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Supertramp - Slow Motion CD (album) cover

SLOW MOTION

Supertramp

Crossover Prog


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jaggrp@hotmai
4 stars Overall, I like this record. There is alot of hit and miss with late Supertramp, but Dead Man Blues makes up for the misses here. It's a true gem that is inspiring and so easy to listen to. There isnt much progressive on this record, it has a jazzy / blues feel to it, but give it a go. Overall, a good effort.

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Send comments to (BETA) | Report this review (#6880)
Posted Wednesday, January 07, 2004 | Review Permalink
Chris S
SPECIAL COLLABORATOR
Honorary Collaborator
4 stars Another excellent album from Supertramp. Five years after Somethings Never Change ,Rick Davies moved to New York from his longtime stablishment of LA and created Slow Motion. Again if you like jazz and swing with the Supertramp stamp of sound then this album will not disappoint.I saw this album played live in Leicester UK in 2002 and it was great to see how tightly these guys played together. Highlights on this maturely delivered album are the title track, a real burner,' Broken Hearted', ' 10th Avenue Breakdown' - great jamming on here, great keyboards from RD, ' Sting In The Tail' for swing and the awesome ' Dead Man's Blues'. I hope Supertramp continue in this direction. I have to admit that as I get older the more appealing this latest sound from Supertramp becomes. Revisit them if you wrote them off after Free As A Bird and you will see what I mean. A bit like Steely Dan or a good vintage red wine that improves with age.

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Send comments to Chris S (BETA) | Report this review (#6881)
Posted Saturday, September 18, 2004 | Review Permalink
ZowieZiggy
PROG REVIEWER
1 stars Supertramp should have already called it quit after their good "Brother Where You Bound" in 1985. By doing so, they would have ended on a positive note. But, alas they kept going on and produced one weak album ("Some Things Never Change") and their two poorest ones : "Free As A Bird" and "Slow Motion".

The title track can make illusion. Catchy melody, good piano : a song like they have produced a lot during their wonderful journey. It is the highlight of this work. There won't be any other one.

What comes next are, at best, some easy listening music like "Little by Little" : a little funky tune but not too bad compared to what comes next.

"Broken Hearted" seems to come from the Jerry Lee Lewis repertoire. An attempt to good old rock'n' roll (even revival). One could cope with this while going out at a local party where you have an unknown band on stage playing some live music. By no means I expect this from 'Tramp.

"Over You" is rather horrifying : a transparent jazzy ballad. It's OK when you're dining in a chic hotel with a "lobby band" playing such stuff. Again not Supertramp.

"Tenth Avenue Breakdown" is a jazzy track with more flavour. But its lenght (almost nine minutes) makes it rather dull and repetitive after one third of it.

Two poor bluesy songs to follow : " A Sting in the Tail" and "Bee in Your Bonnet" : I can't tell which one is worse. Let's call it a draw !

"Goldrush" although released on this album has been in the Supertramp repertoire since the very early seventies and was used as a live opener before School. It is the second average number of this album.

Dreadful long and bluesy/jazzy track as closing number. Not a turnpoint in the music history I must say.

As I initially wrote : this is definitely another album too much for the 'Tramp. One little star.

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Send comments to ZowieZiggy (BETA) | Report this review (#112092)
Posted Wednesday, February 14, 2007 | Review Permalink
2 stars Please... .żWhat happened with the creativeness of these guys.?

!!!!Something different pleaseˇˇˇˇ.

It is obvious Supertramp goes round and round through the same formula since Free As A Bird.

A mix between blues and and old Rick Davies songs in Supertramp.

But the result is some boring music with some reminiscence of Supertramp¨s good times.

This is the start of the end....

żCan anybody buy this last albums with pleasure.?

I don¨t think so.

