through the show, albeit with egos bruised, telling ourselves that it was not smart to have a great gig at the beginning of a tour because the only place to go from there was down hill.

    So on we went to São Paulo where our second show went a lot smoother.
    We’d had a week between shows, a chance to see some of the country and were all feeling a bit better.

    From the 90+degree sun of Brazil we moved north to the Canadian leg of the tour where the temperature flirted with the minus 40 degree mark the day we played in Winnipeg.

    A short break and it was over to Europe for the major portion of the tour. About half way through the European dates I began to realize that this was probably the tightest Supertramp band that I could remember.
    I suggested, as an experiment, that we record some of the shows using a simple 2-track tape recorder plugged directly into the mix board in the hall, as opposed to the more traditional 48-track mobile recording truck. We had no special producers and no additional engineers. As a result, this record is Supertramp in the raw as it were with very minimal tampering with the tapes.
    In an age of computerized recording this may go against the grain but over the years I've noticed that music recorded in this manner, be it jazz, Classical or whatever, gives me the most listening pleasure. Recording a band like us is not easy.
    We have masses of keyboards, guitars, drums, percussion and taped effects with levels of sounds that are constantly changing. I think, that what we've captured on tape here is a spirit which is new and different for Supertramp.

    Included for the first time on any Supertramp album is outside material ('Hoochie Cooche...', 'Don't You Lie To Me').
    These impromptu jams are my favourite part of the collection as they show the band letting off a little steam after the stricter arrangements of the original material.
    Also, of interest to long-time followers is Mark Hart's interpretation of 'Breakfast In America' and 'The Logical Song'.
    It's hard for me to imagine anybody else but Roger Hodgson pulling it off, but Mark did.
    I's also good to hear John Helliwell in his favorite environment (on stage) playing with great relish throughout.
    The order of solos in 'Hoochie Cooche' is John, Marty Walsh on guitar, Brad Cole on organ and Mark Hart on guitar.
    On 'Don't You Lie To Me', John, Mark Hart on guitar, and me on the piano."

    Rick Davies, August 1988

    January 1988
    9 – Rio de Janeiro (Brazil)
    16 – Sao Paulo (Brazil)

    1 – Edmonton (Canada)
    2 – Calgary (Canada)
    4 – Winnipeg (Canada)
    6 – Merriville (US)
    9 – Ottawa (Canada)
    10 – Toronto (Canada)
    11 – Montreal (Canada)
    13 – Halifax (Canada)
    16 – Philadelphia (US)
    17 – Philadelphia (US)
    22 – Paris (France)
    23 – Paris (France)
    29 – Kolhn (Germany)

    1 – Frankfurt (Germany)
    2 – Munich (Germany)
    4 – Stuttgart (Germany)
    6 – Hamburg (Germany)
    8 – Rotterdam (Holland)
    10 – Brussels (Belgium)
    12 – Tours (France)
    14 – Grenoble (France)
    15 – Clermont (France)
    16 – Lyon (France)
    18 – San Sebastián (Spain)
    19 – Toulouse (France)
    20 – Montpellier (France)
    22 – Barcelona (Spain)
    23 – Valencia (Spain)
    24 – Madrid (Spain)
    28 – Bordeux (France)
    29 – Dijon (France)
    30 – Lille (France)

    2 – Karlsruhe (Germany)
    4 – Bolzano (Italy)
    5 – Linz (Austria)
    6 – Innsbruck (Austria)
    8 – Laussane (Switzerland)
    9 – Torino (Italy)
    11 – Rome (Italy)
    12 – Napoli (Italy)
    14 – Milano (Italy)
    16 – Zurich (Switzerland)
    18 – London (UK)
    19 – London (UK)


    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 10:33:03 +0000
    1985/86 Brother were you bound Tour



    The first tour after the split (Roger left the band in 1983)

    A very succesful tour, but a bit sad for some fans. Any of the Roger 's songs (hits) was performed.
    New musicians on stage: Scott Page (saxophone, already in 1983 tour), Mark Hart (keyboards, guitars, vocals), Carl Verheyen (lead guitar), Marty Walsh (guitar)

    Carl became lead guitarist, replacing the departing guitarist Roger Hodgson.
    The band played stadium shows all across the U.S. and Canada .
    In 1986 the group toured Europe , selling out huge arenas in eight countries.
    This tour finished with a command performance for Prince Charles and the late Princess Diana at the Royal Albert Hall in London.



    After some gigs, the band played in little local clubs, as Rick & the Rockets (you can see some photos in the link)

    September 1985
    - CANADA -
    23 - St. John’s
    24 - St. John’s
    25 - St. John’s
    27 - Halifax
    28 - Moncton
    29 - Fredrickton

    October 1985
    - USA -
    2 - Bloomington
    4 - Kalamazoo
    5 - Buffalo
    6 - Lake Placid
    7 - Worcester
    9 - Troy
    11 - Philadelphia
    12 - Fairfax
    13 - Hampton
    14 - New Haven
    16 - New York
    18 - Cambridge
    - CANADA -
    19 - Ottawa
    21 - Quebec City
    22 - Montreal
    24 - Toronto
    - USA -
    25 - Hartford
    27 - Detroit
    29 - Chicago
    30 - Madison

    November 1985
    1 - Milwaukee
    2 - Minneapolis
    4 - St. Luis
    5 - Kansas City
    6 - Norman
    8 - San Antonio
    9 - Houston
    10 - Dallas
    12 - Chicago
    14 - Calgary (Canada)
    17 - Vancouver (Canada)
    18 - Seattle
    20 - Los Angeles
    21 - Los Angeles
    23 - Costa Mesa

    - EUROPE -

    January 1986
    13 - Caen (France)
    14 - París (France)
    15 - París (France)
    16 - París (France)
    17 - París (France)
    18 - París (France)
    20 - Toulouse (France)
    21 - Toulouse (France)
    22 - Bordeaux (France)
    23 - Nantes (France)
    25 - San Sebastián (Spain)
    27 - Bilbao (Spain)
    28 - Madrid (Spain)
    30 - Barcelona (Spain)
    31 - Avignon (France)

    February 1986
    1 - Laussane (Switzerland)
    3 - Nice (France)
    4 - Clermont Ferrand (France)
    5 - Poitiers (France)
    6 - Lille (France)
    8 - Strasbourg (France)
    9 - Metz (France)
    10 - Dijon (France)
    11 - Lyon (France)
    13 - Rotterdam (Holland)
    14 - Frankfurt (Germany)
    15 - Hamburg (Germany)
    16 - Bremen (Germany)
    18 - Brussels (Belgium)
    19 - Saarbrucken (Germany)
    21 - Passau (Germany)
    22 - Wurzburg (Germany)
    23 - Friedrichshafen (Germany)
    25 - Dussseldorf (Germany)
    26 - Dortmund (Germany)
    28 - Zurich (Switzerland)

    March 1986
    1 - Ludwigshafen (Germany)
    2 - Nuremberg (Germany)
    4 - Munich (Germany)
    6 - Stuttgart (Germany)
    8 - London (UK)
    10 - London (UK)
    11 - Birmingham (UK)
    13 - Nice (France)
    14 - Berna (Switzerland)
    15 - Berna (Switzerland)
    17 - Copenhague (Denmark)
    19 - Berlin (Germany)



    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 10:27:22 +0000
    Presentación de Some Things Never Change en Paris - SPANISH Han pasado 10 años desde que publicaron su último trabajo - Mark Hart (de Crowded House) sustituye a Roger Hodgson - Su gira mundial les traerá a siete ciudades españolas

    Las penúltimas palabras de Supertramp

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

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

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


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

    Reencuentros distintos

    SILVIA GRIJALBA MADRID.- Hay muchas incógnitas sobre el regreso de Supertramp, pero lo que casi todo el mundo se pregunta, lo que a la mayoría le importa de verdad es si Some things never change hace de verdad honor a su nombre. Si el disco mantiene inalterable el sonido que hizo popular a los autores de Even in the quietest moments o si el cambio de formación (con el ex Crowded House Mark Hart sustituyendo a Roger Hodgson) habrá supuesto una revolución musical dentro de la banda. La experiencia de otros grupos, que han decidido seguir la corriente tan de moda últimamente de recomponer bandas triunfadoras durante los años 70, demuestra que la tendencia general consiste en perpetuar los sonidos que les han llevado al éxito. El intento más descarado ha sido el de los Sex Pistols, pero no todo el mundo tiene agallas como para confesar que se reunen para ganar dinero, sin ofrecer un tema nuevo. Los supervivientes de grupos inscritos en lo sinfónico, como Yes, King Crimson o, en España, Triana, sí tienen el detalle de componer nuevos temas y, a pesar de estar avalados por un nombre que consiguió batir records de ventas hace 20 años y que muchos dudan que les corresponda mantener, asumen un cierto riesgo lanzando discos que, como ocurrió con el disco anterior de Supertramp, Free as a bird, pueden ser un fracaso o, como pasó en su momento con Aerosmith, suponer el renacimiento al éxito.]]> (Miguel Angel Candela MAC) Supertramp Press and Media Fri, 13 Aug 2010 10:23:02 +0000
    1983 Famous last words Tour




    The largest and more succesful tour.

    The last tour with Roger Hodgson. Supertramp filled stadiums around the world.
    Reach some 1.5 million people around the world, Supertramp's most ambitious ever.

    For the first time there was some musicians helping the band on stage (Scott Page and Fred Mandel)
    And for the first time Roger spoke to the audience during the shows (just to say thanks and announcing he leaves the band) after 14 years in the band, what a big achievement for such a very shy man .....


    BARCELONA, 5 Julio, 1983



    1 Stockholm
    2 Stockholm
    5 Copenhagen
    8 Amsterdam
    10 Brussels
    12 Frankfurt
    14 Vienna
    17 Cologne
    19 Dortmund
    21 Hamburg
    23 Berlin
    24 Paris
    26 Nantes
    29 London
    30 London

    1 London
    2 London
    3 Lyon
    5 Barcelona
    7 Madrid
    10 Karlsruhe
    12 Verona
    14 Viareggio
    16 Basel
    19 Biarritz
    21 Nice
    23 Munich

    5 Philadelphia
    6 Hampton
    8 Long Island
    9 New York
    10 Pittsburgh
    11 Buffalo
    13 Atlanta
    15 Baltimore
    17 Worcester
    18 Montreal
    19 Montreal
    20 Montreal
    22 Ottawa
    24 Toronto
    25 Toronto
    26 Milwaukee
    27 Alpine Valley
    28 Minneapolis/St.Paul
    31 Portland

    1 Seattle
    3 Vancouver
    5 Calgary
    6 Edmonton
    9 Chicago
    10 Detroit
    11 Cleveland
    13 Indianapolis
    14 St. Louis
    16 Norman
    17 Houston
    18 Austin
    21 San Diego
    23 Los Angeles
    24 Los Angeles
    25 Irvine



    ]]> (MAC) Touring: General Info Fri, 13 Aug 2010 09:16:50 +0000
    1979 Breakfast in America Tour



    The first official live album was recorded in this tour: "Supertramp Paris", released in 1980.

    Ten month tour.
    The tour took 52 tons of gear, 10 miles of cable, $5 millions worth of equipment and 40 man crew.
    Broke all previous concert attendance records in Europe and Canada, made front page headlines full of superlaives and solidified the band's reputation for spectacular rock shows.


    Fort Worth
    Green Bay
    Kansas City, MO
    Long Beach
    Los Angeles
    New Brunswick
    New Orleans
    New York City
    Oklahoma City
    St. Louis
    St. Paul
    San Antonio
    San Diego
    London, Ontario
    Quebec City



    16- Boulder, Colorado
    18- St. Louis, MO
    19- St. Louis, MO
    20- Kansas City, MO
    22- Milwaukee, Wisconsin
    23- Milwaukee, WI
    24- St. Paul, Minnesota
    25- Madison, Wisconsin
    27- Green Bay, Wisconsin
    28- Chicago, Illinois

    3- Los Angeles, California - LA Forum
    4- Los Angeles, California - LA Forum
    5- Oakland, California
    8- Tucson, Arizona
    9- Phoenix, Arizona
    11- San Diego Sports Arena
    12- Fresno,California - Selland Arena
    13- Fresno, California - Selland Arena
    15- Spokane, Washington - Coliseum
    16- Missoula, Montana - Adam Field House
    18- Seattle, Washington - Coliseum
    19- Portland, Oregon - Coliseum
    20- Pullman, Washington - WSU Field House
    22- Corvallis, Oregon - Gill Coliseum
    30- Tulsa, Oklahoma

    1 - Norman, Oklahoma
    2 - Ft. Worth, Texas
    3 - San Antonia, Texas - Arena
    5 - Houston, Texas - Coliseum
    7 - New Orleans, Louisiana
    9 - Nashville, Tennessee
    11 - Miami, Florida
    12 - Fr. Meyers, Florida
    13 - St. Petersburg, Florida
    15 - Atlanta, Georgia - The Omni
    16 - Greensboro, North Carolina
    17 - Largo - Capitol Center
    18 - New Brunswick, Nova Scotia
    20 - Detroit, Michigan
    21 - Buffalo, NY
    23 - Boston, Mass.
    24 - Boston, Mass
    25 - Philadelphia, Pennsylvania - The Spectrum
    26 - Rochester, NY
    27 - Troy, NY
    29 - Utica, NY
    30 - Springfield Civic Center
    31 - Madison Square Gardens, NY
    (Supertramp is presented with it’s first platinum record awards here)

    2- Cincinati, Ohio - Riverfront Stadium
    3- Indianapolis, Indiana - Market Square Arena
    4- Pittsburgh, Penn. - Civic Arena
    6- Columbus, Ohio
    8- Cleveland, Ohio - Richfield Coliseum
    9- Birmingham, Alabama
    10- Richmond, Virginia
    11- Hampton, Virginia
    18- Apple Valley

    9- Winnipeg (Canada)
    10- Winnipeg (Canada)
    11- Winnipeg (Canada)
    16- London (Canada)
    19- Toronto - Exhibition Stadium
    20- Toronto - Exhibition Stadium
    21- Toronto - Exhibition Stadium
    24- Montreal (Canada)
    25- Montreal (Canada)
    28- Ottawa (Canada)
    30- Moncton (Canada)
    31- Halifax (Canada)

    5- Calgary (Canada)
    7- Edmonton (Canada)
    8- Edmonton (Canada)
    10- Vancouver (Canada)
    11- Canadian tour ends in Vancouver, British Columbia



    30- Frankfurt

    1- Mannheim
    3- Munich
    4- Munich
    5- Munich
    7- Dortmund
    8- Dortmund
    10- Vienna
    12- Cologne
    13- Cologne
    15- Rotterdam
    16- Rotterdam
    17- Rotterdam
    19- Antwerp
    21- Bremen
    22- Bremen
    25- Oslo
    26- Stockholm
    27- Gothenburg
    30- London
    31- London

    1- London
    2- London
    4- Berlin
    5- Berlin
    8- Barcelona
    9- Barcelona
    10- Barcelona
    12- Madrid
    13- Madrid
    15- Lisbon
    16- Lisbon
    19- Bordeaux
    20- Avignon
    21- Strasbourg
    22- Lyon
    23- Dijon
    25- Nice
    27- Nantes
    29- Paris
    30- Paris

    1- Paris
    2- Paris
    4- Stuttgart
    5- stuttgart
    8- Zurich
    9- zurich



    ]]> (MAC) Touring: General Info Thu, 12 Aug 2010 14:33:32 +0000
    1977 Even in the quietest moments Tour



    The show in the Great Hall, Queen Mary College (London) was filmed the 10th November.
    Very nice bootleg (video footage) easy to find in the internet. (The show was aired on the BBC)

    130 cities in America, Canada, Europe and England.
    The tour started 6 April Regina, Canada.
    The European leg started 28 August, three months.
    England in mid-October until early November.
    Supertramp had played to well over 600,000 rabid fans.

