Supertramp Discography (1970-2002) [Studio Albums, Non-Remasters] Re-up

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Supertramp Discography (1970-2002) [Studio Albums, Non-Remasters] Re-up

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Supertramp followed an unusual path to commercial success in the 1970s, fusing the stylistic ambition and instrumental dexterity of progressive rock with the wit and tuneful melodies of British pop, and the results made them one of the most popular British acts of the '70s and ‘80s, topping the charts and filling arenas around the world at a time when their style of music was supposed to have fallen out of fashion.
Supertramp was formed in 1969 by pianist and vocalist Rick Davies. Davies had been a member of a group called the Joint, who had found a financial backer in Dutch millionaire Stanley August Miesegaes; Miesegaes had grown disenchanted with the Joint, but saw promise in Davies, and he offered to bankroll a new band if Davies wanted to launch a fresh project. Davies placed an ad in the British music weekly Melody Maker, and recruited guitarist Richard Palmer, percussionist Robert Millar, and vocalist/bassist Roger Hodgson. Davies initially dubbed the new band Daddy, but to avoid comparison with a number of other paternally named acts, he changed their billing to Supertramp, taking the name from a book by Welsh author William Henry Davies.

In 1970, Supertramp signed a deal with A&M Records, and their debut album was released later the same year. Dominated by extended prog-based compositions, the album didn't win a large audience, and Supertramp's lineup shifted, as Richard Palmer and Robert Millar left the group, Hodgson moved from bass to guitar, and bassist Frank Farrell, percussionist Kevin Currie, and Dave Winthrop on flue and sax joined the act. The new edition of Supertramp released the album Indelibly Stamped in 1971, but it fared little better in the marketplace than the debut, and Miesegaes cut off his funding of the group. Left to their own devices, Supertramp came close to collapse as most of the group's members moved on, but Davies and Hodgson put together a new version of the group – Davies on piano and vocals, Hodgson on guitar, electric piano, and vocals, Dougie Thomson on bass, Bob C. Benberg on drums and percussion, and John Anthony Helliwell on sax, woodwinds, and keyboards. This edition of Supertramp boasted a more concise and pop-oriented sound than the band that recorded the first two albums, and 1974's Crime of the Century became Supertramp's commercial breakthrough, spawning the singles "Dreamer" and "Bloody Well Right." 1975's Crisis? What Crisis? didn't fare quite as well commercially, but 1977's Even in the Quietest Moments earned the band another hit single in "Give a Little Bit," and Supertramp's steady road work earned them a reputation as an impressive live act.

1979's Breakfast in America elevated Supertramp to true superstar status; three of its songs ("Goodbye Stranger," "Take the Long Way Home," and "The Logical Song") would became Top 20 hits, and the album went to number one on the Billboard charts, selling four million copies in the United States and reaching platinum status in Canada, France, Germany, and the United Kingdom. Supertramp followed the success of Breakfast in America with a live album, 1980's Paris, but it wasn't until 1982 that the group released a new studio LP, Famous Last Words, and in a sense the title was prophetic – the working relationship between Rick Davies and Roger Hodgson had become contentious, and in 1983, Hodgson, the lead vocalist on the band's biggest hits, left to pursue a solo career. With Davies taking the lead, Supertramp released Brother Where You Bound in 1985, which found the band easing back on their pop side and exploring their progressive influences; the album also featured guest appearances from Pink Floyd guitarist David Gilmour. 1987's Free as a Bird found Supertramp experimenting with synthesizers and electronic dance music, but after a world tour in support of the album, Davies quietly retired the band.

In 1996, Davies re-assembled Supertramp for a concert tour; the new lineup featured Davies, John Anthony Helliwell, guitarist Mark Hart (who had toured with the band in support of Free as a Bird), and percussionist Jesse Siebenberg. The new Supertramp went into the studio after the tour, and Some Things Never Change was released in 1997. More touring followed, which was documented on the album Live 1997. Another studio set, Slow Motion, appeared in 2002. In 2010, Supertramp regrouped for a world tour to celebrate their fortieth anniversary, but while rumors suggested Hodgson might rejoin the band for the occasion, both he and Davies issued statements saying they were not likely to ever work together again, and Hodgson mounted a solo tour concurrently with Supertramp's anniversary celebration.

