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SUPERTRAMP

Crossover Prog • United Kingdom


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Supertramp biography
A variant of progressive rock that some have called sophisto-rock. SUPERTRAMP is a sophisticated pop band that was able to continuously turn out very good songs. Their music has been described as whimsy, lighthearted, fluff and a million other variations on this theme. This music is the kind of thing that you will put on while you and your wife lounging around after dinner. Mellow and very good. One other thing is that they also have the ability to inject some humor into their music now and then. Althogh most of the songs on the album are rock radio staples. This is something that is hard to find.

For some of their best work you will have to look elsewhere. They had a remarkable change in fortune as "Crime of the Century" became one of the top-selling albums of 1974. The band had refined their keyboard-dominated sound and produced an album that was well-reviewed. The album "Even In The Quietest Moments..." is by far their best work. With over 18 million copies to date, "Breakfast In America" is one of the greatest melodic pop/rock albums of the seventies. After that album, SUPERTRAMP continued to develop a more R&B-flavored style; the change in direction was successful on 1982's "Famous Last Words", but they soon ran out of hits. SUPERTRAMP continued with occasional tours and infrequent albums. Their recent releases, however, have only found minor success.

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Buy SUPERTRAMP Music


The Very Best Of SupertrampThe Very Best Of Supertramp
Remastered
A&M 2001
Audio CD$4.69
$2.44 (used)
Breakfast In America (Remastered)Breakfast In America (Remastered)
Remastered
A&M 2002
Audio CD$5.98
$2.84 (used)
Crime Of The Century (Remastered)Crime Of The Century (Remastered)
Remastered
A&M 2002
Audio CD$3.54
$1.29 (used)
Even In The Quietest Moments. (Remastered)Even In The Quietest Moments. (Remastered)
Remastered
A&M 2002
Audio CD$1.77
$0.33 (used)
...Famous Last Words. (Remastered)...Famous Last Words. (Remastered)
Remastered
A&M 2002
Audio CD$2.05
$0.01 (used)
Crisis? What Crisis?Crisis? What Crisis?
Remastered
A&M 2002
Audio CD$1.77
$1.76 (used)
Paris [2 CD Remastered]Paris [2 CD Remastered]
Remastered
A&M 2002
Audio CD$8.20
$5.71 (used)
Retrospectacle: The Supertramp AnthologyRetrospectacle: The Supertramp Anthology
Remastered
A&M 2005
Audio CD$9.12
$6.99 (used)
Indelibly StampedIndelibly Stamped
Import · Remastered
A&M/Universal 1997
Audio CD$4.65
$3.39 (used)
Brother Where You Bound (Remastered)Brother Where You Bound (Remastered)
Remastered
A&M 2002
Audio CD$2.14
$2.13 (used)
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SUPERTRAMP shows & tickets


  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 7 Jul 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 8 Jul 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 10 Jul 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 1 Aug 2015
  • Supertramp Forever on 3 Nov 2015
  • Supertramp Forever on 4 Nov 2015
  • Supertramp Forever on 6 Nov 2015
  • Supertramp Forever on 7 Nov 2015
  • Supertramp at Mediolanum Forum, Assago on 9 Nov 2015
  • Supertramp Forever on 10 Nov 2015
  • Supertramp Forever on 11 Nov 2015
  • Supertramp Forever on 16 Nov 2015
  • Supertramp at Patinoire Mériadeck, Bordeaux on 19 Nov 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band and orchestra on 20 Nov 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band and orchestra on 21 Nov 2015
  • Supertramp Forever on 24 Nov 2015
  • Supertramp Forever on 25 Nov 2015
  • Supertramp Forever on 26 Nov 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 27 Nov 2015
  • Supertramp Forever on 29 Nov 2015
  • Supertramp Forever on 5 Dec 2015
  • Supertramp Forever on 7 Dec 2015
  • Supertramp Forever on 9 Dec 2015
  • Supertramp Forever on 10 Dec 2015
  • Supertramp at Ziggo Dome, Amsterdam on 11 Dec 2015
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 30 Apr 2016
  • Roger Hodgson, Legendary Singer-Songwriter formerly of Supertramp with band on 1 May 2016