2 stars

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Send comments to robbob (BETA) | Report this review (#154310)
Posted Wednesday, December 05, 2007 | Review Permalink
4 stars A very polished effort of Supertramp. When I bought the CD, it was a great surprise. Far better than its immediate predecessors, Slowmotion has more cohesion and musical quality. It has a jazzy feeling all the time, with many horns arrangements by the master John Hellywell, and it is great. Some tracks are really great and in a same level than the golden years of Supertramp. I think that Slowmotion shows the real incidence of Rick Davies in the Supertramp musical concept over the years.

The best tracks:

Bee in your bonnet: An addictive and unconventional track, which never tires me. Superb. In the vein of the classical Supertramp.

Over you: A jazzy ballad where the horns arrangements are fantastic. Pure Supertramp in their best shape.

Dead man's blues: The one which get the album in the progressive world. Davies sings in a powerfull way and then the track gets into a long instrumental interlude dominated by the great John Hellywell with a delicious jazz rock passage.

Slowmotion: Another classic with a good piano base and a great melody line. Much feeling here.

Tenth Avenue breakdown: The longest one and in the progressive way too, with good instrumental parts.

The rest are good too but not in the same level. Four stars

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Send comments to genbanks (BETA) | Report this review (#289299)
Posted Monday, July 05, 2010 | Review Permalink
3 stars I've got to say that this one was a bit of a surprise to me when I finally bought it ( 2nd Hand, last year ), cause it proved to be far better than its predecessors. I don't think it's of any use to blame Rick Davies for Supertramp "not being the same anymore", cause, after Roger Hodgson had left the band in the 80s, this was supposed to be so, and in the end, it isn't that all surprising where they went - musically. It's Rick Davies-style of course, which means, as is apparent especially on this Album, it's a more Blues, Jazz/Swing and R'n'B based affair with the ballads being more Musical/Vaudeville and digging into contemporary Schmaltz before Rock'n'Roll revolutionised popular music. This, of course, is not what the average prog-listener is up to, cause it's as progressive as fashionable clothes from the time of my Grandpa... but, on the other hand, combining these styles the way that Davies does, had at least been an inventive thing in 1974... cause it's simply his very own style that had been developed in sync with the band, sometimes evolving into symphonic rock-tracks like "Rudy" or "Crime of the Century" ( which, indeed, were progressive then ), but most of the time simply staying true to the songwriting values of old with stuff like "Bloody Well Right", "Poor Boy", "Ain't nobody but me", "From Now on", "Oh Darling", "Put on your old brown Shoes" and the as admire- as loath-able "My Kind of Lady", while Roger Hodgson was more responsible for beatlesque and folky Influences with sometimes a more proggy approach ( f.e. "School", " "Fool's Overture" ), even hinting towards the likes of Traffic a bit, and sometimes going straight into sing-along-pop ( "Give a little bit", "Logical Song" ), not seldom aiming at a big ballad ( "If everyone was listening", "Two of us", "Babaji", "Lord is it mine" ) with lots of Pathos ( and, of course, feel and melody ).

I - for myself - could never decide which one of the two songwriters/styles I'd actually prefer, and, as long as they were together, there was no need to do so anyway, cause one of the things that had made Supertramp so very special was to get them linked together and therefore a huge variety that was gone after their split. What should remain was one link that surely kept Hodgson and Davies together, cause they both must have their love to Procol Harum ( Davies for the bluesy side, Hodgson for the symphonic/lethargic - and, again, I like both sides as well ), cause their influence had shown up more than once in the works of this band.

After the 90s saw Rick Davies reappear into the limelight with "Some things never change", he obviously tried to re-invent certain aspects of the "old sound" in order to please old fans that had favourably turned away from the half-baked, artificial attempts at "modern production" that ( together with quite some dull songs to fill it ) had made "Free as a Bird" such a disappointment, while "Brother where you bound" still had managed to satisfy some prog-lovers at least. That reappearance was not so successful as a whole, while in my country ( and in France, in particular ), the "Comeback-album" sold well and helped Supertramp sell out their shows and even play at big Open-Airs ( in spite of the CD audibly running out of gas after having started with some good songs ). Compared to that, "Slow Motion" failed to have any commercial impact and it did not even sell well in Germany, so that's what it was in terms of "new albums" up to this day, as the record-deal with EMI had been fulfilled... but, my friends, commercial success or failure is, as we all know, saying nothing at all about the quality of the music.

