BREAKFAST IN AMERICA

Supertramp where already a big name when Breakfast In America came out, but this is the album that would launch them over the top. Granted, afterwards the band would never be the same, and after a enormous flop (the appropriately titled ...Famous Last Words) the band would explore more experimental roads with tremendously mixed results. But let's stick to this album. In terms of music this one has often been pointed out an ridiculed for its many hit tracks and often called not as progressive as its brethren such as Crime Of The Century or Even In The Quietest Moments.... Poppy? At points, yes, but these are fantastically written and arranged pop songs the caliber of which would rarely see the light of day again from any band.

So lets drive right in, shall we?

Opening quietly until the musical burst is Gone Hollywood. Not the biggest standout on the album, this song still sets the tone for the rest of the tracks. Hodgeson and Davies split vocals and the song manages to find time to change speed within its short structure. But it's not until the next track that we get to the hits. First up, The Logical Song which finds the band being very much cynical and logical about the workings of the world. Floating synths and bass make this one more than just a pop song. Following is the ear splintering vocal parts from (surprisingly) Davies on Goodbye Stranger. This is a good thing, of course, and the song actually sees the 'Tramp taking a heavier approach with (*gasp!*) a guitar leading the fray along with the piano.

A couple of shorter songs come along, these ones perhaps the most threatening to the average prog listener. Breakfast In America and Oh Darling are a couple catchy, radio friendly songs that help the album move along without hampering it by becoming increasingly poppy (though some may argue that point).

Then we see the darker side of the 'Tramp once more. The deceivingly light toned Take The Long Way Home hides some very troubled lyrics that make this song a very nice treat. Opened by an excellent sax part and carried by the piano once more this is a huge standout on the album, and indeed, the band's career. Then the speed gets brought down once more for the slow, emotional delivery of Lord Is It Mine, which gets better as it picks up, but remains likely the least necessary song on the album.

However, coming into the end we get a couple of the 'Tramp's best songs.

Just Another Nervous Wreck opens with some nice piano until Davies voice carries it into the heavier parts of the song. Excellent melodies, lyrics and vocals make this a standout on the album above any of the album's hit singles. Another short and bouncy track fades in and out as though nothing happened and then we get to the final track on the album. Child Of Vision is the track that finds Supertramp still taking a more progressive road with it's keys and dual vocal attack. This is likely the second best track on the album (falling right behind Nervous Wreck), but the song that will hold the attention of the average progger the best.

Not Tramp's most progressive album, although its deceptive simplicity still hides a very progressive side. The last good Tramp album for a couple of years, this one is definitely an excellent addition to the prog libraries of the world. Not a masterpiece, but certainly excellent, 4 stars. Highly recommended to Tramp fans and everyone else.

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