That Supertramp were superstars of their time, is a mid-weight wonder. Bands like King Crimson or Jethro Tull had sublimated the blue-soaked rock to art rock and educated an audience that had spent dancing in Woodstock and now attention (and in peace) wanted to pursue elaborate solos and virtuoso arrangements. Supertramp did what they could. "That was quite hairy," says keyboardist Rick Davies recalls in the liner notes. "I had just started playing Hammond, and was not quite familiar with the instrument." His play on the first, self-produced album "Supertramp" was, in his opinion, been capable of optimization.
Actually provides the early work some unexpected insights. The marriage of art rock with pop required some flirtations with the Rhythm Blues tradition and a careful approach to complex song and arrangement structures. "Surely", taken from the first album and "Retrospectacle - The Supertramp Anthology" to hear in an alternative version, is still evident in the Mersey-beat tradition. FOr "Land Ho", one of the few songs of Supertramp, the same is true - but you get it here with a brisk Shuffle to do a rhythmic system, which had been until just previously undergone by Led Zeppelin a first testing.
The track musical development of Supertramp, is a conceivable rewarding endeavor. Founded in 1969 using a classified ad in "Melody Maker" ( "Musicians"), located Supertramp were immediately in a privileged situation. Rick Davies had made the acquaintance of Stanley August Miesegaes, a Dutch millionaire. Sam, as he was called by his initials, was for a while managers and patrons of the band that he financed completely. So had Davies a chance to try Line-ups and times carefully to change the musical direction times dramatically.
1974 Supertramp were on track and took the LP "Crime of the Century" ride on. The line-up now consisted of the dual leadership Rick Davis (keys) and Roger Hodgon (git), who sang alternately, John Helliwell (sax), Dougie Thomson (b) and Bob Siebenberg (dr). The songwriting became more confident, stylistics appeared clear contours. Supertramp were headlining tour, word-of-mouth, the band had recommended as hot Act. Supertramp should not disappoint.
With "Crisis? What Crisis? "Succeeded Supertramp 1975 jump to America. By Dutch millionaire one had since long been separated: While Miesegaes had money, but knew nothing about the music business. Supertramp already: FOr their shows they acted as Street promoter and distributed in the street concert tickets to passersby. Supertramp took the business into their own hands - and secured so a maximum of artistic freedom.
Where that leads is, be heard on songs like "Dreamer", "Crime of the Century" and "Sister Moonshine". After "Even in the quietest moments" then appeared in 1979 the brilliant work "Breakfast in America". this brought the final breakthrough and a whole lot of classics: "Goodbye Stranger", "Take the Long Way Home" and of course the "Logical Song". The latter reflected the zeitgeist of post-hippie era and the development of alternatives milieus. The lyrics therefore given in English textbooks for secondary schools.
The development thereafter is particularly exciting. Only in 1985 appeared with "Brother where you bound" the next record: Lyrically clearly political, located Supertramp the Blues Roots approached again. Supertramp had freed themselves from self-created pressure for innovation. A permeability found its way, which continues today. And serenity and modesty leads: "We are learning more," says Davies. "We are still trying to find out how things work." One must actually listen only by Davies personally compiled "Retrospectacle". Then we will know what is going on.
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