SUPERTRAMP discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

SUPERTRAMP top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.45 | 237 ratings
Supertramp
1970
2.57 | 177 ratings
Indelibly Stamped
1971
4.34 | 1176 ratings
Crime Of The Century
1974
3.55 | 340 ratings
Crisis? What Crisis?
1975
3.95 | 454 ratings
Even in the Quietest Moments....
1977
3.94 | 541 ratings
Breakfast in America
1979
3.10 | 242 ratings
Famous Last Words
1982
3.66 | 247 ratings
Brother Where You Bound
1985
1.79 | 140 ratings
Free As A Bird
1987
3.03 | 110 ratings
Some Things Never Change
1997
2.81 | 97 ratings
Slow Motion
2002

SUPERTRAMP Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.57 | 145 ratings
Paris
1980
2.29 | 23 ratings
Supertramp Live '88
1988
3.39 | 36 ratings
It Was The Best Of Times
1999
3.93 | 21 ratings
Is Everybody Listening?
2001
4.00 | 1 ratings
Alive in America
2014

SUPERTRAMP Videos (DVD, Blu-ray, VHS etc)

2.53 | 16 ratings
The Story So Far...
1991
3.04 | 9 ratings
Inside Supertramp 1974-1978
2004
4.02 | 9 ratings
Gateway To New Horizons
2010
4.31 | 27 ratings
Live in Paris 1979
2012

SUPERTRAMP Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.55 | 22 ratings
The Autobiography of Supertramp
1987
2.08 | 9 ratings
Classics, Vol. 9
1987
3.41 | 30 ratings
The Very Best Of Supertramp
1990
3.06 | 23 ratings
The Very Best Of Supertramp - Volume 2
1992
3.31 | 27 ratings
Retrospectable - The Supertramp Anthology
2005

SUPERTRAMP Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.50 | 2 ratings
Dreamer / Bloody Well Right
1974
3.00 | 8 ratings
Land Ho / Summer Romance
1974
3.00 | 3 ratings
Lady / You Started Laughing When I Held You In My Arms
1975
2.00 | 1 ratings
Take the Long Way Home / From Now On
1979
2.50 | 2 ratings
Breakfast in America / Gone Hollywood
1979
2.00 | 1 ratings
It's Raining Again / Bonnie
1982
3.90 | 2 ratings
Don't Leave Me Now / Waiting So Long
1982

SUPERTRAMP Reviews


Showing last 10 reviews only
 Brother Where You Bound  by SUPERTRAMP album cover Studio Album, 1985
3.66 | 247 ratings

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Brother Where You Bound
Supertramp Crossover Prog

Review by Tarcisio Moura
Prog Reviewer

2 stars Ever since that Roger Hodgson left Supertramp I was never interested to listen to the group´s following works. Although some friends did praise Brother Where You Bond, no one did it afterwards. To me the combination of Hodger and Davies compositions and vocals were the key elements of Supertramp´s winning formula. And, to me at least, it was clear that Hodgson was both a better songwriter and better singer. Still tthe combination was great. And to know that Hodgson was not replaced only increased my fears that the band would become Davies backing group. So why bother? I just forgot about it all at the time. Through the years I only sometimes took a peek at Hodger´s solo work.