~ AMG

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В далеком 1979 году в интервью изданию Rolling Stone Пол Маккартни назвал рокеров Supertramp «своей любимой группой». Не удивительно, ведь Supertramp не раз сравнивали с легендарной ливерпульской четверкой The Beatles. В ходе музыкальной эволюции даже был придуман новый термин «beatlesque», именно так называли группы и музыкантов, на чье творчество оказали влияние The Beatles и, которые продолжали славные традиции этой группы. Парадоксально, но факт, Supertramp стали одной из самых «продаваемых» групп в мире, при этом не одного из участников группы ни разу не атаковали толпы фанатов на улице, их просто не узнавали. Скромность украшает, что и говорить.

Дебютный диск "Супертрэмп" (Supertramp) вышел в 1970 году и имел успех только в Англии (в США его поначалу не выпустили вовсе). Их сложный арт-рок до многих дошел далеко не сразу, хотя новизну идей и оригинальное исполнение некоторые критики все же отметили. В конце этого же года "Супертрэмп" стали квинтетом: ушел ударник Миллер, а пришли сразу двое музыкантов: Кевин Карри (ударные) и Фрэнк Фаррелл (бас-гитара). В результате Ходжсон стал "чистым" гитаристом, а бас-гитару оставил. Второй диск группы (Indelibly Stamped, 1971) также не имел широкого успеха, и тогда "Супертрэмп" надолго исчезли из поля зрения.

Три года спустя они заявили о себе программой "Преступление века" (Crime of the Century, 1974), которая заняла место в ряду шедевров арт-рока. Дэвису и Ходжсону к этому времени удалось, наконец, сформировать достойный состав: их помощниками стали Джон Хелливелл (духовые, клавишные), Дуги Томпсон (бас-гитара) и Боб Бенберг (ударные). Арт-рок группы теперь значительно обогатился звуками флейты и саксофона и не имел аналогов во всем мире — саунд был очень оригинальным. Следующий альбом (Crisis? What Crisis? 1975) еще более укрепил позиции "Супертрэмп". Диск 1977 года (Even in the Quietest Moments) стал ещё более знаменательным в истории группы, кстати, он в своё время продавался у нас в магазинах фирмы "Мелодия".

Очень интересными получились и два последующих альбома ансамбля. Диск "Завтрак в Америке" (Breakfast in America, 1979) получил широкий резонанс во всем мире и имел крупный коммерческий успех, что в арт-роке встречается не так уж часто. Парадокс: все песни этого диска попали в 1979 году в Топ-20 Британии. "Супертрэмп" стали супергруппой. После успешного выпуска диска 1982 года (…Famous Last Words…, 1982) неожиданно уходит из группы Роджер Ходжсон: он начинает сольную карьеру. В качестве гитариста-"гостя" некоторое время с "Супертрэмп" работал Дэвид Гилмор из "Pink Floyd": с его участием был записан очень сильный диск "Куда ты ушел, брат?" (Brother Where You Bound, 1985). Вторым гитаристом в этом проехте — также в качестве гостя — был Скотт Горхэм (экс-"Тин Лиззи"). Кстати, Джон Хелливелл также помогал Дэвиду Гилмору в работе над последним альбомом "Пинк Флойд" "Кратковременная потеря рассудка"— налицо сотрудничество между двумя супергруппами.

Очередной диск "Супертрэмп" выпустили в 1987 году, но он оказался несколько слабее своего предшественника. Free As A Bird состоял из простых, классических рок-тем Дэвиса, в том числе «I’m Beggin' You», попавшая на вершину Американских Танцевальных чартов, что стало необычным достижением для прок-рок-группы.