    Here some of the gigs:

    6 - Regina, Saskatchewan. First leg of tour
    7 - Saskatoon, Saskatchewan
    9 - Winnipeg, Manitoba
    10 - Winnipeg, Manitoba
    11 - Lethbridge, Alberta, Canada
    12 - Edmonton, Alberta. Concert cancelled because of Roger's illness
    15 - Spokane
    16 - Pullman
    17 - Portland
    20 - Seattle
    22 - Vancouver, Canada
    23 - Victoria, Canada
    27 - Stockton
    28 - Los Angeles, CA
    30 - Oakland
    2 - Las Vegas
    3 - San Diego
    5 - Fresno
    6 - Fresno
    7 - Bakersfield
    9 - Denver. CO
    11 - Kansas City
    12 - St Louis
    13 - Chicago
    15 - Detroit
    19 - Milwaukee
    20 - Milwaukee
    21 - Minneapolis
    22 - Madison
    23 - Indianapolis
    24 - Green Bay
    25 - Indianapolis
    28 - Louisville
    1 - Toronto, Canada
    2 - Toronto, Canada
    4 - Niagara Falls, Canada 
    5 - Rochester
    6 - Burlington
    10 - Akron
    11 - Poukaepsie
    12 - Boston
    15 - Norfolk
    16 - Washington DC
    17 - Philadelphia
    18 - New York
    19 - Allentown
    21 - Saratoga
    24 - Halifax, Canada
    25 - Moncton, New Brunswick
    27 - Quebec City
    28 - Montreal Forum
    29 - Montreal Forum 
    2 - Ottawa Civic Center
    3 - Ottawa Civic Center
    5 - Kingston, Ontario
    7 - Sudbury, Ontario
    8 - London, Ontario
    9 - Kitchener, Ontario
    10 - Kitchener, Ontario
    14 - Edmonton, Alberta (rescheduled)
    15 - Calgary, Alberta (rescheduled)
    23 - Dallas, Texas
    24 - Houston
    25 - San Antonio
    28 - Miami, Florida
    29 - Miami
    30 - Tampa
    31 - Jacksonville

    2 - Memphis
    3 - Birmingham
    5 - Atlanta
    6 - Greensboro
    7 - Williamsburg
    - EUROPE -
    28 - Copenhague (Denmark)
    30 - Stockholm (Sweden)

    1 - Oslo (Norway)
    2 - Goteborg (Sweden)
    3 - Lund (Sweden)
    7 - Hamburg (Germany)
    8 - Hannover
    10 - Ludwigshaven
    11 - Kolhn
    13 - Berlin
    15 - Dusseldorf
    16 - Wiesbaden
    18 - Stuttgart
    21 - Munich
    23 - Geneve (Switzerland)
    24 - Bassel
    26 - Barcelona (Spain)
    28 - Marseille (France)
    29 - Lyon
    30 - Paris

    4 – Cambrai (France)
    5 – Rotterdam (Holland)
    6 – Rotterdam (Holland)
    7 – Brussels (Belgium)
    10 – Amsterdam (Holland)
    11 – Amsterdam (Holland)
    - UK leg of tour -
    15 - Birmingham
    16 - Birmingham
    17 - Liverpool
    19 - Manchester
    20 - Manchester
    21 - Coventry
    24 - Newcastle
    25 - Edimburgh
    26 - Glasgow
    27 - Glasgow
    30 - Leicester

    1 – London, Wembly Empire Pool
    2 – London
    4 – Brighton
    5 – New Forest
    6 – New Forest
    7 – Bournemouth (Inglaterra)
    10 – London, Queen Mary College

     Supertramp1977 Berlin 1977


    ]]> (MAC) Touring: General Info Thu, 12 Aug 2010 14:25:27 +0000
    1975/76 Crisis? What crisis? Tour


    October 1975
    Ramport Studios & Scorpio Studios in England to finish album tentative title for album is "Second Offense".
    The single "Lady"/"You Started Laughing (When I Held You In My Arms)" (A&M 1793) released in US.

    "Crisis? What Crisis?" released in US (SP-4311).
    "Lady/You Started Laughing" released in UK.

    November 13, 1975
    Beginning of 30 date UK tour. Colston Hall, Bristol w/ Joan Armatrading.
    Eight month tour November 1975 - June 1976: two months England, then Europe, While there, Rick, who always sported a heavy beard decided to save it off. At the next show, frontman John Helliwell, introduced Rick to the audience as "The Turk" and the headlines charged "Turkish piano player is great".

    After a farewell concert, in their homeland, at the famed Royal Albert Hall, Supertramp again crossed the Ocean to America.
    The American and Canadian tours that followed were extensive.
    But the tour didn't end here. Deciding to spread their music even farther, their next stops were Japan, Australia and finally New Zealand in June 1976.


    UK Tour

    NOVEMBER 1975
    13- Bristol
    14- Lancaster
    15- Leeds University
    16- London, Croydon Fairfield Hall
    17- Brighton Dome
    19- Bournemouth, Winter Garden
    20- Portmouth
    22- Newcastle City Hall
    23- Edinburgh
    24- Glasgow, Scotland. The Apollo Theater
    25- Dundee, Caird Hall
    28- Cardiff in Wales, Capitol Theater
    29- Birmingham Odeon
    30- Manchester, Palace Theater

    DECEMBER 1975
    1- Leicester, DeMontfort Hall
    2- Stoke-On-Trent, Hanley Victoria Hall
    4- Sheffield City Hall
    5- Coventry theater
    6- Hammersmith Odeon
    7- Hammersmith Odeon
    9- Hull, ABC Movie theater
    11- Preston
    12- Liverpool, Empire Theater
    13- Ipswich, The Gaumont
    14- Great Yarmouth ABC theater
    16- Plymouth
    17- Torbay
    18- Swansea, Brangwyn Hall
    19- Southampton Gaumont
    20- Southend, the Korsaal


    JANUARY 1976
    12- Amsterdam, The Concertgebauw
    15- Brussels
    16- Amsterdam, Congress Hall by the Rye
    18- West Berlin
    22- Hamburg
    24- Hanover, Germany
    27- Copenhagen, The Trivoli Gardens (first concert performance of "Soapbox Opera")
    29- Lund, Sweden
    31- Olso, Norway

    FEBRUARY 1976
    1 - Stockholm
    5 - London
    20 - Allentown
    21 - Buffalo
    24 - London (Canada)
    25 - Hamilton (Canada)
    26 - Montreal (Canada)
    27 - Quebec City (Canada)
    29 - Moncton (Canada)

    MARCH 1976
    1 - Halifax (Canada)
    4 - Burlington
    5 - Boston
    6 - Philadelphia
    9 - Madison
    10 - Indianapolis
    11 - Sant Luis
    12 - Chicago
    13 - Milwaukee
    14 - Milwaukee
    16 - Winnipeg (Canada)
    19 - Seattle
    20 - Santa Monica
    21 - Spokane
    23 - Regina (Canada)
    24 - Saskatoon (Canada)
    25 - Edmonton (Canada)
    26 - Calgary (Canada)
    27 - Portland
    28 - Vancouver (Canada)
    31 - Santa Monica

    APRIL 1976
    1 - Santa Monica
    2 - Fresno
    3 - Fresno
    9 - Berkeley
    14 - Denver
    20 - Toronto (Canada)
    25 - Toronto (Canada)

    MAY 1976
    28 - Tokio
    29 - Tokio

    JUNE 1976
    4 - Adelaida
    6 - Melbourne
    7 - Melbourne
    9 - Sydney
    10 - Sydney
    11 - Sydney
    12 - Newcastle
    14 - Brisbane
    15 - Brisbane
    18 - Sydney
    22 - Aukland (New Zeland)



    ]]> (MAC) Touring: General Info Thu, 12 Aug 2010 14:11:56 +0000
    1974/75 Crime of the Century Tour



    February 1974
    after three months living in a farm, the band leaves Southcombe to move to London to begin recording.
    First sessions at Trident Studios with Ken Scott producing.

    The single "Land Ho"/"Summer Romance" released in U.K.
    31- Concert in Westcliff

    Recording completed at Ramport Studios. Mixing begins at Scorpio Studios.

    "Crime Of The Century" released in U.K. (AMLS-68258).
    22 - Concert in Chelsea

    "Crime Of The Century" released in US (SP-3647).
    Tour around UK (England, Scotland and Wales)
    18 - Swansea
    19 - Liverpool
    21 - Plymouth
    22 - Torquay
    23 - Guildford
    24 - London
    25 - Birmingham
    26 - Manchester
    27 - London
    31 - Saint Andrews

    1 - Aberdeen
    2 - Dundee
    5 - Bradford
    6 - Manchester
    8 - Lampeter
    9 - Bangor
    12 - Stoke
    15 - Stoke

    1 - Preston
    2 - Birmingham
    9 - Bournemouth
    12 - Preston
    15 - London

    January 1975
    23- City Hall, Sheffield, S. Yorks
    24- Leeds Town Hall
    26- Birmingham Town Hall
    27- De Montfort Hall, Leichester
    29- Manchester Free Trade Hall
    30- Newcastle City Hall

    1- Edinburgh Usher Hall
    2- Galsgow, Scotland - King’s Theater
    6- Oxford New Theater
    7- Brighton Dome
    8- Guildford Civic Hall
    9- Bristol - Colston Hall
    10 - Plymouth Guild Hall
    26 - París (France)

    9- London

    Milwaukee, Wisconsin. April 4. American Tour begins.
    Three and half week, 25-city tour of the US and Canada.
    Supertramp toured the United States for the first time, visiting 25 cities and filling 2000-seat venues.


    4 - Milwaukee
    6 - Montreal (Canada)
    7 - Quebec City (Canada)
    9 - Ottawa (Canada)
    11 - New York
    12 - Boston
    13 - Washington
    14 - Philadelphia
    15 - Detroit
    17 - Toronto (Canada)
    18 - Buffalo
    19 - Cleveland
    20 - Chicago
    21 - St. Luis
    22 - Kansas City
    24 - Santa Monica
    25 - Santa Monica
    26 - Santa Monica

    25 - Indianapolis

    15 - Calgary (Canada)
    31 - Vancouver (Canada)

    2 - Montreal (Canada)
    4 - Ottawa (Canada)
    8 - San Jose
    11 - Arlington
    12 - Houston
    13 - Buffalo
    23 - Reading (England)

    When the tour ended, Supertramp went to Los Angeles to record Crisis? What Crisis? However, the band did not become really popular in America until two years later, with the release of their fifth album Even In The Quietest Moments.
    "Give a Little Bit" (Roger Hodgson), the album's first track with it's catchy acoustic guitar intro became an international hit, although not a major one.

    ]]> (MAC) Touring: General Info Thu, 12 Aug 2010 13:43:45 +0000
    1970/73 The early Tours


    Supertramp started a new age with this line up, middle 1973, playing in several schools and theaters around UK, until the official "Crime of the Century" tour that started late 1974. (Line up: Rick Davies, Roger Hodgson, John Helliwell, Dougie Thomson, Bob Siebenberg)

    With this new line up (the classical) they started a new era, just playing new songs since then.
    And any song from the first two Supertramp albums was included in their shows during the next decade.
    That was the way they decided for their future, and it was good, cause they reached the top during the decade 1973-1983. (The Golden decade)


    Before all that, with the previous line-up, they performed lots of shows in clubs, little theatres, schools, universities, etc,...
    Here you'll find some of it and highlights:

    YEAR 1970

    Documentary Film "Daddy-Portrait 1970" shot in Munich. (still the old band name "Daddy")
    The band was playing in Munich at that time

    Supertramp recorded their first album at Morgan Sound Studios in
    Willesden, North West London, England.

    Richard Davies Organ, Harmonica, Piano, Electric Piano, Lead Vocals
    Roger Hodgson Steel-String & Acoustic Guitar, Bass, Cello, Flageolet, Lead Vocals
    Robert Millar Drums, Harmonica
    Richard Palmer Acoustic Guitar, Guitar, Balalaika, Electric Guitar, Lead Vocals

    Work on "Purgatory" soundtrack in Munich.
    "Supertramp" (AMSL-981) released in UK w/ reception at The Revolution Club, London, July 14.

    Photo: Roger on bass circa 1969/1970


    June 5 (Friday)
    Supertramp played their London debut at the Lyceum, Strand, West Central London, with Procol Harum, Hard Meat, Argent.

    July 5 (Saturday)
    Supertramp played the Farx in Southhall, Middlesex, England, with Black Widow.

    July 14 (Saturday)
    Supertramp (AMSL-981) released in the UK. The band have a reception at The Revolution Club, London, England.

    July 14 (Saturday)
    Supertramp played their first performance at the famous Marquee Club, at 90 Wardour Street, Soho, West London, supporting The Keef Hartley Band.

    July 24 (Friday)
    Supertramp played the Marquee Club, Soho, West London, supporting The Groundhogs.

    August 16 (Sunday)
    Supertramp played the famous Roundhouse, in Chalk Farm Road, Chalk Farm, North West London, with Writing On The Wall, Trader Horn, Stoics, Wishbone Ash, Heads Hands and Feet.

    August 21 (Friday)
    Supertramp played the Mayfair Ballroom, Newcastle-upon-Tyne, Northumbria, England, supported Mott the Hopple, with Quintessence.

    August 23 (Sunday)
    Supertramp played the Wake Arms, in Epping, Essex, England.

    August 27 (Thursday)
    Supertramp played the second day of the famous Isle of Wight Festival at East Afton Farm, Godshill, with Gary Farr, Andy Roberts Everyone, Howl, Black Widow, Groundhogs, Terry Reid, Gilberto Gil.

    August 31 (Monday)
    Supertramp played the Cooks Ferry Inn, in Edmonton, North West London, England.

    September 14 (Monday)
    Supertramp played the Bristol, Somerset, England, with Ten Years After. The start of their UK tour.

    September 17 (Thursday)
    Supertramp played the Greyhound, Croydon, Surrey, England.

    October 4 (Sunday)
    Supertramp played in Birmingham, Warwickshire, England. The end of their UK tour.

    October 9 (Saturday)
    Supertramp played Canterbury Darwin College, Canterbury, Kent, England, with Blodwyn Pig.

    October 29 (Thursday)
    Supertramp played Clouds, Derby, Derbyshire, England.

    November 27 (Friday)
    Supertramp played Westfield Collge, London, supporting Mott the Hoople, with Cochise.

    November 30 (Monday)
    Supertramp played the King's Head, Romford, Essex, England.

    December 5 1970 (Saturday)
    Supertramp played Liverpool University, Liverpool, Lancashire, England.

    December 10 (Thursday)
    Supertramp played at Hipnotique, Fossgate, York? Yorkshire? England.

    December 11 (Friday)
    Supertramp played Cannock Chase Technical College, Cannock, Staffordshire, England.