It all depends on the songs and the way they were executed, and, given that Davies is Davies and nobody else, "Slow Motion" is a real good album, and in its best parts - "Tenth Avenue Breakdown", "Dead Man's Blues", "Slow Motion" - it's even a deliverance of vintage Supertramp ( compared to the best songs that Davies was responsible for during their heyday ).

I don't know if anybody has recognized it yet, but "Slow Motion" is even containing a musical nod to Roger Hodgson with the Wurlitzer-lines at the beginning, being a slight variation of Davies' Organ-lines to "Hide in your Shell", always putting a smile on my face. It's a beautiful song, yes it is, gently delivering the mood of two lovers growing old together, in style and grace, and by the time that Mr. Helliwell's trademark-sax has disappeared in the fade-out, the melody has become an ear-wig, I'm telling you... even weeks after I had listened to the album, it re-introduced itself quite automatically in my brain, and I started walking around in Slow Motion, humming the tune for days. It's pop, of course, but very, very good pop, and to me, it's Rick Davies at his very best.

In the end, there's only one song on the album that failed to please me, and that's "Over you", the very one that made it as a single and, for all the right reasons, failed to hit the charts. It's as boring as the dullest stuff on "Free as a Bird", with not a second in it to contain anything that Davies can claim to be original, and it's not even funny... but "Bee in your Bonnet" and "A Sting in the Tail" are... and even "Little by Little" is. Typically "Davies-stuff", but sooner or later they all have their moment that simply makes them "click" and that's a good sign of mastery in songwriting. "Goldrush" is surprisingly heavy ( for this band, of course ) but fits very well.

Absolutely outstanding are "Tenth Avenue Breakdown" ( containing perhaps the proggiest moments of the album as one more conceptional tune telling a very interesting story and digging into Jazz ) and the final "Dead Man's Blues", both of them allowing the members of the band to do a lot of improvisation. While both of the tracks remain conservative compositions, the skilful performances of Carl Verheyen ( guitars ), Lee Thornburg ( Trumpet/Trombone ) and, of course, John Helliwell reveal the great musicianship that once saw the name of Supertramp successfully sail under a "Prog"-banner that always used to be a little deceptive. And Davies' skills at the piano are no less impressive after all those years, maintaining his distinctive style. Another good thing about this album is that Davies does all the lead-vocals by himself - Mark Hart's singing always used to be too tedious and insignificant and it's hard enough for the old-time-fan to do without Hodgson's, at least you get 100% Davies here.

All in all, "Slow Motion" is a more than solid 4-star-album, and certainly the best one that Davies came up with after... well, you make the choice, "Brother were you bound" at least ( to me, it's the best Supertramp-Album that came after "Breakfast" ! ). But there's not much prog in it, as Rick Davies, the songwriter, is a conservative man ( in the best meaning of the word, staying true to old values and the music he grew up to love ). I do highly recommend this to Supertramp-Fans with a soft-spot for the qualities of this man ( and to those of you who like the Davies-songs from the second album and stuff like "Another man's Woman" as well ) but for PA the rating has to be lowered to 3 stars once more... but don't get them wrong, please.

Wonder if Supertramp will ever release another studio-album ( as a reunion of Davies and Hodgson is further away than ever these days ), but if this was the last, then... let me quote the lyrics of the title track: "If we we're gonna go, we're gonna go in style"... that's what they did. Very underrated and undeservedly neglected.

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Send comments to rupert (BETA) | Report this review (#610390)
Posted Sunday, January 15, 2012 | Review Permalink

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