Only recently I´ve decided to listen to Brother Where You Bound, because the record was available through my brother in law and I was curious about it. Was it really good as some people claim?: So many four stars ratings and even a few 5 star too! But after repeated spinnings in the last weeks, I found out that my instincts about it were right from the start. It DOES sound like a Ricard Davies solo album backed by Supertramp, minus the guitar parts. Ok, there is a guest guitarist, but you´ll hardly notice him. The only noticeable guitar here is Gilmour´s appearance on the title track, the longest and most progressive track Supertramp ever recorded. Still, it´s hardly a good one. It´s more like a hodgepodge of bits of songs put together. Nice, like the album as a whole, but nothing compared to anything they recorded before. They´d be very good if intermixed with some tunes from Hodger, but on their own only shows who was the real force behind Supertramp´s success, both artistically and commercially. But on their own, they are just ok. Can you foresee a Supertramp´s greatest hits album with only Davies songs? Neither can I.

In the end I found nothing wrong with Brother Where You Bound. But nothing that excites me either. And I wonder what was so great about it that made so many reviewers give it a for star rating. Because this CD may have its moments, but in no way I can see it as an excellent addition to any prog rock music collection. This is really for fans and collectors.

Ratng: 2.5 stars.

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 Free As A Bird  by SUPERTRAMP album cover Studio Album, 1987
1.79 | 140 ratings

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Free As A Bird
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

2 stars This album is the one of the saddest albums ever made. I mean sad not in an emotional way, that would have been a good thing, I mean sad in a pathetic way. Rick Davies had proven in "Brother Where You Bound" that he was totally capable of making an excellent album without the help of Roger Hodgson. He made an album that was more progressive than any of Supertramp's other albums, except for maybe the amazing "Crime of the Century". All of us true Supertramp fans had every faith in Rick Davies to carry the band on his own. Then, the decision was made to turn to pop. I'm not sure if it was mostly Rick deciding this or if it was too much pressure from the record label that made this happen, but whoever is to blame, this album is a sorry attempt to feed the money machine. By the way, the attempt to make a successful record by turning an excellent band into a pop run of the mill band backfired on everyone, and the album became one of the least successful in Supertramp's career.

I loved Supertramp, for the longest time, they were my all time favorite band. Their music was inventive, original, fresh and emotional. They are not my favorite band anymore, and this album plays a large part in that, among other things. Yes my tastes matured a lot and I love more complex music now, but I still have a huge emotional tie to the band, at least when their music meant something. This is an album of pure pop drivel, all emotion has been removed, and all ingenuity has been thrown to the wind. This ranks down there with the worst of those albums that ruin bands which includes such miserable albums like Chicago XVI (and everything after except for "Stone of Sisyphus") and Genesis "Invisible Touch" (and everything after).

The album opens up with a repeat of "Cannonball" from "Brother Where You Bound", with the song "It's Alright" which is okay because "Cannonball" was a great song. The thing that's lacking on this almost copy of that song is that this time, there is no room for the song to grow. It is not developed this time and there is an untimely fade out that hints to the poor choices that were to come on this album. The next 2 songs, "Not the Moment" and "It Doesn't Matter" reflect the sound that you can expect for pretty much the rest of the album. They are mostly uninspired songs set to a dance rhythm with no heart whatsoever. In other words, pretty much the same as most pop songs, no heart, no innovation and cookie cutter sound. How depressing is that? Well, it gets worse. The next track, "Where I Stand" is just plain awful. There is a guest vocal here by Mark Hart (who would later become a regular member of the band) who is also a member of the band Crowded House. Mark's voice may have been added here as a reprieve from Rick's vocals I think because a lot of people missed Roger's vocals. However, Mark adds nothing and actually further destroys this album.

Next, the title track "Free as a Bird" goes back to the average sounding pop song and only makes itself distinguishable from the other tracks on the album by adding a choir for the chorus. Hmmmm, sounds like another worn out pop formula doesn't it? Yep, it is. If this wasn't so sad, I would laugh at how blatantly commercial the music attempted to become. The big hit from the album comes next in "I'm Begging You", which didn't do too bad in the charts I suppose, even though I don't ever remember hearing it on the radio. It is a little more lively, but still nothing special and definitely nothing like anything off of the previous very popular "Breakfast in America". This makes me think that Roger did have the best pop sensibilities, because BiA was a great album (not their best but still excellent) and it was hugely popular. Rick was the innovative brain of Supertramp, and so when he attempted to make this album as another popular album, he failed because he was just too good for this type of music. That is my theory and I will stick to it and present Rick's past songs and "Brother Where You Bound" as evidence.