    YEAR 1971

    Supertramp recorded their second album.

    Supertramp released their second album Indelibly Stamped (AMLH-64306) [UK].

    Kevin Currie Percussion, Drums
    Rick Davies Harmonica, Keyboards, Lead Vocals
    Frank Farrell Bass, Piano, Accordion, Backing Vocals
    Roger Hodgson Steel-String & Acoustic Guitar, Guitar, Bass, Lead Vocals
    Dave Winthrop Flute, Saxophone Lead Vocals

    February 21 (Sunday)
    Supertramp played in Stowe, Buckinghamshire, England, with Genesis.

    September 27 (Monday)
    Supertramp played at St George's Concert Hall, Bradford, Yorkshire, England, supporting Ten Years After, with Keith Christmas.

    November 11 (Thursday)
    Supertramp played the Town Hall, Hammersmith, West London, England, supporting Gong, with Lady Jane and Charon.


    YEAR 1972

    Lots of shows in UK.

    April 3 (Monday)
    Supertramp played the Festhalle, Bern, Switzerland.

    Fall 1972: Tour of Scandinavia.


    BBC PEEL SESSIONS 1972 - 1974

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

    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
    Pony Express

    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)

    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
    If Everyone Was Listening
    Bloody Well Right

    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) Touring: General Info Thu, 12 Aug 2010 13:33:41 +0000
    KEN SCOTT, interview


    JOE CHICCARELLI: Let's talk a little bit about Supertramp. How did you get involved with them?

    KEN SCOTT: I was originally contacted by A&M Records to do a mix on a track called "Land Ho" at the height of the Bowie stuff. I did it, A&M loved it, but the band was iffy about it and I don't think it was ever actually released. But A&M said, `Look, we'd like you to do an album with them.' I said, `Fine, send me demos,' and the demos were utter crap. It was like I'd get five seconds of a chorus and then it would go to another section, then it would stop and then I'd get the ending of another song, there was . . . it was completely random. I said, `This is ridiculous.' Jack Nelson, this American guy Trident brought in to manage the producers, said, `You know what? A&M are into this band, we should do it.' I said, `It's crap, I don't want to do it.' This carried on for a couple of weeks, finally, they were doing a showcase somewhere and Jack said, `Let's go along and see them and that will be our final yes or no.' I said, `Fine.' So we went down and this time was a complete turnaround. He said, `Oh, no, you were right, don't do them, they're crap.' I said, `Are you kidding? I've got to do this record. They're amazing."

    The sessions started off at Trident and we put down tracks and we would take forever, I mean sometimes it took a day-and-a-half to get the snare drum down but I was looking for something and I knew what I wanted and it just took that long to get the sound that I wanted.

    And then, after a week or so, we get a phone call from the A&R guy saying that Jerry Moss is in town and he wants to come by and hear some stuff. Oh, no, we're nowhere near far enough along. It was my first experience with an A&R man, not to mention the owner of the label, having not dealt with a record company at all with Bowie.

    JC: So in all those records, there was no A&R involvement?

    KS: Nothing! It was David, Ronno, and myself. None. We even knew what the single was. The only time was with Ziggy, where there was no single, so we had to go back in and do "Starman." Well, we kind of knew that up front, but we pushed it, but, no, absolutely, I never saw anyone from RCA.

    JC: Do you think it had anything to do with there being so many great records released then?

    KS: Yeah, artists did what they were meant to do: CREATE. So with Supertramp here's Jerry coming in. This was going to be my first experience dealing with a record company. I was petrified. I didn't know what to expect. He sat down, we played him some of the tracks that we had and they were bare minimum, and he got up at the end, and he said, `Thank you,' and left. We thought, `Oh, crap, that's it, it's all over.' We sort of ended the session there because we thought it's pointless to go on, he's just going to say forget it. We heard back from the A&R guy next day, `Jerry loved it, you have as much time as you want, anything you want, you got it.' So, six months later we finished the album. But that was what I'd learned from the Beatles to the nth degree, and David as well: Try everything.

    I mean there were lots of tricks on those records. I was determined not to use typical percussion, for instance, as opposed to like maracas or tambourine, we had drum brushes shaking in front of the mics. You hear the wind and you get the same impression as maracas, but you just haven't heard it before. There's a musical saw on one of the numbers, and all of the sound effects. None of them were stock. We went out and recorded all of them specifically. We knew exactly what we wanted sound effect-wise: to go do it for real.

    JC: The dynamics in those records are just so dramatic and that would have been in the mixing process then, no automation on the console, correct?

    KS: No, once again, it was all in the mixing. Even though there were a bunch of us there at these sessions. All of the band was there `hands on' at the mixes. We all knew what it had to sound like so there were no arguments about, `Ah, the drums should be up front, the drum or the bass should be up. . . .' We knew what it had to be, so we were working as an ensemble and it was all done in mixing.

    JC: Okay. I have to ask about the bass sound because it always sounded so forward and so punchy.

    KS: Again, a very simple chain, probably just a DI and a UREI 1176. It's the player — that's his tone.

    JC: Okay, so Ken what you're saying is that in most of these cases it's about Great Musicianship coupled with Great Production. It's Chemistry and Kismet, not trade secrets?

    KS: Look, great musicians truly make my job easy. I would encourage all of us to encourage the talent in the artists and players. That's where the classics come from.

    ]]> (MAC) Interviews Thu, 12 Aug 2010 12:57:36 +0000
    JOHN HELLIWELL Interview, April 2009 RecordCollector2009]]> (MAC) Interviews Thu, 12 Aug 2010 12:55:20 +0000 SUPERTRAMP Entrevista, 2002 Tour


    Entrevista con Supertramp
    Por J. E. Gómez - INDYROCK Magazine

    “La música de los 70 estaba hecha por gente sencilla y real sin alardes tecnológicos”
    “Nos gusta viajar, pasear, ver ciudades y luego... hacer el concierto”
    "Es fantastico que nos hayan descubierto las nuevas generaciones"
    "Es muy importante que existan los sellos independientes para dar oportunidades a los jóvenes artistas"

    Desde que en 1969 Supertramp se formaba en la ciudad de Ginebra, el pop-rock ha cambiado.
    La evolución le ha llevado a sonidos más electrizados, tecnológicos y hacia el mestizaje.
    Tres décadas después, Supertramp, la banda creada y liderada por Rick Davies, se mantiene en esquemas muy similares.

    Creen que la música de los 70 era más real. No necesitaba de alardes tecnológicos.
    Eran músicos de verdad, con instrumentos reales.
    Los miembros de Supertramp, en la entrevista concedida a IndyRock, afirman que el concierto de Granada será un repaso por casi la totalidad de su discografía. Los viejos temas estarán mezclados con las nuevas composiciones de “Slow Motion”, un disco que aparecía tras cinco años de aparente inactividad.

    - Qué aportan las nuevas tecnologías a Slow Motion?
    - Creo que la única nueva tecnología que hemos utilizado ha sido ProTools, en lugar de grabarlo directamente en una cinta como siempre hacíamos. Nos hemos aprovechado del sistema informático que consigue la grabación sea
    muy limpia y sencilla. Aparte de esto no hay ninguna tecnología espectacular, simplemente músicos y una grabación como las de antes, simplemente que no está grabado en un master.

    -Habéis comentado que el nuevo disco hace una crítica a la música actual que está hecha de retales.... ¿Ya no existen creadores?
    -No lo criticamos. No le prestamos demasiada atención a la nueva música, hay algunas cosas que nos gustan sin embargo.
    Simplemente debe ser una moda de ahora. Creo que ahora hay vocalistas femeninas muy buenas.
    No bailamos, así que quizá vamos un poco perdidos en cuanto a lo que se hace hoy en día. Pero no me importa demasiado ser crítico o no serlo con la música de ahora.

    -¿Cómo son los conciertos de esta nueva gira?
    -Hacemos 4, 5, o 6 canciones de nuestro nuevo disco, también tocamos alguna canción de cada disco de los que hemos hecho. Nuestros conciertos cubren todas las épocas y etapas de Supertramp. Así pues habrá algunas cosas nuevas pero también habrá algunas de las cosas antiguas que la gente quiere ver.
    El de Granada será un show que cubrirá toda nuestra carrera.

    -¿Refleja la portada del álbum la soledad del individuo en la sociedad actual?
    - Si, podría ser. Pero la idea es que las cosas van demasiado rápidas, todo el mundo quiere que su Internet vaya aún más rápido, o que su teléfono móvil sea mejor...Y a veces la gente no consigue comunicarse, y tampoco aislarse de lo que imponen los medios de comunicación, de todo el bombardeo de información al que están expuestos.
    Yo vivo en un sitio muy aislado y uso Internet a veces para comunicarme con gente pero no soy un gran usuario.
    Porque simplemente me gusta estar tranquilo y disfrutar de la naturaleza que me rodea y también me gusta leer, lo que queda reflejado en la portada del disco. Y Rick también es como yo, Rick tampoco sabe mucho de tecnología, no creo que tenga teléfono móvil ni que sepa usar un ordenador.
    Simplemente es rebajar el ritmo de vida y disfrutar más de la vida.

    -La mayoria de las grandes bandas no suelen hacer giras tan largas, sin embargo Supertramp tiene una gira enorme. ¿No estáis cansados de la carretera?
    - Sí, a veces nos cansamos, pero es que estamos aquí para tocar nuestra música, conocer países, conocer a gente.
    Si te cuidas puedes disfrutar mucho de las giras. No vamos tanto de gira como para cansarnos o aburrirnos de ello.
    Cuando lo hacemos son giras largas, pero a hace 4 años de la última, así que ya era hora de volver a ello.
    Tenemos muchas ganas de volver a empezar, nos lo pasamos muy bien juntos, mis compañeros de grupo son también mis mejores amigos. Me gusta pasar tiempo con ellos, pasear con ellos por las ciudades y después hacer el concierto...

    -El sonido de los 70 está cada mas más de moda y hay bandas en la actualidad que lo están potenciando...
    ¿Es la mejor década para la música?

    -Sí, creo que la música de finales de los 60 y los 70 es insuperable.
    Y una de las razones es que es gente real tocando música real.
    Y no está basada en la tecnologí gente eran simplemente músicos, compositores, escritores... Expresaban una emoción que aparece en esa música porque está hecha por gente real.
    Somos muy afortunados al ser un grupo bastante intemporal, todo tipo de estilos han ido y venido y nosotros somos lo que somos y la gente lo aprecia. Cuando la gente viene a vernos y nos encontramos gente joven, les fascina ver que
    realmente tocamos, que somos músicos de verdad.
    Somos una de las bandas que realmente toca y es una gran banda para ir a ver.

    -¿Hacia dónde camina el pop-rock en el siglo XXI, hacia el mestizaje de estilos o se consolidarán los sonidos de siempre?
    -Es difícil de saber, al principio la gente parecía que se estaba subiendo al tren de la música digital, baterías sintetizadas y sintetizadores... pero después se volvieron a usar baterías y pianos de verdad otra vez.
    Creo que va a volverse a los músicos de verdad, a los artistas de verdad, quizá incluyendo algunos de los avances tecnológicos.
    El ProTools está muy bien y todo eso pero sigue sin sonar tan cálido y profundo como el vinilo por ejemplo, pero no sé si se va a volver a la grabación analógica. Es difícil de predecir, yo deseo que los músicos sigan siendo vitales y que la música siga siendo algo expresado por una persona real.

    - ¿Cómo se ve desde la óptica de un gran grupo los movimientos independientes?
    - Creo que es muy importante que existan los sellos independientes para dar oportunidades a los jóvenes artistas.
    La indústria musical se ha convertido en 3 o 4 empresas gigantes en las que nadie tiene una oportunidad para triunfar.
    Y si nosotros hubiésemos aparecido en el clima de hoy ya nos habrían echado del sello. Nos costó 3 o 4 discos tener éxito.
    Las bandas jóvenes no tienen esas oportunidades para crecer, ganarse un público y quizá cometer algún error, simplemente los echan. Así que es fundamental que tengan una oportunidad de ser escuchados.

    -¿Los años y la experiencia os han hecho más sosegados en las composiciones?
    - Seguramente es verdad, lo hablabamos el otro día. Creemos que tocamos mejor que nunca, tenemos un enfoque mucho más relajado, todos somos muy maduros y tranquilos, estamos en un momento de nuestras vidas en que los hijos ya han crecido, así que nos podemos concentrar muy bien.

    -¿Qué se siente cuando veis frente al escenario a varias generaciones vibrando con vuestra música?
    - Es fantástico, nos hace saber que aún somos un grupo vital, y que aún llegamos a la gente.
    Es fantástico que nos hayan descubierto las nuevas generaciones y también es genial es que los fans del grupo hayan aguantado con nosotros tanto tiempo, que no les hayamos decepcionado.

    -¿Slow Motion contiene las primeras canciones de Supertramp despúes de 5 años. En qué se diferencian del sonido Supertamp de siempre?
    Este parece un poco más jazzy o bluesy, hay dos o tres canciones largas en las que Rick explora diferentes estilos de arreglos.
    Siempre hemos sido fans de Traffic y ellos siempre tenían canciones instrumentales con arreglos muy interesantes.
    Era algo de experimentar con todo eso. Hay un par de canciones que son el típico estilo Supertramp, como "Be In your Bonnet",
    que me recuerda a la época de "Crisis, What Crisis?", por los acordes de Rick y eso. Así que creo que conservamos el estilo Supertramp y nunca lo cambiaremos porque es como somos.
    Pero intentamos expandirnos con las experimentaciones que incluye Rick de vez en cuando.

    -Canciones como “Tenth Avenue Breakdown”, “Broken Hearted” y “Dead Man’s Blues”, ¿pueden considerarse épicas?
    - Son simplemente experimentales, es como Rick compone a veces. Pero no las consideramos épicas.
    Para nosotros simplemente son nuestras canciones, dejamos libertad para cómo la gente quiera describirlas.


    ]]> (MAC) Interviews Thu, 12 Aug 2010 12:39:45 +0000
    JOHN HELLIWELL Entrevista, Abril 2003

    Entrevista exclusiva para Breakfast in Spain

    Manchester, 3 Abril 2003, por MAC



     Entrevista que tuve el placer de realizar a John Helliwell en su 30 aniversario con Supertramp.
    John Helliwell es el saxofonista de la banda, y también el "showman”, presentador o cara de la banda para la mayoría de los fans, especialmente en los conciertos y en las promociones donde el es siempre el portavoz, presentando al resto de la banda y divirtiendo al auditorio con su típico humor inglés, todo un gentleman.

    Quiero agradecer especialmente a John por su amabilidad para esta entrevista (me pagó la comida en un restaurante italiano de Manchester, cerca de su casa), su gran sentido del humor y su maravilloso talento para la musica.


    Miguel Angel Candela



    GIRA 2002

    MAC: Encantados de estar contigo, John.

    GONZALO: Hola John, y muchas gracias por darnos la oportunidad de compartir estos grandes momentos con la web “Breakfast in Spain”.

    JOHN: Es un placer.

    MAC: Tú eres mi saxofonista preferido de Supertramp.

    GONZALO: ¡Uno de los mejores!

    JOHN: ¡Soy el mejor saxofonista de Supertramp! (RISAS)

    MAC: ¿Qué opinas de la última gira? ¿Qué resumen harías de la misma?

    JOHN: Ha sido una banda realmente buena, y todos los músicos han funcionado muy bien juntos.

