CRIME OF THE CENTURY

Side 1 1. School (5:35). The opening song of the album features Davies' very poignant country harmonica, followed by Hodgson's voice, which can create problems for various listeners due to the high pitch and at times shrill. Then the piece has an almost syncopated rhythmic progression, in blues style, where Hodgson proves that he has learned to play the electric guitar well. Finally comes the jazz piano interlude, which sees Davies in great dusting, and then comes the fourth phase, the best, with the alternating voices of Davies and Hodgson, very convincing. In the end the blues piece returns with only Hodgson to successfully conclude this piece, in fact a mini-suite that best expresses the syncretic ability of the group - as well as their ability, taken by the Beatles, to create a refined song for arrangements and musical styles but very usable, very commercial, also suitable for supermarkets. Rating 8,5.

2. Bloody Well Right (4:26). The piece starts with a jazzy piano, very emphatic and winking, then Hodgson's hard- rock guitars arrive. When Davies starts singing, it seems almost heavy metal, for a few moments, but then the beatles-style pop choirs come to remind us that this is always happy and playful music, even when it wants to be bad, angry or dramatic. Finale with sax solo. Original song for Supertramp, which combines jazzy piano with almost heavy metal guitars. Simpering. Rating 7,5/8.

3. Hide In Your Shell (6:52). Melodic pop song in retro style, almost like a Broadway musical from the Fifties, daughter of the most cheerful and with choirs Beatles songs (It Wont Be Long or Hold Me Tight). Hodgson's voice is overpowering and shuffling and the choirs make it worthy of the Bee Gees and of the soundtracks that will be the setting for John Travolta's films. The three verses are almost melancholy, then in the choruses the song comes alive and Hodgson's high tones become shrill, and they may like it or not. But in the progression that reaches the chorus the song seems like the soundtrack of a Broadway musical. Rating 8.

4. Asylum (6:30). Davies' piano ballad that begins as a song by Elton John, flat, easy, without jolts, only that Davies' voice is not as clear and melodic as that of Elton John. Then the ballad warms up, the drums arrive, the electric guitar arrives, and also the string arrangements arrive, which weigh down the piece. There are also interludes for dialogue with Hodgson's falsetto voice. Production and sound are not working at their best, and the performance is also not perfect. Pleasant song, very pop, very theatrical musical for teenagers. In two words: overproduced and kitsch. Rating 7+.

Side 2 The beginning is marked by 5. Dreamer (3:19), short song, commercial, all shrill voice of Roger Hodgson and electric piano played percussively. Brilliant in its own way. Song in three phases: initial exalted piece, reflective piece in the middle, with Davies' voice to give a more baritone and cavernous tone, then return of the initial exalted piece, with greater emphasis and percussion. Repetitive text with phonetic rather than semantic value, aimed at amplifying the sound of music. Rating 7,5/8.

6. Rudy (7:07). In my opinion it is the masterpiece of the album. Excellent jazz piano beginning, Davies' voice accompanies a music suspended between jazz and boogie which gradually becomes more rock and roll, but always with very catchy sounds (guitars and keyboards). The hard rock guitars played by Hodgson are as tacky as those of Queen, and the atmosphere becomes emotionally intense only when the piano remains. Supertramp always struggle to have a "serious" sound, everything in them tends to become comics or musicals, but here they strive to give it a lot, and so comes a very pressing orchestral piece where the alternating voices of Hodgson and Davies give the best of self in being up to the dramatic tone, and perhaps their best vocal duet ever comes out, concluded in the final by Davies alone, finally intense and convincing. French sentimental film ending. Rating 8.5 / 9

7. If Everyone Was Listening (4:05). This is the only song on the album that has not become a classic of their discography and concerts. Initially we hear Hodgson, how strange !, singing on the low notes in what is a piano ballad, which soon goes upbeat, on the major key. It is the only song with a little catchy melody, but well arranged and all in all not very playful. It is certainly a true songwriting, almost a solo piece by Hodgson, where Helliwell's clarinet stands out and the arrangement of strings towards the end. It is one of the most serious songs on the disc, which continues the seriousness that began with Rudy and which ends with Crime. Rating 8.

8. Crime Of The Century (5:20). Final piece among the most epic of the group's discography. Almost dramatic beginning enshrined in Davies' voice, neutral (we are used to hearing it sarcastic and grotesque) which, however, does not touch true heights of pathos. Then an instrumental variation starts based on a piano motif that becomes more and more emphatic, up to paroxysm, thanks to the orchestration and the final arrival of the saxophone: at that point yes the music touches the dramatic, intense climax which it sought, worthy of a movie. Rating 8+

This is not prog. It's symphonic pop, heir to the Batles, with a touch of jazz, a touch of country and hard-rock, based on the melody, very easy listening, with vocal parts worthy of a Broadway musical. But the mix of this music is original, very usable, and certainly creative. It is syncretic music, with the ability to make commercial, accessible to all elements of various musical genres. The same qualities as the Beatles. Small masterpiece.

Medium quality of the songs: 8. Rating: 9. Five stars.

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