The last three songs aren't worth saying much more about because they continue to provide us with more pop fodder, and even the attempt to call up some of the progressiveness and brightness from the past in the last track "An Awful Thing to Waste" sounds half hearted. Rick said that this album was an attempt to bring in a modern sound and build it up with dance beats, computerized sounds and drum machines. This attempt became nothing but a poor copy of disco which at the time of the album release was long dead. (At least that is what the pop artists of today want you to think, that disco is dead, but in reality most of the pop artists that are out there are only regurgitating disco even worse that ever, and here it is 2015 and they still do it and try to make us think they are original, but I digress.....let me get off my soapbox now).

I was very mad at Supertramp for making this awful album. I have forgiven them since and still love their better music, but this is still a sad album. And now I hope you understand when I say it was sad. Pathetic. I'm sorry Supertramp, but it's just heartbreaking that you had to resort to this. The production is the only thing that saves this album and raises it from 1 to 2 stars.

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 Famous Last Words by SUPERTRAMP album cover Studio Album, 1982
3.10 | 242 ratings

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Famous Last Words
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

3 stars After the amazing success of "Breakfast in America", Supertramp decided to take on a more commercial aspect with "Famous Last Words". This may have been a poor choice of direction and a poor choice of title. Many people took the title to mean that the band was breaking up, however, according to John Helliwell, the band was not planning on calling it quits when the album was named.

When listening to the songs on this album, it seems that Roger Hodgson was mostly guilty for taking the band in a commercial direction. "Crazy" is formulaic pop with way too much repetition in the vocals during the fade out, "It's Raining Again" is just a pop song meant for radio, "Know Who You Are" and "C'est le Bon" are boring, overly sentimental ballads that go nowhere and lack all emotion. It seems that all of his songs have taken on a pop sound and all of the emotion and ingenuity in his singing and in his lyrics were missing, that is all of the songs except for the last track which was to be his swan song with the band. "Don't Leave Me Now" is a beautifully written song reminiscent of Supertramp's best work, but in Roger's case, it was too little of an effort when added with the other songs that he contributed to the album.

Rick Davies, on the other hand, has only one half-hearted attempt here and his other contributions to the album are more heart felt and, while still leaning on the pop side more than he was on previous albums, were much better developed and interesting. "Put On Your Old Brown Shoes" is a toe tapping delight with a lot of spice in the music, not flat like Roger's songs. "Bonnie" is a nice up beat song with an excellent piano hook that makes you think that maybe Supertramp still had a lot of life left in them. The piano-led instrumental break in the song is as good as anything from "Even in the Quietest Moments" or "Crisis? What Crisis?" with a beautiful symphonic sound swirling around the piano hooks. "My Kind of Lady" is Rick's most commercial song that has a slight 50's doo wop sound and it is not quite as interesting as his other songs here, but "Waiting So Long" on the other hand is an emotional, sometimes heavy, sometimes humorous (check out the tango beat halfway through the song), always beautiful and it even has an explosive guitar solo to round it out.

It was a sad day when we learned that Roger had decided to depart. However, after this album, even with Roger leaving the band, I felt that we were still in good hands with Rick fronting the band. And so we were with the excellent album "Brother Where You Bound", but after that album, Rick seemed to lose direction and suffered from not having Roger's more commercially savvy songs in later albums.