После тура 1988 года Томсон ушел из группы из-за разногласий с Дэвисом насчет исполнения композиций, сочиненных Ходжсоном, на концертах Supertramp. Одним из условий, позволявших Дэвису сохранять права на название группы, был отказ от исполнения песен Ходжсона на концертах. Сам Ходжсон был потрясен, узнав, что группа по-прежнему играет его хиты, такие как «Take the Long Way Home» and «The Logical Song», где его партии пел Марк Харт (Mark Hart) из Crowded House. Когда группа объединялась в 1996 году, Томсон отклонил приглашение о возвращении.

14 Апреля 1993 года Дэвис, Ходжсон и Хелливелл собрались на ужине, посвященном уходу на пенсию одного из основателей компании A&M Джерри Мосса (Jerry Moss). После этого Дэвис и Ходжсон вновь стали работать вместе, но постепенно Ходжсон покинул проект. В своих интервью он заявлял, что главной причиной его нежелания возвратиться в Supertramp была жена Дэвиса, Сьюзан, вмешивающаяся в дела группы. Сьюзан была в Отделе по работе с музыкантами в A&M и помогала им переезжать в Лос-Анджелес в середине 70-х. Вскоре у них завязался роман и она, покинув свой пост в A&M, стала менеджером группы. Дэвис отказался отстранить жену от дел группы и с тех пор Ходжсон и Дэвис не работали вместе.

В 1996 году Дэвис собрал Supertramp с бывшими участниками Хелливеллом, Зибенбергом и Хартом, добавив нескольких новых музыкантов. Плодом работ стал альбом Some Things Never Change, выпущенный в марте 1997. В тот же самый год увидел свет и Rites of Passage, первый сольный альбом Ходжсона со времен Hai Hai в 1987. Это был концертный альбом, включавший как новые работы Ходжсона, так и старые хиты — «Take the Long Way Home», «The Logical Song» и «Give a Little Bit».

Двумя годами позже обновленный Supertramp выпустил новый концертный альбом, It Was The Best Of Times, в то время как Роджер подарил миру новый студийный — Open The Door. Другой концертник, Is Everybody Listening?, запись Supertramp в Royal Albert Hall 1975 года, был издан в 2001.

В начале 2002 вышел в свет другой альбом Дэвиса и группы, под названием Slow Motion. Очередная попытка объединить группу с Ходжсоном обернулась неудачей в 2005.

~ РОК-ЭНЦИКЛОПЕДИЯ

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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, when they replaced Farrell and Currie with saxman John Helliwell, bass player Dougie Thompson, and drummer Bob Benberg.

by Mike DeGagne

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Indelibly Stamped, Supertramp's second album, was an improvement on their debut, although the group did have a tendency to indulge themselves in long-winded instrumental sections.

by Stephen Thomas Erlewine

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Supertramp came into their own on their third album, 1974's Crime of the Century, as their lineup gelled but, more importantly, so did their sound. The group still betrayed a heavy Pink Floyd influence, particularly in its expansive art rock arrangements graced by saxophones, but Supertramp isn't nearly as spooky as Floyd – they're snarky collegiate elitists, an art rock variation on Steely Dan or perhaps a less difficult 10cc, filled with cutting jokes and allusions, best heard on "Bloody Well Right." This streak would later flourish on Breakfast in America, but it's present enough to give them their own character. Also present is a slight sentimental streak and a heavy fondness for pop, heard on "Dreamer," a soaring piece of art pop that became their first big hit. That and "Bloody Well Right" are the concise pop moments on the record; the rest of Crime of the Century is atmospheric like Dark Side of the Moon, but with a lighter feel and a Beatles bent. At times the album floats off into its own world, with an effect more tedious than hypnotic, but it's still a huge leap forward for the group and their most consistent album outside of that 1979 masterwork, Breakfast in America.