    MAC: ¿Y qué piensas sobre la acogida del público? Creo que casi todos los conciertos han estado abarrotados...

    JOHN: Sí, así es. En casi todos se agotaron las entradas. Creo que nuestras mejores audiencias fueron España y Francia... Son buenos países para nosotros. Y creo que tenían ganas de oírnos, de escuchar el nuevo álbum. Tocamos muy bien y los conciertos salieron muy bien.

    GONZALO, Entonces, ¿una gran acogida?

    JOHN: ¡Sí!

    MAC: Recuerdo que el Palau Sant Jordi de Barcelona estaba a reventar, había unas diecisiete mil personas.

    JOHN: Sí, aquel concierto fue muy especial...

    MAC: ¿Cuál fue el concierto de la última gira con mayor número de asistentes?

    JOHN: El del Festival Paleo en Ginebra, Suiza. Hubo treinta y cinco mil personas, porque es un festival al aire libre y aquella noche había muchísima gente.
    Pero lo de las diecisiete mil personas en Barcelona fue algo estupendo, y además aquella fue una noche muy especial porque... ¿Cómo se dice? Se me ha olvidado...

    GONZALO: ¡"El abuelo"!

    JOHN: ¡Eso es, "abuelo"! (RISAS)

    MAC: Sí, John estaba en el escenario y dijo: "¡Hoy he sido abuelo!". Recuerdo que antes del concierto nos había preguntado cómo se decía en español, ¡estaba muy feliz! Todavía recuerdo su cara y su gran sonrisa...

    JOHN: Me acuerdo del sitio, fue una gran noche, con buena gente...

    MAC: Además del Hyde Park de Londres, ¿habéis tocado en otros lugares al aire libre?

    JOHN: El Festival Paleo fue al aire libre. Y en Zurich también, el día anterior... Fue un concierto bonito, estaba al lado de un museo.
    Muy bonito, todo salió muy buen, había un buen público... Y dimos algunos conciertos al aire libre en Norte América.
    Paleo es un gran festival al aire libre, algo parecido al Hyde Park. Cada noche llevan algún artista de primera fila, por ejemplo una noche tocó James Brown y la noche siguiente Supertramp.

    MAC: ¿Sabes decir "buenas noches, señoras y señores" en todos los idiomas?

    JOHN: (RISAS) "Bonsoir tout le monde , bienvenue à une soirée avec Supertramp!"

    GONZALO: Ah... Eso me resulta familiar...

    JOHN: "Gutten aben meine damen und herren!"

    GONZALO: ¿Y en sueco?

    JOHN: Eso es un misterio para mí... Necesito un traductor. Puedo aprendérmelo antes del concierto, pero después tal vez se me olvide, como me sucedió con el portugués...

    MAC: En cada concierto dedicas tu tiempo a aprender esto...

    JOHN: Sí, sí... Es importante, es bueno saber algo de la ciudad en la que tocas, para hacer alguna referencia agradable...

    MAC: Tuve la suerte de estar entre bastidores en algunos de los conciertos y me llamó la atención lo bien organizado que está todo...
    Recuerdo una hoja con la planificación colgada en la pared: la hora del almuerzo, del montaje del escenario, de las pruebas de sonido, de las entrevistas, etc.

    JOHN: Sí, es muy importante para todo el personal saber cuándo se tiene que hacer y terminar cada cosa. En ocasiones me gusta llegar al recinto a primera hora de la mañana, sobre las 9 o las 10, y observar cómo se van organizando todos los temas. Lo encuentro muy interesante.

    GONZALO: Recuerdo que el mismo día que tocabais en Vigo en 1997, me preguntaste por dónde quedaba el lugar del concierto, y eso fue por la mañana temprano. Recuerdo que estabas con Carl Verheyen.

    JOHN: ¡Sí, es verdad!

    MAC: A veces tiene que ser muy duro estar lejos de casa... Pero también habrá cosas positivas...

    JOHN: Lo más importante es tocar. Lo demás es viajar y conocer nuevos lugares,
    y es duro estar lejos de la familia pero así es la vida de músico...

    GONZALO: ¡A mí qué me vas a contar, John! (RISAS)

    MAC: ¿Preferirías que la gira hubiese sido más larga o así fue suficiente?

    JOHN: Podría haber seguido tocando un poco más... (RISAS)

    GONZALO: Ya sé que te encanta estar en el escenario...

    JOHN: Yo podría haber seguido tocando un poco más... pero creo que para el grupo en general fue suficiente.

    MAC: Habéis dado más conciertos en Canadá que en los Estados Unidos... ¿Cuál crees que es el motivo? ¿Los promotores? ¿El público?

    JOHN: Creo que fue cosa de los promotores... Nos hicieron mejores ofertas en Canadá. Y parece que todavía seguimos siendo muy populares en Canadá, pero no tanto en los Estados Unidos.

    MAC: ¿En serio?

    JOHN: Sí, así es.

    GONZALO: ¿Piensas que pudo ocurrir lo mismo en Europa? En Alemania, Francia, España e Italia disteis muchos conciertos en cada país, y en el Reino Unido sólo cinco: dos en Escocia y tres en Inglaterra...

    JOHN: Sí, es algo parecido. Aquí en Inglaterra nos consideran una banda antigua, porque no sonamos tanto en la radio como en Francia, España, Italia, Alemania u Holanda...
    En Inglaterra prefieren poner en la radio a grupos nuevos, mientras que en los demás países europeos todavía somos muy populares.

    MAC: ¿Sientes algo especial cuando tocas en tu país?

    JOHN: Es curioso... No. Lo único diferente cuando toco aquí o en Canadá o en Estados Unidos es que hablo el idioma del público y me siento más cómodo. Me desenvuelvo mucho mejor, es mucho más fácil dirigirse a la audiencia.

    MAC: Cada noche hacíais pequeños cambios en el repertorio. ¿Cuál es la razón? ¿Quién decide esos cambios?

    JOHN: Siempre es algo que discutimos Rick y los demás... Y siempre intentamos superarnos, pero tocamos todo el repertorio en un país si alguna canción o algún álbum en concreto son muy populares allí. Aunque lo habitual es que intentemos superarnos.

    MAC: ¡Pero en España cambiabais una o dos canciones todas las noches!

    JOHN: Estábamos probando cosas... Tocamos en España al principio de la gira, y estuvimos haciendo cambios a lo largo de los ochenta y ocho conciertos de la misma.

    GONZALO: Creo que a veces en algunas canciones había un poco más de libertad para los músicos a la hora de improvisar y tal vez alargar solos de guitarra, saxofón o teclados...

    JOHN: Sí, así es.

    MAC: Recuerdo que en España un concierto contenía veinticuatro canciones, el siguiente veintitrés, el siguiente veintidós... Bromeábamos diciendo que en los conciertos de Inglaterra, al final de la gira, sólo habría cinco canciones...

    JOHN: (RISAS) Sí, debimos pensar que los conciertos eran demasiado largos. Alguien debió decir que le parecían largos, así que quitamos unas canciones, pusimos otras, hicimos cambios. Por ejemplo, al principio ‘Give a little bit’ la cantaba Mark y después lo hacía Jesse.

    MAC: ¿Cuándo? ¿En los ensayos?

    JOHN: No, no, ¡en los conciertos! Creo que Mark empezó a cantarla en Benidorm...

    MAC: Ya entiendo. Nosotros estábamos fuera del recinto durante las pruebas de sonido, y oímos a Mark cantando la canción... Pero después en el concierto lo hizo Jesse.

    JOHN ¿Y en Granada quién la cantó?

    MAC: No, no, todas las noches cantaba Jesse.

    JOHN: ¡Sí, tienes razón! Fue sólo durante los ensayos cuando empezó a cantarla Mark, pero al final lo hizo Jesse. Estábamos haciendo cambios...

    GONZALO: ¡Creo que la versión de Jesse fue excelente!

    MAC: ¿Por qué no tocasteis ‘Goldrush’? Creo que es una gran canción para tocarla en directo, tiene mucha fuerza, tal vez más que ‘Little by little’. Creo que Bob dijo en algún sitio que pensabais incluirla en la gira...

    JOHN: Sí, la ensayamos muchas veces. Creo que incluso la tocamos en algún concierto... Tal vez en Canadá.
    Era una de las canciones que la gente estaba esperando. Una de esas que teníamos en la reserva.

    MAC: Sí, recuerdo que la tocasteis en las pruebas de sonido en Málaga.

    GONZALO: Es una canción coescrita por Richard Palmer...

    JOHN: Sí, es verdad.

    MAC: Puedo contarte una anécdota sobre ella. Hace dos años estuve en San Diego y Roger Hodgson la tocó para nosotros, un pequeño grupo de amigos, un año antes de que se publicara el álbum ‘Slow motion’...

    JOHN: ¿En serio?

    MAC: ¡Sí! Y después yo le dije a Roger "¡Esa es de Rick!", pues como sabes Roger sólo toca sus propias canciones,
    y él se quedó muy sorprendido y dijo "¡La letra es de Richard Palmer y la música es de Rick y mía!"

    JOHN: No lo sé, yo entré en el grupo un poco después, es una canción muy antigua.

    GONZALO: ¡Es una gran canción!

    MAC: ¡Roger nos tocó algunas canciones nuevas muy bonitas!

    JOHN: ¡Eso es estupendo!

    GONZALO: Tal vez se publiquen en el próximo disco de Supertramp...

    JOHN: ¡Me encantaría tocar con Roger!

    MAC: Volviendo a la gira, fue una gran sorpresa contar de nuevo con ‘Asylum’. ¡Enhorabuena, fue una gran idea y disfrutamos mucho con esa canción!

    GONZALO: ¡Otra canción preciosa!

    JOHN: Con una gran dinámica, ¿no?

    GONZALO: ¡Sí, tiene mucha fuerza!

    MAC: Un hermoso contraste en el escenario: Rick tocando el piano en plan serio, gritando, casi llorando...
    y tú, el tipo divertido con el teléfono, en la parte cómica. Un gran contraste.

    JOHN: ¡Una gran inspiración!

    MAC: Sí, pero por otro lado la mayoría de nosotros esperábamos temas como ‘Waiting so long’, ‘Gone Hollywood’ o ‘Lover boy’...

    JOHN: Lo primero es que no podemos tocar todas. ‘Gone Hollywood’ es la única que nunca hemos tocado en directo...

    GONZALO: Me encanta ‘Gone Hollywood’, es una de mis favoritas. ¡Me encanta tu solo!

    JOHN: Y tampoco hemos tocado nunca ‘Lover boy’. Tal vez sea simplemente porque no encontramos el sonido adecuado, hubo muchas mezclas en el estudio.
    Y lo mismo ocurre con ‘Gone Hollywood’. Yo siempre digo "tenemos que tocar ‘Gone Hollywood’". En la gira de 1979 lo intentamos, la ensayamos pero no quedaba bien.
    Pero en cada gira que hacemos siempre digo "toquemos ‘Gone Hollywood’"...

    MAC: ¿En serio? ¡Gracias, John!

    JOHN: Posiblemente lo intentamos en 1979 y también en la gira de 1983, pero por alguna razón no quedaba bien.

    GONZALO: ¿Qué saxo utilizaste en el solo de esa canción, John?

    JOHN: Es un saxo tenor.

    GONZALO: Y hay una especie de sonido de teclado por debajo del saxo, doblando el solo...

    JOHN: Es un sintetizador y había una relación directa entre el saxo y él.

    MAC: ¿Cómo se te ocurrió la idea de invitar a cuatro saxofonistas para que tocaran contigo en el concierto de la última gira en París?

    JOHN: Por la canción ‘Over you’. En la versión de estudio contiene cinco armonías diferentes en las partes de saxo, así que era una idea. Laurent conocía a algunos de los mejores saxofonistas de París y le dije "¿puedes encontrar otros tres saxofonistas y organizarlo todo?". Recuerdo que me encontraba en Burdeos, escribí la música para todos ellos y se la mandé en una carta a Laurent.

    MAC: ¿Durante la gira?

    JOHN: Sí, antes de que llegásemos a París. Sólo lo hicimos una noche, fue una noche muy especial. Eran muy buenos saxofonistas.

    GONZALO: ¡Y Laurent se encontraba en el paraíso! Es un gran tipo, tuve el placer de conocerle a él y a MAC en Londres, entre bastidores antes del concierto, gracias a tu invitación.

    MAC: Fue un gran fin de semana, la primera vez que yo iba a Londres. La música es un buen medio para hacer buenos amigos...

    GONZALO: Laurent tocará con mi grupo, Landmarq, en un concierto especial en Londres, en el Underworld de Camden Town.
    Tendremos como invitados especiales a Laurent Hunziker al saxo y a Hugh McDowell, conocido por haber tocado el violonchelo con la ELO.

    JOHN: Lo sé, Laurent tocará el saxo que me compró, el tenor, con el que grabé éxitos de Supertramp como ‘Crime of the century’, ‘Bloody well right’ o ‘It's raining again’. ¡Me gustaría tocar en la última canción del concierto, si no estoy ocupado con el proyecto ‘Gaia’ de Alan Simon!

    GONZALO: ¡Sería fantástico!

    MAC: Quisiera hacer una crítica sobre la última gira.

    JOHN: De acuerdo.

    MAC: Cuando la gente paga para ir a un concierto, quiere disfrutar de la música pero también ver la cara de los músicos, ver cómo tocáis, sobre todo en los grandes estadios.
    ¿Por qué no utilizáis un sistema de pantallas de vídeo como hacen otros artistas? ¿Es para evitar la piratería? En algunos conciertos habéis bromeado con este tema, diciendo que os estáis haciendo viejos y que no queréis que la gente os vea la cara...

    JOHN: Sí, es verdad. No somos demasiado guapos. No es por razones de seguridad, es algo de lo que nunca nos hemos preocupado. Ya que cuando empezamos era algo que no existía, no teníamos esa posibilidad y nunca lo hicimos... Si acaso unas pocas veces.

    MAC: ¿Pero no crees que es una buena idea que la gente pueda ver vuestra cara mientras tocáis?

    JOHN: Creo que eso es algo secundario, no nos preocupa realmente. Para nosotros la música es más importante que la imagen.

    MAC: Otra crítica. La pantalla gigante para proyectar vídeos, como los de ‘Rudy’ y ‘Crime of the century’, es excelente, mejor que la de la gira anterior. ¡Felicidades! ¿Pero por qué no la usáis más, con vídeos nuevos?

    JOHN: Porque originalmente esas canciones eran especiales y no quisimos hacer eso, sólo quisimos hacerlo con algunas... Y con las nuevas creo que puede tratarse de una cuestión económica, porque los vídeos pueden ser muy caros. Sin embargo, en la gira anterior, en 1997, aparecía yo en la pantalla, hablando conmigo mismo, en ‘Take the long way home’...

    MAC: ¿Y durante esta gira?

    JOHN: Lo hicimos una vez... Y no quisimos volver a hacerlo. Sí, sé que podríamos haber incluido más películas, pero tal vez sea un tema económico.

    MAC: Pero tenéis una gran pantalla que es muy cara... ¡Y es una pena que sólo la uséis para dos canciones!

    GONZALO: Bueno, es verdad que la gente podría prestar más atención a la pantalla que a la música...