Even with Rick trying his best to save this album, it just was too hard to be believable with Roger's watered down songs mixed in. I was such a Supertramp fan and was sorely disappointed with this album. Even now, I can only give it a 3 star rating, and that rating only comes about because of Rick's songs on here. Rick proved on the next album he could front the band, but on this album, Roger was bringing the band down, so, at the time, it was probably the best thing for the band. I find it interesting that Roger's first solo album, even though it wasn't really progressive, was so much better than anything he contributed to this album. Makes me wonder if his heart was ever in the band at the time this album was produced.

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 Alive in America by SUPERTRAMP album cover Live, 2014
4.00 | 1 ratings

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Alive in America
Supertramp Crossover Prog

Review by aglasshouse

— First review of this album —
4 stars I've never been a huge fan of Supertramp live albums, with the exception of Paris, which I enjoyed for the most part. They've just always seemed like a band who performed like gods in the studio but doesn't play the songs correctly when they're in front of an audience. When I found out that they played in 2014 in the US for that matter, I was totally hooked and ran to check out the recording. I was not at all disappointed.

They play all of their songs from their 1974 magnum opus Crime of the Century, but there was always one track I'm hesitant to listen to when it's live: 'Bloody Well Right'. The studio version is so carefully put together that it's INCREDIBLY hard to match it's pace. That's why it's the most messed up song when played live. On this, not at all. In fact, they match the studio version almost flawlessly, and even add a few more parts in there to give it more of an effect. Quite exquisite. They also play the rarely played 'Hide in Your Shell', another one of my favorites, and even though the singing is a little weak on this one, it's still great.

Let's get to the spectacular part of this album: Rick Davies and Roger Hodgson going at it at the mic. It's absolutely spectacular, almost like a vocal fireworks show. From them doing the usual Rick on low and Roger on insanely high a Capella, from Roger joining Rick on the famous vocals performed mostly by Rick on Bloody Well Right. They are fantastic in every sense, and although they are a little fainter than in the past, they hold up themselves extremely well. Especially on 'Dreamer', even though it's a song I don't like, Hodgson shines especially with his vocal chords. Davies does equally well on his signature songs, Crime of the Century and Asylum. It's all really amazing, and mostly because of this the album is great to check out.

The songs they did play not from Crime of the Century are pretty forgettable except for 'Sister Moonshine', which is a pretty fun bouncy track. 'Crime of the Century', one of my favorite tracks from the album, was an amazing album finisher, and almost reminded me of an arena-style performed Pink Floyd song.

This is a wonderful release from Supertramp, and still shows that they mean business. I would highly recommend you check this out, especially if you are a fan of the band.

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 Even in the Quietest Moments....  by SUPERTRAMP album cover Studio Album, 1977
3.95 | 454 ratings

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Even in the Quietest Moments....
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

5 stars This album is the 2nd of Supertramp's masterpieces. Though it is not as amazing as "Crime of the Century", it is still great, but this time, instead of Rick Davies having the best songs, it's Roger Hodgson that carries the greatness of this album. Not to say that Rick's songs are bad, they are just not as well created and composed as Roger's are this time. That is strange in and of itself because Rick is usually the better composer especially when it comes to level of progressive rock.

This album is a lot more subdued and quiet than any of their other albums, as is hinted at by the title of the album. "Downstream" is Rick's beautiful ballad and is simply an amazing dynamic song with just him and a piano. Simple, yet beautiful and emotional. "Even in the Quietest Moments" is Roger at his best, even though this is the only song on the album that is written by both Roger and Rick, it is helmed at the vocals by Roger and it is a very original song with an amazing build up, climax and cool down. The centerpiece of the album, even though it is the last song, is "Fool's Overture" which is excellent song of multiple movements all sewn together by sound effects and etc. This is a rather dramatic song which utilizes Roger's amazing range to it's utmost effectiveness. It has a long double introduction before it even gets into the vocals and when it does, you are already at the point that you know this is a masterpiece of a song.