by Stephen Thomas Erlewine

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Nestled between the accomplished Crime of the Century album and 1977's Even in the Quietest Moments, Crisis? What Crisis? may not have given the band any chart success, but it did help them capture a fan base that had no concern for Supertramp's commercial sound. With Rick Davies showing off his talent on the keyboards, and Roger Hodgson's vocals soaring on almost every track, they managed to win back their earlier progressive audience while gaining new fans at the same time. Crisis received extensive air play on FM stations, especially in Britain, and the album made it into the Top 20 there and fell just outside the Top 40 in the U.S. "Ain't Nobody But Me," "Easy Does It," and the beautiful "Sister Moonshine" highlight Supertramp's buoyant and brisk instrumental and vocal alliance, while John Helliwell's saxophone gives the album even greater width. The songwriting is sharp, attentive, and passionate, and the lyrics showcase Supertramp's ease at invoking emotion into their music, which would be taken to even greater heights in albums to come. Even simple tracks like "Lady" and "Just a Normal Day" blend in nicely with the album's warm personality and charmingly subtle mood. Although the tracks aren't overly contagious or hook laden, there's still a work-in-process type of appeal spread through the cuts, which do grow on you over time.

by Mike DeGagne

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The title of Even in the Quietest Moments… isn't much of an exaggeration – this 1977 album finds Supertramp indulging in some of their quietest moments, spending almost the album in a subdued mood. Actually, the cover photo picture of a snow-covered piano sitting on a mountain gives a good indication of what the album sounds like: it's elegant yet mildly absurd, witty but kind of obscure. It also feels more pop than it actually is, despite the opening single, "Give a Little Bit," their poppiest song to date, as well as their biggest hit. If the rest of the album doesn't boast another song as tight or concise as this – "Downstream" comes close but it doesn't have the same hook, while "Babaji," a pseudo-spiritual moment that falls from the pop mark; the other four tracks clock in well over six minutes, with the closer, "Fool's Overture," reaching nearly 11 minutes – it nevertheless places a greater emphasis on melody and gentle textures than any previous Supertramp release. So, it's a transitional album, bridging the gap between Crime of the Century and the forthcoming Breakfast in America, and even if it's not as full formed as either, it nevertheless has plenty of fine moments aside from "Give a Little Bit," including the music hall shuffle of "Loverboy," the Euro-artiness of "From Now On," and the "Fool on a Hill" allusions on "Fool's Overture."

by Stephen Thomas Erlewine

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With Breakfast in America, Supertramp had a genuine blockbuster hit, topping the charts for four weeks in the U.S. and selling millions of copies worldwide; by the 1990s, the album had sold over 18 million units across the world. Although their previous records had some popular success, they never even hinted at the massive sales of Breakfast in America. Then again, Supertramp's earlier records weren't as pop-oriented as Breakfast. The majority of the album consisted of tightly written, catchy, well-constructed pop songs, like the hits "The Logical Song," "Take the Long Way Home," and "Goodbye Stranger." Supertramp still had a tendency to indulge themselves occasionally, but Breakfast in America had very few weak moments. It was clearly their high-water mark.

by Stephen Thomas Erlewine

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…Famous Last Words… was the last album that Roger Hodgson made with Supertramp before seeking a solo career, and he made sure that radio would take kindly to his last hurrah with the band. Sporting an airy and overly bright pop sheen, …Famous Last Words… put two singles on the charts, with the poignant "My Kind of Lady" peaking at number 31 and the effervescent smile of "It's Raining Again" going to number 11. The album itself went Top Ten both in the U.S. and in the U.K., eventually going gold in America. The songs are purposely tailored for Top 40 radio, delicately textured and built around overly bland and urbane choruses. Hodgson's abundance of romantically inclined poetry and love song fluff replaces the lyrical keenness that Supertramp had produced in the past, and the instrumental proficiency that they once mastered has vanished. Hodgson's English appeal and fragile vocal manner works well in some places, but the album's glossy sound and breezy feel is too excessive. Hodgson gave his solo album, 1984's In the Eye of the Storm, a mildly progressive feel, quite unlike his last appearance with his former group.