    JOHN: Pienso que no es suficiente, pero creo que eso es mejor que utilizarla demasiado. Tu crítica es muy válida. Hay críticas buenas, eso no es malo. No somos perfectos, ¡así que la próxima vez podremos hacerlo mejor!

    MAC: Finalmente quería decirte que a todo el mundo le gustó la gira y la banda. Gracias por una gira tan fantástica.

    JOHN: Hemos trabajado duro, no hemos ido a pasar el rato. Nos hemos esforzado de verdad, hemos ensayado muchísimo.



    MAC: ¿Cómo empezó tu pasión por el saxofón?

    JOHN: Antes que al saxofón me aficioné al clarinete, y mi primera influencia fue Sidney Bechet, un intérprete americano de saxo soprano y clarinete que compuso un tema llamado ‘Petite fleur’. La versión que yo escuché era de Chris Barber y su grupo de jazz, con Monty Sunshine al clarinete, y fue una gran inspiración para mí. Después, cuando tenía 13 ó 14 años, escuché a Cannonball Adderley, un intérprete de saxofón alto, y me gustó tanto que a los 15 años acabé comprándome un saxofón, así que él fue mi principal inspiración. Con 15 años el saxofón y con 13 el clarinete.

    MAC: Por entonces, en los años 60, en los comienzos del pop y el rock, el saxo no era habitual en ese tipo de música, ¿no? ¿Cómo conseguiste integrar el saxofón en el pop y en el rock? ¿Fuiste uno de los pioneros?

    JOHN: Fue una inspiración directa. Por entonces a mí me gustaba el jazz, y fui a un concierto a ver a un saxofonista llamado Tubby Hayes. En el intermedio del concierto escuché otra música que venía de la planta de abajo, y me intrigó tanto que bajé a ver lo que era. Allí estaba la Graham Bond Organisation, con Dick Hechkstall-Smith al saxofón, Ginger Baker a la batería y Jack Bruce al bajo. Aquello fue toda una revelación para mí y me hizo empezar a tocar más blues, rhythm and blues y cosas así. Cuando era programador de ordenadores entré en una banda de Birmingham llamada Jugs O'Henry que hacía blues. Después entré en Alan Bown, que era una mezcla de blues, pop y rock, justo antes de que aparecieran grupos como Chicago y Blood Sweat And Tears.

    MAC: Cuando era niño tuve varias melódicas, antes de conocer a Supertramp. ¿Por qué empezasteis a utilizar este instrumento en los discos del grupo?

    JOHN: Me gusta la melódica, su sonido es diferente. Rick la toca muy bien, por ejemplo en ‘Put on your old brown shoes’.

    GONZALO: Sí, y también en ‘It's raining again’ en directo.

    JOHN: ¡Sí, también lo hacía Rick!

    MAC: ¿Pero la tocabas antes de entrar en Supertramp?

    JOHN: No.

    MAC: Otro saxofonista, Bradford Marsalis, decía que empezó tocando el clarinete pero lo cambió por el saxofón cuando era adolescente porque ese instrumento atraía a las chicas. Me gustaría saber si estás de acuerdo con eso.

    JOHN: (RISAS) Interesante... La respuesta es no. Pero yo no lo cambié por el saxofón, todavía sigo tocando el clarinete. El clarinete es menos habitual en la música rock. Cuando yo era un escolar, en 1960, escribí una redacción llamada "Cómo seré en 1970" que es un proyecto de futuro y...

    MAC: Lo sé, lo he leído en tu biografía.

    JOHN: Fue como una profecía, decía que cuando tuviera 25 años estaría casado y tocaría en grupos famosos y atraería a montones de fans, chicos y chicas, de todo el mundo. ¡Así que fue una especie de profecía! Eran mis planes para el futuro, pero la respuesta a tu pregunta es no.

    MAC: ¿Recuerdas tu primer concierto con Supertramp?

    JOHN: Sí, fue en 1973, antes de grabar ‘Crime of the century’. Creo que fue en Agosto. Tocamos en una boda, en la Isla de Jersey. Antes de la primera parte de la actuación, Bob se puso a beber, a beber... así que la primera parte del concierto no salió muy bien porque Bob estaba borracho...

    MAC: ¿Puedo escribir eso?

    JOHN: (RISAS) ¡Sí! ¡Es parte de la historia de Supertramp! En el intermedio de la actuación Bob estuvo bebiendo café y se le empezó a pasar la borrachera, pero justo antes de iniciar la segunda parte del concierto Dougie perdió su púa, y cuando se agachó a buscarla se golpeó la cabeza con un cañón... No perdió la consciencia pero la segunda parte del concierto fue terrible porque Bob se encontraba mejor pero Dougie cada vez estaba peor. Desde ese día Bob jamás bebe alcohol antes de una actuación. Incluso en los años 70, cuando Bob bebía mucho, jamás lo hacía antes de un concierto. Y todavía sigue sin hacerlo treinta años después.

    MAC: ¿Disteis más conciertos después de aquello y antes de ‘Crime of the century’?

    JOHN: Sí, tocamos en varios lugares. Es más, hicimos una gira por Inglaterra, tocando en pequeños teatros y clubes.

    MAC: ¿Qué era lo que tocabais entonces?

    JOHN: Las canciones del ‘Crime of the century’.

    MAC: ¿Solamente? ¿No tocábais nada del ‘Indelibly stamped’?

    JOHN: No, creo que no. Solamente las canciones del ‘Crime of the century’ y algunas que después aparecerían en el ‘Crisis? What crisis?’

    MAC: ¿Por qué no tocabais en aquella época ningún tema de los primeros discos?

    JOHN: Queríamos tocar sólo canciones nuevas.

    MAC: ¿Cómo te convertiste en el "portavoz" del grupo en los conciertos?

    JOHN: Porque nadie más quería serlo... (RISAS)

    MAC: Curioso... Creo que fuiste el primero en casarte...

    JOHN: Ya estaba casado cuando entré en Supertramp.

    MAC: ¿Fue muy difícil compaginar mujer e hijos con grabaciones y giras?

    JOHN: Sí, siempre es difícil. Es muy duro. No estuve presente en el nacimiento de ninguno de mis dos hijos porque me encontraba de gira con Supertramp. ¡Fue muy duro! Las dos veces fue muy duro para mí.

    MAC: Has colaborado con Pink Floyd, Jean Jacques Goldman, Bob Siebenberg, Roger Hodgson... ¿Has hecho alguna cosa más?

    JOHN: Sí, con Thin Lizzy, cuyo guitarrista es Scott Gorham, el cuñado de Bob. Toqué en el disco ‘Dancing in the moonlight’, allá por 1977 ó 1978. Después toque con Bob, con Roger... Y con Diana Ross también hice una sesión, no recuerdo el nombre del álbum. Y con Johnny Matthis...

    MAC: Durante las épocas en las que Supertramp no tocaba, ¿recibiste ofertas de algún otro grupo?

    JOHN: No, no tuve ninguna oferta. Es más, Milene Farmer, una famosa estrella del pop frances, me despidió (RISAS). Bueno, no fue Milene, sino el director artístico. Ella vino y me dijo "lo siento de verdad, pero el director artístico quiere echarte. No puedo prescindir de él porque controla todo el grupo. Lo siento porque quiero tocar contigo pero debo tenerle contento". De todas formas, estuve dos semanas en París, ensayando y de vacaciones, y me lo pasé muy bien. ¡Tal vez el tío estaba celoso, yo qué sé!

    MAC: Una curiosidad personal... Como te gustan las motos y a mí también, me gustaría saber cuáles son las que has tenido a lo largo de tu vida.

    JOHN: Sí, me encantan las motos. La primera que tuve fue una Honda 360 CBS, y la segunda una Moto Guzzi 850 Le Mans, que todavía conservo. La compré en 1978. Después tuve una Yamaha XS 1100 y una BMW R65 LS. Buena moto. Y después, en 1983, conseguí una Ducati 900 S Mike Hailwood que todavía tengo. En Inglaterra, hace cinco o seis años, compré una BMW R 1100 RS que quiero vender. Así que si alguien quiere comprarla está a tiempo... Por favor, anunciadlo en Internet.

    MAC: Tú fuiste programador de ordenadores y yo también lo soy, también coincidimos en eso. ¿Recuerdas qué lenguajes de programación usabas?

    JOHN: Sí, Fortran y Cobol, hace mucho tiempo... En 1963.

    MAC: Interesante... En mi trabajo todavía utilizamos el Cobol, para el ordenador central. ¿Qué recuerdas de cuando viviste en Topanga?

    JOHN: Viví allí al menos quince años... Desde 1978. Me gustaba mucho porque es un sitio donde hay mucha libertad. Practiqué mucho ciclismo y motociclismo. Allí la gente es muy libre, puedes hacer lo que quieras.

    MAC: ¿Por qué regresaste a Inglaterra?

    JOHN: Para estudiar.

    MAC: ¿Echabas de menos a la Reina?

    JOHN: (RISAS) Echaba de menos la cerveza... ¡Sí, la buena cerveza!

    MAC: Empezaste en un grupo inglés que tenía un batería americano. Ahora estás en un grupo americano y tú eres el único que vives en Inglaterra...

    JOHN: Sí, cosas de la vida... Decidimos quedarnos a vivir en California porque en aquella época parecía un lugar muy atractivo. Ahora la mayor parte del grupo es americana. Rick ya es americano (RISAS).

    GONZALO: ¿De verdad?

    JOHN: Sí, ha cambiado. Yo soy el único que sigue siendo británico.

    MAC: ¿Coincidiste con algún miembro de los Beatles?

    JOHN: Bueno, sólo una vez, en un club de Londres llamado “Speak Easy”, en los años 60. Yo estaba allí con algunos de los colegas de Alan Bown, y John Lennon y Paul McCartney estaban sentados detrás de nosotros. Me preguntaron si podían coger una silla... "¿Está ocupada esta silla?", dijo uno de ellos. Y yo le dije "No, hombre, llévatela". Y él contestó "Gracias". Esa es toda la conversación que tuve con ellos...

    MAC: ¿Tienes algún héroe musical de tu infancia al que finalmente has acabado conociendo?

    JOHN: Interesante pregunta...

    MAC: ¡A Gonzalo y a mí sí nos ha ocurrido!

    JOHN: Ahora mismo no recuerdo... Probablemente no, porque la mayoría estaban muertos o fuera de mi alcance... No he vivido esa experiencia...

    MAC: ¡Has conocido a Gonzalo! (RISAS) ¡Será famoso!

    JOHN: ¡Sí! ¡Hazme la misma pregunta dentro de diez años!

    MAC: Sé que mantienes el contacto con Roger, a veces habláis por teléfono. Mucha gente cree que una de las razones por las que Roger dejó Supertramp fue porque a él no le gustaba el saxofón y a ti no te gustaba la guitarra... He leído que a veces tú y Roger bromeabais sobre esto...

    JOHN: Sí, sólo es una broma. Debía ser una broma porque a Roger le encanta mi forma de tocar... Creo que una de las razones por las que Roger se marchó fue porque componer y tocar con Supertramp no era suficiente, pues cuatro canciones cada dos años era muy poca cosa para él. Necesitaba dar a conocer algo más de su música.

    MAC: ¿Hasta qué punto influyeron las mujeres de Rick y Roger en la separación del grupo?

    JOHN: Puede que influyeran en algo, pero no creo que en mucho.

    MAC: ¿La marcha de Roger fue la mejor opción?

    JOHN: ¿Artísticamente hablando?

    MAC: Quiero decir que tal vez podría haber permanecido en el grupo mientras grababa discos en solitario...

    JOHN: Bueno, económicamente la mejor decisión habría sido que Rick y Roger siguieran juntos. Creo que habría sido estupendo que hubieran seguido trabajando juntos a la vez que hacían discos en solitario. Podríamos haber ganado más dinero, pero no puedes basar las decisiones artísticas en el dinero.

    GONZALO: ¡A veces el dinero no puede comprar la felicidad!

    JOHN: ¡No!

    GONZALO: ¿Alguna vez habéis intentado Bob, Dougie o tú componer canciones para Supertramp?

    JOHN: No, nos parecía bien que Rick y Roger se encargaran de todo el material.




    MAC: Cuéntanos algo sobre el proyecto ‘Gaia’, tus próximos planes...

    JOHN: Sí, me voy de excursión a Nepal con Alan, Jesse Siebenberg y Anggun. Será una semana, grabaremos un concierto acústico y haremos una pequeña gira mundial, probablemente en Agosto o Septiembre, sólo en grandes ciudades como París, Nueva York o Tokio.

    MAC: ¿Coincidiste con Andrew Hodgson en las grabaciones?

    JOHN: No, él grabó su parte en un estudio de Los Angeles, y yo grabé mis partes de saxo en un estudio del sur de Gales, ¡seguro que Gonzalo lo conoce!

    GONZALO: ¿Por dónde queda?

    JOHN: No lo recuerdo exactamente, pero aparece en los créditos del disco.

    MAC: ¿Tienes algún otro proyecto especial?

    JOHN: No, de momento no.

    MAC: ¿Has escuchado el album “Open the door”?

    JOHN: ¡Sí! ¡Bonito álbum!

    MAC: ¿Hay algo que te guste de la música actual? ¿Algo que te llame la atención cuando escuchas la radio?

    JOHN: Me gusta mucho Beck, y escucho sobre todo jazz y música clásica.

    MAC: ¿Cuál es tu álbum favorito de Supertramp?

    JOHN: ‘Crime of the century’, el primero que grabé tras entrar en el grupo. Fue muy emotivo grabarlo en esa granja de Somerset, viviendo todos juntos. Rick pasó una mala época porque su padre murió por entonces. Son recuerdos muy especiales.

    MAC: Mis canciones preferidas del último álbum son ‘Over you’ y ‘Slow motion’. ¿Qué es lo que más te gusta a ti del disco?

    JOHN: Creo que es muy blues, me gusta mucho el estilo antiguo que tiene.

    GONZALO: A mí me parece que ‘Over you’ es la segunda parte de ‘My kind of lady’. Me recuerda mucho a esa canción veinte años después...

    JOHN: Sí, es verdad.

    MAC: Leí en una entrevista tuya en Vancouver en Septiembre que algunos de los solos de saxo del último álbum habían sido ideas de Rick, al contrario de lo que solía ocurrir en el pasado.

    JOHN: ¡Los solos no! Tal vez algunas líneas melódicas... Siempre es una combinación de todo el grupo desarrollando ideas de Rick. Cualquiera puede sugerir lo que quiera.

    GONZALO: ¿Compusiste tú el solo de saxo en ‘The logical song’?

    JOHN: Sí.

    GONZALO: ¡Un solo maravilloso!

    MAC: No recuerdo que en el último álbum apareciese el clarinete... ¡Lo echo de menos!

    JOHN: Sí, tienes razón... Ni siquiera me había dado cuenta... Hay algo de flauta...

    GONZALO: ¿Es verdad que cuando tocabas la flauta durante la última gira imitabas a Ian Anderson levantando una pierna?

    JOHN: (RISAS) ¡Sí, es verdad, lo recuerdo...!

    MAC: ¿Sabes algo de Dougie?

    JOHN: Trabaja para Moby, vive en Chicago y es editor musical. Le va muy bien.

    MAC: La última pregunta... ¿Tendremos más Supertramp?

    JOHN: ¡Eso espero! Me encantaría que hubiera una reunión de Supertramp. Quise hacerlo en el año 2000, en el trigésimo aniversario del grupo, con toda la gente que ha tocado con nosotros... Pero no pudo ser.

    MAC: Espero que tus buenos deseos se hagan realidad !!! Muchas gracias por dedicarnos tu tiempo !

    GONZALO: Gracias John.

    JOHN: Seguimos en contaco chicos, ha sido un gran placer !

    ]]> (MAC) Interviews Thu, 12 Aug 2010 12:22:21 +0000
    JOHN HELLIWELL Interview, April 2003

    Interview with John Helliwell for Breakfst in Spain site

    Manchester, April 3rd 2003, by MAC



    This is an interview made to John Helliwell in his 30th anniversary with Supertramp. John Helliwell is the saxophone player in the band, and also the “showman”, speaker or face of the group for most of the fans, specially in the live gigs, where he’s the speaker, introducing the other musicians and having fun together with the audience.
    I would like to thanks John for his kindness, sense of humour and wonderful music.

    Miguel Angel Candela


    THE LAST TOUR 2002

    MAC: Nice to meet you John.

    Gonzalo Carrera: Hello John, thanks a lot for giving us this great opportunity to share this great moments for breakfast in spain !!!

    JAH: …. It’s a pleasure.

    MAC: You are my favourite sax player within Supertramp.

    GC: one of the best !!!

    JAH: the best sax player in Supertramp !!! (everybody laughing......)

    MAC: What’s your opinion about last tour? how would it be your review about it ?

    JAH: It’s a really great band, all the musicians really geared together very well.

    MAC: What do you think about the reception of the crowd ? I think most of the venues were completely full up....

    JAH: Yes, it is. Most of them were sold out. Our best crowds , I think, were in Spain, France and … those are good countries for us. …. And I think they were curious to hear us, the new album… and we played so well and the gigs they went done well.

    GC: great reception, them ?

    JAH: yeah!

    MAC: I remember the Olimpic venue in Barcelona was full, around 17.000 people.

    JAH: yeah !!!, that one was very special...

    MAC: What has been your largest audience in the last tour ?

    JAH: It was at the Paleo Festival in Geneva (Switzerland)…. 35.000 people …. but that was because it’s an open air festival and that night there was a lot of people for us .….but 17.000 people in Barcelona was good… and that was a very special night indeed because … oh how you call it ? I forgot now....., I can’t remember...

    GC: el abuelo !!! (grandfather in english)

    JAH: that is the one, abuelo !!!

    MAC: hahaha !!! Yes, John was in the stage and said to the audience: “hoy he sido abuelo !!!” (today I’ve been a grandfather in english language) I remember John asked it to us in the backstage before the concert, he was really happy !!! I’m still remember his face and the big smile :o)

    JAH: I remember the place, it was good night, good people…

    MAC: Apart of London (Hyde Park), have you played other outdoor gigs ?

    JAH: The Paleo Festival was outdoor. And Zurich as well, the day before …that was a beatiful concert… it was next to a museum…very nice and it look really good … good crowd… and we did some in North America …some outdoor ones. Paleo it’s a big open air festival similar to Hyde Park, each night they have famous headliners like one night they have for instance James Brown, next night Supertramp for instance.

    MAC: Do you really know how to say “Buenas noches, Señoras y Señores” (Good night Ladies and Gentlemen) in all the languages ?

    JAH: ( Laughs) Bonsoir tout le monde , bienvenue une soirée avec Supertramp…. !!! (perfect french pronunciation)

    GC : Ah... that sounds familiar…

    JAH: Gutten aben Meine Damen und Herren (perfect german pronunciation)

    GC: what about swedish!

    JAH: That’s a mistery to me....I need a translator... I can learn it before I go on stage but then I might forget it like I forgot in portuguese...

    MAC:… you take your time in everyplace to learn this….

    JAH: yeah, yeah… it’s important , it is good to know something from the city where you play … just to make a nice reference to it …

    MAC: I was lucky to be in the backstage in some of the gigs and it came to my attention how well organised is everything… I remember the “schedule” in the walls: the time for lunch, fiting up the stage, soundcheck, interviews, press, etc..

    JAH: Yes, it’s very important for the crew , actually, to know when things have to be done and finished . On a few ocasions I like to arrive very early in the morning, about 9 or 10 , and watch the whole processes setting up . I find it really interesting.

    GC: I remember when you played in Vigo back in 97, you asked me the day of the concert where about was the venue, and this was very early in the morning, I remember you were with Carl Verheyen.

    JAH: yeah that is right !!!

    MAC: It has to be very hard sometimes to be away from home … but it has positive things as well...

    JAH: The main thing is the playing. The other things are the traveling and experiencing new places and it’s hard to be away from the family but that’s the life of a musician for you !!

    GC: tell me about it John. I know it haha...

    MAC: Would you have preferred a longest tour or it was enough?

    JAH: eh.....I could do some more (Laughs )…

    GC: I know that you love being on stage…

    JAH: I could have done more… but I think it was enough for the band as a whole.

    MAC: You performed more concerts in Canada than in the States . What do you think is the reason ? Promoters? The audience ?

    JAH: I think it was … getting together with a promoter .. they gave us the best offer from the canadian ones .. and it seems like we are still quite popular in Canada… but not as popular in the States

    MAC: Really ?

    JAH: Yeah, it is true.

    GC: Do you reckon that it happened the same thing in Europe, in Germany ,France , Spain or Italy you played at a lot of different cities in each different country, and in UK you just did 5 major concerts, 2 in Scottland and 3 in England...

    JAH: yeah it’s a similar situation, here in England we are consider like an old band, because we dont get as much playing at the radio like it happened at France, Spain, Italy, Germany or Holland ..., in England they rather played some of the new bands on the radios...on the other european countries we are still very popular.

    MAC: Do you have special feeling to play in your own country?

    JAH: It’s interesting .… oh not. The thing that is different is when I’m playing here or at Canada or in the States I’m speaking their language and I can be more confortable. I can feel much more fluent, I think is much easy talk to them.

    MAC: The band did some little changes in the setlist every night. What is the reason? Who decides the changes ?

    JAH: It’s allways a discussion with usually Rick and ourselves, the rest …. And we are allways trying to improve it .. but we make all the set in a particular country if one particular tune or album is very, very popular there….. but really usually is in an effort to improve

    MAC: But in Spain you were changing one or two songs from the setlist every night !!

    JAH: We keep trying… Spain was at the beginning of the tour so we were… well, we were changing through all the 88 concerts of the tour.

    GC: I think sometimes there were in some songs a little bit more of freedom for the musicians for improvising and maybe extending guitar, sax or keyboard solos...

    JAH: yeah that’s right.

    MAC: I remember in Spain … one concert was.. 24 songs… next one 23… next one 22… we were joking about thinking on a concert in England at the end of the tour with only 5 songs !! (Laughs)

    JAH: Yeah, probably we did might think it was too long. Someone might say it seems long, it seems too long. It’s got a number out. A number in. That’s a change around. First of all, for example, it was Mark Hart singing Give a little bit and eventually Mark was replaced by Jesse .

    MAC: When ? In the rehearsals ?

    JAH: No, no..At the gigs !! Mark started singing it in Benidorm … I think so.

    MAC: Yeah, I understand it know, we were outside there during the soundcheck and we did hear the song sung by Mark…. And then in the concert it was Jessie !

    JAH: What about Granada ? Who was singing it ?

    MAC: No, no, every night was Jessie.

    JAH: oh you are right !!! that was only at the rehearses, what happened Mark started with give a little bit but them eventually jesse had a go and we though his version was better than Mark actually... Ah… we were changing.

    GC: I though Jesse’s version was excellent!

    MAC: Why you did not play Gold Rush ? I think it’s a good song to be played live, powerfull song, perhaps better than “Little by little”. I think Bob told somewhere that you were thinking on including it in the tour….

    JAH: Yes, we rehearsed it quite a lot. We might have played somewhere though… maybe we have played it in Canada ... . I think we did it... It was one of the numbers people were waiting, you know … one of the numbers waiting on the wings.

    MAC: Yes, I remember you played it in the soundcheck of Malaga !!.

    GC: actually that was cowritten with Richard Palmer.

    JAH: Yeah that’s right.

    MAC: Well, I can tell you a funny story about it. I was in San Diego two years ago and Roger Hodgson played “Gold rush” for us, a small group of friends, one year before the album “Slow Motion”.

    JAH: really ?

    MAC: yeah!!! and then I told Roger “that’s Rick’s !!!”, as you know Roger just play his own songs, and Roger was really surprised and told us “The lyrics are from R. Palmer and the music is from Rick and me !!!”

    JAH: I didn’t know it. I’ve joined the band time after this song, an old song.

    GC: it’s a great song !!!

    MAC: Roger played for us some really beautiful new songs !!!

    JAH: Lovely !!

    GC: maybe they will be at the next Supertramp album ????

    JAH: I’d love to play with Roger !

    MAC: Well, comming back to the tour, It was a big surprise to have “Asylum” back, congratulations, it was a great idea and we enjoyed it a lot !!!
    GC: another beautiful song !

    JAH: great dynamics isn’t it...???

    GC: yeah very strong !!!

    MAC: beautiful contrast at the stage, Rick playing seriously at the piano, screaming, almost crying.... and you, happy man, with the phone, in the humorous side, great contrast.

    JAH: it was a great inspiration !!!

    MAC: yeah, but in the opposite, most of us were waiting for numbers like “Waiting so long”, “Gone Hollywood” or “Lover Boy”.

    JAH: First of all, we can’t play everything. “Gone Hollywood” is the one we have never done it live….

    GC: I love Gone Hollywood, is one of my favourites, I love your solo !!!

    JAH: and we have not played “Lover Boy” neither. Maybe is just we have not the right sounds for it … maybe there was a lot of overdubs at the studio... and it’s the same with “Gone Hollywood” . I allways say “We must play Gone Hollywood”. In 1979 , for the tour, we tried and rehearse it and it wasn’t right. But every tour that we do I allways say “Let’s do Gone Hollywood”….

    MAC: Yeah, really ? Thanks John !!

    JAH: Maybe we tried it in 79, and again in the 83 tour but it wasn’t right for some reason.

    GC: wich sax did you use on your solo John? at Gone Hollywood..

    JAH: well it is a tenor sax...

    GC: and there is like a keyboard sound underneath the sax doubling up the solo...

    JAH: it’s an octaver synth and there was a direct link between the sax and the synth...

    MAC: How did it come out the idea of inviting four sax players at the Paris concert, during last tour ?

    JAH: Because of the track.. “Over You”. There are five different harmonies for the sax parts on the studio, so it was just an idea . Laurent knew some of the top sax players in Paris and I was just talking to him and I just say “Can you find three other saxophone players ?” … “Laurent, can you organise it , get these people together ?” …and I wrote out the music for them in a letter to Laurent. I remember I was in Bordeaux . I wrote the music there and I sent it to him…

    MAC: During the tour ?

    JAH: Yeah…on tour….before we arrive to Paris. We just did it for one night, very special night. Good saxophone players they were.

    GC: and Laurent was all over the moon about it !!! What a nice guy. I had the pleasure meeting Laurent and Mac the fist time in the backstage of London thanks to your invitation John.

    MAC: it was a great week end, my first time in London. The music is a really good way to meet good friends ...

    GC: Laurent will be playing with my band Landmarq at a special concert at london, the underworld-candem town and we will have as very special guests Laurent Hunziker on the sax and Hugh Mcdowell(cello for the Elo fame)!!!

    JAH: I konw it and he will be playing the sax he bought from me the tenor one the one I recorded some of the supertramp hits like Crime of the century, Bloody well right or It’s raining again, hopefully i can make it myself too and i will play on the last number if i am not busy with the Gaia project with Alan Simon...!!!

    GC: it would be fantastic !!!

    MAC: I would like to make a comment or a criticism about the last tour.

    JAH: that’s allrigth...

    MAC: When people attends a concert and pays, they want to enjoy music but they also want to enjoy seeing musicians faces and see how you play, specially in the big venues. Why don’t you use a video screen system or something similar like other artists do ? That’s because of piracy ? In some gigs you have joked about this, saying you are getting older and you don’t want people to see your faces….

    JAH: Yeah, it’s true. We are not beautiful enough. It’s not for security reasons. It’s something we have never really got into. Because when we started it wasn’t there really , we didn’t have that facility and we never really done it. … maybe we just did it a few times…

    MAC: But do you think it’s a good idea for people … to see the faces when you play it?

    JAH: But I think it’s a second do it to… we are not really bother about it...the music is more important than the image for us...

    MAC: A second criticism. The big video screen for some projections like the ones in Rudy and Crime of the Century is excellent. Better than last tour. Congratulations… but why don’t you use it more, with new videos ?

    JAH: Beucause originally those numbers were something really special and we didn’t want to do it with …. We just want to do it with few of that numbers … and now with the new numbers I think it might be a question of economics…because it can be very expensive. On the last tour although (97)....we had that situation where it was me on the screen talking … I was talking with me in Take the long way home. We did that….

    MAC: And what about this tour ?

    JAH: We did it once…we did not want to do it again. We have done it already. yeah I know we could have done more movies, but maybe is due to economics.

    MAC: But you have a expensive big screen…and it’s a pitty… just two songs.

    GC: well that is true otherwise people they pay more attention to the screen than the music.

    JAH: I think that’s not enough. But I think that’s better than too much. Your criticism is very valid, they are right. They are good criticisms…. It’s good. We are not perfect. So, next time we come out we can be better !!!.

    MAC: Finally I want to let you know that everybody enjoyed the tour and the band. Thanks for the fantastic tour.

    JAH: We worked hard. We don’t mess about . We really tried hard. We rehearlsed a lot!



    MAC: How did you start your passion for the saxophone?

    JAH: First before the sax was the clarinet and and my first influence was Sidney Bechet-an American soprano saxist and clarinet player that wrote a number called “Petite Fleur” . The version I heard was by Chris Barber and his Jazzband with Monty Sunshine on clarinet, that inspired me a lot!... and then I heared Cannonball adderley, a clarinet player, I was 13 or 14, I really enjoyed this playing so I eventually bought the saxophone, so he was my main inspiration. I was 15. 15 the saxophone, 13 the clarinet.

    MAC: At that time, the 60’s, at the beginnings of pop and rock, saxo was not really usual in that styles, wasn’t ? How did you manage to integrate saxophone in pop and rock ? Were you one of the pioneers ? Were you one of the first guys ?

    JAH: There was a direct inspiration . At that time I was into jazz. And I went to a jazz concert to see a jazz saxophone player called Toby Hayes and in the interval I heared this other music coming from downstairs and I was intrigued and I went down to listen and playing underneath downstairs there was the “Graham Bond Organisation” with Henstall Smith on saxophone and Ginger Baker on drums and Jack Bruce on bass there was a complete revelation for me and that ‘s what made me start playing more in rythm and blues, blues and stuff like that and I join a group in Birmingham, in England when I was still a computer programmer . This group is called “Jugs O’Henry” and we played blues, and then is when I started. It wasn’t until I joined the Alan Bown wich this one was a mixture of blues, pop and rock and this was just before “Chicago” and “blood,sweat and tears. Just around this time this bands they would start coming out.

    MAC: I had some melodicas (instrument) when I was a child, before knowing Supertramp. Why did you started using it in the Supertramp albums?

    JAH: I like melodicas. It’s just the sound of it. It’s just another sound . Rick playes it very well. He plays it in “Put on your old brown shoes”.