by Mike DeGagne

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When vocalist-guitarist Roger Hodgson left Supertramp after 1982's …famous last words…, few could have guessed that the band would continue and solidify its pop-oriented songcraft, let alone re-embrace its progressive-rock roots on 1985's underrated Brother Where You Bound. With vocalist-keyboardist Rick Davies firmly in control – he wrote all the music and lyrics – the album examined tensions at the tail end of the Cold War. In a thematic sense, Brother Where You Bound is dated and hasn't aged very well – Davies' politically oriented lyrics are heavy-handed – but the music is a pleasure. The crystalline sound of the album, particularly Davies' piano, is breathtaking; kudos to co-producers David Kershenbaum and Supertramp and engineer Norman Hall. The hit single "Cannonball" is a jazz-rock delight, especially in full-length album form. Lyrically, it can be interpreted as Davies' feelings of betrayal at Hodgson's departure, but the piano, percussion and horns are superb. Saxophonist John A. Helliwell, bass guitarist Dougie Thomson, and drummer Bob Siebenberg all contribute vital parts, as does guest trombonist Doug Wintz. "No Inbetween" begins with a lovely, bittersweet percussion (or synthesizer?) and piano melody. "Better Days" is a rather bleak look at the unfulfilled promises of the "good life" in Western society; the dramatic music is highlighted by guest Scott Page's flute solos. The fantastic title track examines Cold War paranoia and clocks in at more than 16 minutes; after the creepy opening narration taken from George Orwell's 1984, the song becomes a composite of several complex prog-rock "movements." Pink Floyd's David Gilmour contributes the searing, distorted guitar solos. Unfortunately, Brother Where You Bound never received the attention it deserved; it isn't a perfect album, but it was a gutsy project for Supertramp to take on.

by Bret Adams

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Lacking the pop sensibilities of Breakfast in America and …Famous Last Words…, as well as the jazzy fusions of Brother Where You Bound, Free as a Bird is a colorless and tuneless collection of prog rock meandering distinguished only by the fact that future Crowded House guitarist Mark Hart was featured on the recording.

by Stephen Thomas Erlewine

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Rick Davies, Bob Siebenberg, Mark Hart, and John Helliwell re-formed Supertramp with a number of anonymous studio musicians in 1997 to record and release Some Things Never Change, their first album in ten years. And the title is correct – nothing much has changed within Supertramp's world; they're simply churning out the same sophisticated jazzy, lite-funk-inflected pop as they did in the mid-'80s. The only thing that is different is that the group can no longer write ingratiatingly catchy melodies as they did when they called it quits in the '80s, but hardcore fans will still find the instrumental interplay a joy to hear.

by Stephen Thomas Erlewine

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Supertramp struggled after the departure of Roger Hodgson to be seen as a viable, creative band and prove that it could exist without Hodgson. Although the albums released after Hodgson's departure were interesting, they never managed to capture the glory days of that classic lineup, nor did they reach commercial popularity. That is not to say the releases were bad – far from it – but they tended to lack the variety and strong song structures that Hodgson brought to the band. For this studio album, Supertramp's lineup was almost identical to that of 1997's Some Things Never Change, with the exception of the addition of Jesse Siebenberg and the departure of Tom Walsh. The change in lineup meant little, as the music was very similar to the band's last studio release (there was a double live CD released between the studio CDs). Here, Rick Davies took control of production, and it proves the album's downfall. The songs were very good, but the production was muddy and cluttered. The mix did not do justice to the music. The songs themselves had shades of classic Supertramp songs, but there were hints of world music and prog rock, which kept things interesting. The songs were basic pop/rock songs with ever-familiar alienation themes. The two longer tracks ("Tenth Avenue Breakdown" and "Dead Man's Blues") crossed over into the realm of prog rock and harked back to the Crime of the Century album, but each was about three minutes too long, and could have used some editing.

by Aaron Badgley