    GC: yeah, and in "it is raining again" as well.

    JAH: yeah! that was Rick as well!

    MAC: But did you play it before joining Supertramp ?

    JAH: No.

    MAC: Another saxophone player (Bradford Marsalis) said that he started out by playing clarinet, but he switched to the saxophone when he was a teenager because that’s what attracted the girls. I would like to know if you agree with that.


    JAH: well, It’s interesting. The real answer is no. But I didn’t switch. I still keep playing the clarinet. A clarinet is more unusual in rock music. When I was at school , in 1960, I wrote an essay called “myself in 1970” which is a projection for the future and in this essay I projected myself …

    MAC: I know it. I’ve read it on the biography.

    JAH: it was like a profecy, I was telling on it when I would be 25 I would be married and playing in a famous bands and atraccting a lot of fans, boys and girls from all over the world, so this was like a profecy!!! it was my projection of my future.... …. But the real answer is no.

    MAC: Do you remember your first concert with Supertramp ?

    JAH: Yes, it was in 1973, before we made Crime of the Century. It was in August, I think. And we played in somebody’s wedding, on the island of Jersey. And then we played two halfs and before we started playing, Bob …drink, drink, drink … and so the first half it wasn’t very good because Bob was drunk.

    MAC: Can I write this ??

    JAH: (Laughs) Yes !!!, fine, it’s part of the Supertramp history !!! . So in the interval , between the sets, Bob drunk black coffee so Bob soberd up he was fine by them, but just before the second half started Dougie lost his plectrum, so when he bent himself for to try to find it, and he picked the plectrum, he smashed his head!!! into a cannon!!! his head on this cannon, Dougie was still conscious but the 2nd half was still really very terrible becuse Bob was feeling fine but Dougie was feeling very ill ! but since that day Bob Siebenberg never ever drinks alcohol before a performance. Even like in the seventies when Bob used to drink a lot but never ever before the show. He still keeps to that…thirty years later.

    MAC: Did you play more concerts after that and before Crime of the Century ?

    JAH: Yes, we played different places. Actually, we did a tour in England , playing small theaters and clubs.
    MAC: What did you play then?

    JAH: It was Crime of the century music.

    MAC: Only this? Did you play something from Indelibly Stamped ?

    JAH: No, I don’t think we didn’t play anything from Indelibly Stamped. We played only Crime of the Century and some other numbers they would come in Crisis.

    MAC: So, from that time, why haven’t you played any number from the earlier albums ?

    JAH: We just wanted to play new material.

    MAC: How did you become the “speaker” on the shows ?

    JAH: Because nobody else wanted to do it. (Laughs)

    MAC: I think you were the first getting married.

    JAH: I already was married when I joined Supertramp.

    MAC: Was it very difficult for you to arrange wife and kids with recording and tours?

    JAH: Yes, it’s allways difficult. It’s hard. The two things that happened were both births of my two sons: I wasn’t there because I was touring with Supertramp. It was hard. ! That happened on each ocassion and it was very hard for me !

    MAC: You have collaborated with Pink Floyd, Jean Jacques Goldman and Bob Siebenberg, Roger Hodgson…. Have you done something more?

    JAH: Yes, Thin Lizzy, whose guitarist is Scott.Gorham, Bob’s brother in law. I played on the record “Dancing in the moonlight” , around 1977-78. I played with Bob, later. Roger….and Diana Ross as well, I just did a session. I don’t remember the name of the album. And Johny Matthis …

    MAC: During the time Supertramp was not playing, have you received offers from any other bands ?

    JAH: No. I din’t get any offer. Actually, I was fired from Milene Farmer, very famous french pop star. Well, it was not Milene but the musical director. She came to me and said “I’m really sorry but the musical director wants to fire you” And she said “I can’t go and play without the musical director because he’s controlling all the group. I’m really sorry because I want to play with you but I have to please him” . Anyway I had two weeks of rehearlse and holidays in Paris, I enjoyed myself. I think maybe he was jealous, I dont know it !

    MAC: As a personal curiousity and as I like motorcycles too I would like to know the ones you have had all over the years…

    JAH: Yes, my first motorcycle was an Honda 360 CBS, my second was a Moto Guzzi 850 Le Mans, which I still have. I got it in 1978. Then I had a Yamaha XS 1100 and I also had a BMW R65 LS. Good bike. And then in 1983 I got a Ducati 900 S Mike Hailwood replica and I still have that one.
    In England about 5 or 6 years ago I bought a BMW R 1100 RS, which I sell. If anybody wants to buy they can…. Put it out in the Internet, please.

    MAC: You were computer programmer and also I am, another coincidence. Do you remember the languages you did use ?

    JAH: Yes, Fortran and Cobol, long time ago….in 1963.

    MAC: Interesting…We still use Cobol in my job, for the mainframe.….What do you remember about living in Topanga ?

    JAH: I lived there 15 years at least. I moved there in 1978. I liked very much because it’s very free. I did a lot of cycling and motocycling. The people are free. You can do what you want.

    MAC: Why did you come back to England?

    JAH: To study

    MAC: Did you really miss the Queen ?

    JAH: (Laughs) I missed the beer...yeah, the good beer !

    MAC: You started as an english band with an american drummer. Now, you are an american band and you are the only one living in England.

    JAH: Yes, it’s just how life goes on. We decided to live in California because it seemed attractive at that time. Now, the majority of the band is american. Rick Davies is american now (Laughs)

    GC: Really?

    JAH : Yes. He has turned. I’m the only one who is british.

    MAC: Did you meet some of the members from The Beatles ?

    JAH: Well, only one time. In a club called “Speak easy” , in London, in the sixties. I was in there with some of the guys from Alan Bown and John Lennon and Paul McCartney were sitting behind us and they asked me if they could borrow a chair or something. “Are you using that chair?” one of them said. And I said “No man, take it, it’s ok”. And this is just the conversation I had with them. And he said “Thank you”.

    MAC: is there any musical hero, in your young days that you ende up meeting years later?

    JAH: interesting question (thinking about.....)

    MAC: it happened to me and Gonzalo !!!

    JAH: I can’t remenber now , probably not because most of them they were out of my reach or they have died ! I haven’t had that experiece....

    MAC: you met gonzalo !!! (everybody laughing.....) he will be famous !

    JAH: yeah!!!, asked me the same question ten years later !

    MAC: I know you keep the contact with Roger, you speak on the phone sometimes. A lot of people thinks one of the reasons Roger did leave the band is because he did not like the saxophone. And you don’t like the guitar. I’ve read that you and Roger were joking about it sometimes.

    JAH: Yes, it’s only a joke. It must be a joke because Roger loves my playing. I thought one of the reasons for Roger spliting was the fact him writing and playing with Supertramp was not enough, because he has so much music in him and to write 4 songs every two years or an album was not enough for him . He needed to get more music out.

    MAC: Until which point Rick and Roger’s wife did influence on the split of the band?

    JAH: Well..maybe there is an influence, just a bit, but not much I think.

    MAC: Was Roger’s leaving the best option at that time ?

    JAH: artistically ?

    MAC: I mind, perhaps he could stay in the band and working in solo albums as well....

    JAH: Well, financially the best decission would have been Rick and Roger staying together but at the end it could be I think it would have been great if they would have carry on doing some solo albums outside the band, and them carry on writing toghether, I think financially it would have been much more clever !, we could make more money, but you cannot make the decission of artists based on money unless it is a very commercial artis, you know.

    GC: sometimes money doesn’t buy happiness !

    JAH: No !

    GC: John, did you ever you, Bob or Dougie apart from Rick and Roger, tried to write some songs for the band ?

    JAH: no, we were just happy to leave Rick and Roger in charge of all the material.





    MAC: Tell us something about the Gaia project, your next plans...

    JAH: yeah I’m going to Nepal for a trekking together with Alan and Jesse Siebenberg and Anggun, just one week and an acoustic concert there it is gonna be filmed and a short world tour maybe in August - September, only big cities like Paris, New York or Tokyo.

    MAC: Did you meet Andrew Hodgson at the recording ?

    JAH: no, he recorded his part at the studio at Los Angeles, I recorded my sax parts at a studio in South Wales, and I am sure Gonzalo might know the studio !

    GC: where about ?

    JAH: I can’t remenber when in South Wales but it is inside the credits of the CD.

    MAC: Some other special projects ?

    JAH: no, not at the moment.

    MAC: Did you hear Open the door ?

    JAH: yeah ! nice album !

    MAC: Is there something from the modern artists that you like ? Some music call you when you hear the radio ?

    JAH: I like Beck a lot and I mainly listening to jazz and classical music.

    MAC: wich one is your favourite album of Supertramp ?

    JAH: Crime of the century, the first album after joining the band, it’s very emotional we were recording the album at this farmhouse down in Somerset, and we have to be living together while we were recordign the album, Rick went through a bit of a dificult time becuse his father died during this time. Special memories.

    MAC: My favourite songs on the last album are Over you and Slow Motion. What really likes you about the last album ?

    JAH: I think it’s very bluesy, I like a lot the kind of old fashion style it has.

    GC: I think Over you is like the 2nd part of "My kind of lady"! it reminds me a lot of it.20 years later!

    JAH: yes, it do.

    MAC: I’ve read an interview of you in Vancouver last September that it said that some of the sax solos on the last album there would be ideas that would come from Rick, not like it used to be in the past.

    JAH: not the solos ! some of the melodic lines maybe..., it is always a combination of the whole band developing Rick’s ideas. Anyone can suggest any thing.

    GC: the sax solo on "The logical song" was it written by you ?

    JAH: yeah.

    GC: beautiful solo !

    MAC: I dont remember on the last album any clarinet..

    JAH: yes you are right ! I haven’t even realized myself, there is a bit of flute mind you.

    GC: was it truth that on the last tour when you were playing the flute were you imitating Ian Anderson lifting up one of your legs !!!

    JAH: yeah (laughing a lot) you are rigth, I remenber that !

    MAC: what do you know about Dougie now ?

    JAH: he is working for Moby, and he is living in Chicago he works as music publisher, doing vey well.

    MAC: The last question..... Will we have more Supertramp ?

    JAH: I hope so !!!!! I would love to do a Supertramp reunion. I wanted to do in 2000, the 30 Supertramp anniversary with everybody ever played ....but it didn’t work out.

    MAC: Hope your wishes became true !!! Thanks a lot for your time !

    GC: thank you John.

    JAH: Let’s keep in touch guys, it has been a great pleasure !

    ]]> (MAC) Interviews Thu, 12 Aug 2010 12:08:51 +0000
    SUPERTRAMP Interview, Farewell tour 2002?


    (en español, a continuación)

    Tournée d'adieu pour Supertramp?

    Le lundi 26 août 2002
    Michel Bilodeau
    Le Soleil (Canada)

    La tournée One More For The Road sera-t-elle la dernière de Supertramp? Si Rick Davies, qui se produira avec son groupe le 4 septembre au Centre Molson, ne peut, pour le moment, répondre à cette question, il admet du même souffle qu'il jongle depuis un bon moment avec l'idée

    «Ça fait plus de 30 ans que le groupe roule. Je ne veux pas le saborder, mais je suis prêt à passer à autre chose. Il y a d'autre avenues que le traditionnel pattern disque-tournée. J'ai besoin de temps pour réaliser des projets personnels», raconte Rick Davies en entrevue.

    Lorsqu'il a fondé Supertramp avec la complicité de Roger Hodgson, au début des années 1970 (une période où la scène musicale de rock progressif était en pleine ébullition en Angleterre), il était bien loin de se douter que leur groupe vendrait des millions de disques et qu'il sillonnerait le monde pendant trois décennies.

    Chose certaine, le tandem était déterminé et tenace, puisqu'après deux échecs cuisants (Supertramp, Indelibly Stamped), il ne jette pas l'éponge pour autant. Les deux compères ont bien raison puisqu'en 1974, avec une formation stabilisée, le disque Crime Of The Century propulse Supertramp à l'avant-scène grâce, notamment, aux pièces Bloody Well Right et School. Sur sa lancée, le groupe lance les disques Crisis ,What Crisis? (Sister Moonshine), Even InThe Quietest Moments (Give A Little Bit) et surtout Breakfast In America (The Logical Song) qui tient le groupe sur la route pendant un bon moment.

    Le départ de Roger Hodgson en 1982 ébranle Supertramp, mais Rick Davies choisit de maintenir le cap. L'âge d'or du groupe est certes derrière lui, mais Rick Davies poursuit en réalisant notamment Brother Were You Bound et Free as a Bird. Assuré somme toute d'un public fidèle, la troupe continue à sillonner le monde régulièrement et Rick Davies a bien l'impression qu'il pourrait continuer à le faire pendant un bon moment encore. Mais cette perspective ne lui sourit pas autant qu'il y a une dizaine d'années.

    «Nous venons tout juste de boucler une série de 75 concerts en Europe. Nous continuons à avoir un bon public sur ce continent. Nous avons un nom. Un nom qui continue à drainer les foules. C'est le bon côté de la chose. Mais l'autre versant, c'est qu'il faut entretenir tout cela. C'est-à-dire qu'il faut être fidèle à la traditionnelle formule disque-tournée. C'est un côté qui me plaît de moins en moins, car cela monopolise beaucoup de mon temps.»

    Alors Rick Davies songe-t-il à dissoudre sa fameuse formation? Ce dernier assure qu'il n'a pas le goût de tourner définitivement la page. Il aimerait pouvoir se retrouver en studio avec ses coéquipiers, mais il souhaiterait, par contre, ne présenter que des concerts ponctuels. Les longues tournées de plusieurs mois seraient choses du passé.

    «Lorsque nous aurons bouclé la présente tournée, je veux m'asseoir avec les autres pour en discuter. Pour ma part, après 30 ans, je sens le besoin d'envisager les choses autrement. J'aimerais bien que cette formule convienne à tous. Il va sûrement y avoir de longues discussions. Je pense que nous continuons à créer et écrire de bonnes pièces. Il serait intéressant de poursuivre dans cette voie sans être assujettis aux règles de l'industrie.»

    Le groupe a déjà fait un pas dans cette direction puisque, contrairement à ce qui se passe en Europe, il n'est pas lié avec une maison de disques nord-américaine et son plus récent disque, Slow Motion, n'est tout bonnement pas disponible sur notre continent. Les fans peuvent cependant se le procurer lors des concerts et par l'intermédiaire du site Internet du groupe.

    «Pour le moment ça nous convient parfaitement. Nous ne sommes pas parvenus à négocier une entente satisfaisante pour l'Amérique du Nord. Nous avons toujours été bien accueillis chez vous, et ce dès nos débuts. C'est aux États-Unis que c'est difficile et compliqué. Nous voulons un contrat avec des conditions qui nous semblent raisonnables. Je préfère ne pas avoir de contrat qu'un contrat qui ne me plaît pas. Le problème avec les maisons américaines, c'est qu'elles visent pour ainsi dire uniquement le marché des jeunes et qu'elles sont dirigées par des gens qui n'ont pas grand-chose à voir avec la musique. C'est géré par des avocats qui ne visent pas autre chose que les profits faramineux. Pourtant, les autres marchés peuvent être aussi rentables. C'est une vision à court terme qui ne correspond pas à mes attentes», de trancher Rick Davies.

    Du même souffle, la figure de proue de Supertramp ajoute qu'il se donne plusieurs mois pour évaluer l'évolution de cette escapade en «indépendant». Si l'expérience est concluante, il songe à concrétiser quelques projets dont il rêve depuis quelques années.

    «En étant maître d'oeuvre et ayant plus de temps à ma disposition, j'espère bien pouvoir travailler sur deux projets de disques qui me tiennent à coeur. Le premier sera un disque que je pourrais qualifier d'intimiste. Piano et voix. Point. L'autre serait un disque de blues. J'aimerais bien revisiter une dizaine de pièces, affirme Rick Davies. L'important, pour moi, c'est que je parvienne à y ajouter ma touche personnelle. C'est la musique qui m'a inspiré à mes débuts. C'est cette musique qui m'a donné le goût d'être musicien. Ça serait un peu une façon de boucler la boucle.»


    ¿La gira del adios para Supertramp? 

     Lunes 26 Agosto 2002
    Michel Bilodeau
    Le Soleil (Canada)

    ¿ La gira “One more for the road” será la última de Supertramp? Si Rick Davies, que actuará junto a su banda el 4 de Septiembre en el Centre Molson de Montreal, no puede, por el momento, contestar a esa pregunta, sí que admite que lleva un tiempo barajando la idea.

    “Ya hace más de treinta años que el grupo funciona. No quiero acabar con él, pero estoy listo para hacer otras cosas. Existen otros caminos además del modelo disco-gira. Necesito tiempo para realizar proyectos personales”, cuenta Davies en la entrevista.

    Cuando Rick fundó Supertramp con la complicidad de Roger Hodgson a principios de los años 70 (un período donde la escena musical del‘rock progresivo’ estaba en plena ebullición en Inglaterra), estabas lejos de imaginar que su grupo vendería millones de discos y que se recorrerían el mundo durante tres décadas.

    Una cosa era cierta, el tándem era decidido y tenaz, pues después del fracaso de sus dos primeros trabajos (“Supertramp”, “Indelibly stamped”) no arrojaron la toalla. Ambos tenían razón, pues en 1974, con una formación estabilizada, el álbum “Crime of the century” les lanza al estrellato musical, incluyendo temas como “Bloody well right” y “School”.
    Tras este lanzamiento publican los discos “Crisis? What crisis?” (Sister moonshine), “Even in the quietest moments” (Give a little bit) y sobre todo “Breakfast in America” (The logical song), que lleva al grupo de gira por una buena temporada.

    La marcha de Roger Hodgson en 1982 sacude a Supertramp, pero Rick Davies decidió mantener la banda. La edad de oro del grupo quedaba atrás ciertamente, pero la banda continuó y publicaron “Brother where you bound” y “Free as a bird”. Asegurados con un público fiel, la banda siguió haciendo giras mundiales regularmente, y Rick Davies tenía la impresión que podrían continuar así por una larga temporada. Pero las perspectivas cambiaron durante diez años.

    “Acabamos de dar setenta y cinco conciertos de gira por Europa. Seguimos teniendo una buena acogida en ese continente.

    Tenemos un nombre. Un nombre que sigue atrayendo a las masas. Es el lado positivo. Pero la parte mala es que es necesario mantener todo eso. Es decir, hay que seguir fiel a la fórmula tradicional de disco-gira. Es un aspecto que me gusta cada vez menos, pues eso monopoliza la mayor parte de mi tiempo”.

    Entonces ¿ está Rick pensando en disolver la famosa formación? Por el momento asegura que todavía no quiere pasar definitivamente la página. Le encantaría seguir juntándose con sus compañeros en el estudio, pero, le gustaría, por otra parte, dar sólo conciertos puntuales. Las largas giras de varios meses pasarían a ser parte del pasado.

    “Una vez haya finalizado esta gira, quiero sentarme con los demás para discutirlo. Por mi parte, tras treinta años, siento la necesidad de considerar las cosas de otra manera. Me encantaría que esta fórmula le convenga a todos. Será seguramente una larga discusión. Pienso que seguiremos creando y escribiendo buenas piezas. Será interesante seguir esta vía sin estar sujetos a las reglas de la industria”.

    El grupo ya ha dado un paso en esta dirección ya que, al contrario de lo que sucede en Europa, no se ha asociado con ninguna casa de discos norteamericana, y su disco más reciente, Slow Motion, simplemente no está disponible en nuestro continente. De todos modos los fans pueden conseguir el álbum en los conciertos y también a través de la página web del grupo.

    “Por el momento esto nos encaja perfectamente. No hemos podido negociar un contrato satisfactorio para Norte América. Siempre hemos sido bien recibidos en vuestra casa (Canadá), desde nuestros comienzos. Pero en los Estados Unidos es difícil y complicado. Queremos un contrato con unas condiciones que nos parezcan razonables. Prefiero no tener un contrato, que tener un contrato que no me guste. El problema con las discográficas americanas, es que sólo están enfocadas al mercado de gente joven, y que están dirigidas por personas que no tienen gran cosa que ver con la música. Están gestionadas por abogados a los que no les importa otras cosa que conseguir enormes beneficios. Sin embargo, los otros mercados pueden resultar rentables también. Es una visión a corto plazo que no se corresponde con mis expectativas”, asegura Rick Davies.

    Al mismo tiempo, el líder de Supertramp añade que se da a sí mismo varios meses para evaluar la evolución de esta aventura de “independencia”. Si la experiencia es positiva, piensa concretizar algunos proyectos con los que sueña desde hace años.

    “Siendo mi propio gerente y con más tiempo a mi disposición, espero poder trabajar en dos proyectos de discos que me tientan el corazón. El primero será un disco que podría calificar de intimista, Piano y voz. Punto. El otro sería un disco de blues.

    Me gustaría versionar una docena de piezas, afirma Rick Davies. Lo importante para mí, es que les daría mi toque personal. Es la música que me ha inspirado desde los comienzos. Es esta música que me dió el gusto por hacerme músico. Sería en cierto modo la forma de cerrar el círculo”.

    Traducción: Miguel Angel Candela

    ]]> (MAC) Interviews Thu, 12 Aug 2010 12:02:34 +0000
    BOB SIEBENBERG Interview, 2002 Tour



    There's a reason Supertramp drummer Bob Siebenberg was quiet and unassuming when he first moved to London in 1971:
    He had to be.

    To enter Great Britain, the American had to agree not to work.
    Officials didn't want foreign musicians taking away jobs from U.K. citizens.

    "It said right on my passport that I was not allowed to engage in any employment, paid or unpaid," Siebenberg said recently.
    "So as I started to work a little bit around town and go to the BBC, I'd have to keep my mouth shut and not be an American.

    "The band I was in before I joined Supertramp, I was Bob See, and then I was Bob Siebenberg in Supertramp.
    It wasn't taxes or anything like that; it was just so I could stay in the country.
    They're still strict in England about issuing work permits."

    Rock history books and Web sites fail to mention the name game. In fact, at the All Music Guide site, the Supertramp bio list of past and present group members includes Bob Siebenberg and another alias, Bob Benberg.

    No matter, Siebenberg has been there through it all for Supertramp, from the quirky pop-rock group's humble beginnings to the hugely popular "Breakfast in America" album (1979) and even in today's revamped lineup.

    "It's really like we've never been away," Siebenberg said. "We didn't play for seven or eight years, then we did a tour in '97 and the one we're doing this year, and things have been great."

    The group released its 11th studio album, "Slow Motion," in March, its first in five years. Joining Siebenberg, founder Rick Davies (vocals, keyboards), John Helliwell (saxophone) and Mark Hart (vocals, keyboards, guitars)
    are Cliff Hugo (bass), Siebenberg's son Jesse (percussion), Lee Thornburg (trumpet) and Carl Verheyen (guitars).
    Notably missing is original member Roger Hodgson (vocals, guitar).

    "We had been in the studio one day, on Sept. 10, and then of course you know what happened the next day," Siebenberg said. "That put us out of action for a few days, then we went back into the studio in Los Angeles to finish it."

    The album is available through its Web site and in Europe via EMI.

    "We really don't have a proper record deal in North America," Siebenberg said. "I don't get real involved in the management thing, but I find it surprising myself that we don't have a deal. We have a good record deal in Europe through EMI out of Paris, and the album did well in Europe.
    We just came off a tour of 73 cities in 13 countries through Europe, from March to the early part of August."

    Supertramp's popularity has never faltered. Its hits remain radio staples, and last year's Gap TV ad campaign featuring a variety of artists singing "Give A Little Bit" didn't hurt.

    "I was really floored to see Robbie Robertson doing one of those commercials," Siebenberg said, "because he's been one of my all-time hero guys.
    I used to be in bands that played Band songs, so it was really cool to see him interpreting one of our songs."

    Additionally, Supertramp's A&M back catalog - from "Crime to the Century" (1975) to "Free As a Bird" (1987) - was reissued on CD this summer, and a two-volume "The Very Best of Supertramp" is scheduled for release on Nov. 12.

    "I know there are some things in the works down the line to do some kind of boxed thing with bonus tracks," Siebenberg said.
    "We've got such a legacy of great material that we think really hasn't been explored properly yet. We're looking at several projects to get out there to the people.
    There's also some old video that we've got laying around, like of the Paris concert and us in 1974 at Hammersmith."


    ]]> (MAC) Interviews Thu, 12 Aug 2010 11:49:49 +0000
    DOUGIE THOMSON Interview, June 1998

    Interview with Dougie Thomson by freelance writer Stephen Majewski.
    June17, 1998.

    Q: What have you been up to for the last ten years?

    Dougie Thomson: "(Laughs) When I finished the 1988 Supertramp tour--which in my opinion was a mistake for me, I shouldn't have ever done it, it was not right to be there without Rog--I took approximately two years away from the music industry altogether. The tour was a constant battle in many areas and I wanted a distinct change of scenery.
    "One of my passions in life is sailing and yacht racing. I was very fortunate to be in the company of some tremendous sailors. They gave me the opportunity to travel to quite a few different places around the world and race with them. I spent maybe eighteen months just doing that."

    Q: Do you still sail?

    DT: "Oh, yeah. I'm just getting ready to do my eleventh year of the Chicago-to-Mackinaw race. I don't sail as much as I used to; I don't have the time."

    Q: Did you ever race for the America's Cup?

    DT: "No, I never raced for the America's Cup. I raced in something called the Class A Association, which was all 80-foot boats. Through the course of those years I raced for several different individuals. I had the great fortune to sail for Jim Kilroy who is a pretty famous ocean racing sailor. Sailing was a great way for me to change direction.
    "In the middle of all that I was trying to decide what I wanted to do next.
    I'd always had somewhat of a focus on what it takes to make a band within the music industry. That was kind of my leanings. I had a couple of sailing friends who were also in the music business. They suggested to come over and do something with them. I ended up having a joint venture with Warner/Chappell Music to develop new talent for the publishing company. That was the beginning of 1990 and I've been doing that ever since in one form or another.
    Now I'm actually a consultant for Warner/Chappell Music and for Warner Brothers Records and for a management company that manages a few young bands here in Chicago."

    Q: Did you ever work for Supertramp's old management company, Mismanagement?

    DT: "Not directly, kind of indirectly in several ways. Dave Margereson and I have always been very close friends. I brought a friend of mine, Kenny MacPherson, into Mismanagement, and also my brother Kenny who was a partner in
    Mismanagement. He was responsible for Chris de Burgh and had tremendous success. Kenny MacPherson is now senior vice president of Warner/Chappell Music. He's gone on to have a fairly illustrious career in his own right. My
    brother now has his own company called KTM which he runs out of Toronto and London."

    Q: How did a Scotsman who loves sailing end up living in Chicago?

    DT: "By the time I had finished my Supertramp touring years, I was engaged to a young lady who's from Chicago. We got married in July 1989 and decided to move here. We actually got married in the middle of me getting ready for a world championship race."

    Q: Your comments regarding the '88 tour are intriguing. What was the difference between touring without Roger in 1986 and 1988?

    DT: "1986 was a different kind of thing in a way. The dynamic was different.
    We weren't doing any of Roger's songs. We were exploring a new avenue for Rick Davies. We weren't crossing a line in my mind.
    It was interesting to play with a bunch of other musicians, but it became apparent on that tour that it's not Supertramp without being Supertramp. To go out again in 1988, knowing that that was the perception on my part, was probably a mistake.
    However, it took me quite a long time to figure that out. I certainly did not enjoy the '88 tour on many levels by any stretch of the imagination. It wasn't a pleasurable experience for me at all."

    Q: Why was the '88 tour such a bad experience for you?

    DT: "It was the vibe that existed in that band. There were a lot of other people involved and it wasn't the same.
    It was misguided in a lot of ways.
    Some of the shows were really good. There's still a pride in the standard.
    It just wasn't quite right, to quote Rick Davies (laughs)."

    Q: You played with Roger at a few of his recent Solo Tramp shows. How did this come about?

    DT: "(Laughs) Roger and I have always been very close. We've been kind of soul mates right from day one. It was a very heart-wrenching thing for me when he was no longer a part of the band. He and I always stayed in touch. I think he'll be the first one to admit that I'm pretty good at tugging away at the strings. I always keep in touch to make sure he's doing okay. I knew he was doing his solo tour. As it happens, I wasn't sure if I was going to be able to see him in Chicago because my wife was going to be out of the country for a few days. I went up to Milwaukee the day before to see him play there.
    It was just great to run into him along with Ian Lloyd-Bisley and Tony Shepherd, who were real instrumental in the Supertramp years. It was great visiting with them and to reacquaint myself with Andrew, who I think is just a tremendous individual.
    "The next morning they came down and had breakfast at my house.
    I'm sort of on the way from Milwaukee to Chicago. We ended up playing soccer in the backyard and reminiscing. Roger said, 'Come on, why don't you play a couple of songs.' I thought, 'I haven't played in ten years. I don't even know if I remember how to do this.' So Roger brought his guitar in and we had a crack at a couple of songs. That night, I went down to the House of Blues here in Chicago and got up at the end of his set and played a couple of songs."

    Q: How did it feel to be on stage with Roger?

    DT: "It felt great. It was great fun. Roger's in terrific shape. He's singing so well. I think he's singing better than ever, even when he was in the band. It was tremendous just to see him. I'd never seen him as an audience member. That was a blast in itself (laughs). To get up and play with him brought back all sorts of stuff. I think he'll admit that it was a boost for him, too. It was just a good moment for both of us. It wasn't the best I ever played in my life (laughs) but certainly the enthusiasm level was there."

    Q: So you haven't been playing much bass in the last ten years?

    DT: "No, I hadn't played at all. I'd lost all my callouses (laughs). I don't know why. Obviously, I've sat at home and fiddled around, but not with any intensity."

    Q: What songs did you play with Roger?

    DT: "We played 'Hide in Your Shell,' 'The Logical Song,' and "Give a Little Bit.'"

    Q: Do you miss playing in a band?

    DT: "I hadn't until I spent a few minutes with Roger (laughs). It was beautiful to do what I did. I'm really enjoying what I'm doing and I don't know if I'm cut out to being 47 years old and back on the road. I'm working with a lot of people in their mid-20s and I thrive in their energy. I think they thrive in my years of experience. We have mutual respect for each other and I'm really enjoying doing that."

    Q: What's your favorite Roger Hodgson song, either from his solo albums or Supertramp?

    DT: "Oh, man, there's a song he does in the set right now called 'Death and a Zoo.' I think it's fantastic. I think it