The rhythms and meters throughout the album are pretty much straightforward, but the genius in this album lies in the use of dynamics, orchestration, emotion and originality in the songwriting, and the beauty of the songs. I've only mentioned 3 of the 7 songs, and in reality, there is only one song on here that doesn't really click with me and that is Davies' "Lover Boy", which reportedly took him a long time to get put together to the point that he was satisfied with it. In my opinion, it is out of context here and just goes on way too long. It has a false fade out and then suddenly comes back at full volume when I wish it would just stay away. It's too bad Rick couldn't add another beautiful ballad in place of that return. But the other songs on this album are so well done, that this song just becomes forgotten when the entire album is over.

Supertramp was my favorite band at one time. I still love the music and they still hold that place in my heart, but I have other favorites now, so now they are more of a sentimental favorite. But I still hear the musicianship in their music, especially in their masterpieces I have mentioned before and including "Brother Where You Bound?" which was without Roger. I still consider those 3 their best albums and also complete masterpieces of progressive rock. I love the fact that they are piano/keyboard based, which is something that is usually rare. Being a keyboardist myself, I appreciate the talent and musicianship that is present in this band. The most amazing thing is how they were able to write music that is still relevant, that it doesn't sound outdated even with the emphasis on keys. None of the sounds are outdated, even (at least for the most part) in their earliest albums "Supertramp" and "Indelibly Stamped".

The music of Supertramp is still some of the best. Even the slower, darker songs are uplifting and make me happy when I hear it. It is extremely emotional, dynamic and complex at it's best and still enjoyable when it isn't. This is an album of beauty and emotion and should not be dismissed by any means. So many bands could learn a lot by listening to their music and learn how to better incorporate originality together with dynamics and emotion.

The album is a definite masterpiece, even with the song "Lover Boy" and even if it isn't as progressive and amazing as "Crime of the Century" or "Brother Where You Bound?" The songs on here are amazing compositions with the genius being in the production, delivery and emotion rather than in the complexity of the music, though it does have more complexity than most standard music. Beautiful album deserving of 5 stars.

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 Crisis? What Crisis? by SUPERTRAMP album cover Studio Album, 1975
3.55 | 340 ratings

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Crisis? What Crisis?
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

4 stars Pretty much everyone agrees that as the follow up album for the amazing "Crime of the Century" that "Crisis, What Crisis?" is a step backwards. So, what happened? Well, the record company happened. Supertramp had such success after the previous masterpiece that they were busy touring heavily and didn't have any songs written for another album. But the record company was putting pressure on the band to produce a worthy follow up and they wanted it "NOW". Not the first time that has happened and it won't be the last. So, the band took some leftover songs from the "Crime of the Century" sessions that they had been playing during the tour and they quickly threw together a few more songs and this is the album that happened. Yep, it's that usual tragic record company story.

However, even though it is not as good as CotC, C,WC? is still an enjoyable album in my opinion. It did take a little while to grow on me and for many years, I thought this was their 3rd album and CotC was their 4th, that's because of the maturity and quality of the songs on CotC. This album is a lot more light hearted and upbeat, but the songs lack a little depth and progressiveness.

I still consider this a great album though. I love the songs "A Soapbox Opera", "Another Man's Woman", "Poor Boy" and "Just Another Day" and consider them great Supertramp tracks. The tracks are very bouncy and dripping with rhythm, piano and keyboards but lacking guitar. So it's a fun album, but not as beautiful and emotional as the previous album. Even the band recognize that it was not a cohesive album because of the pressure put on them to produce another album.

By all means, I don't think this album should be ignored. Just realize ahead of time that you are not going to get a masterpiece like you did before and be ready for something lighter more in the vein of "Breakfast in America" and you'll have a good idea what to expect and you won't be disappointed so much, then maybe the album won't seem so bad and you can listen to it with new ears and realize that it is still an excellent addition to your collection. 4 stars, but it might take you a while to realize it.

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 Don't Leave Me Now / Waiting So Long by SUPERTRAMP album cover Singles/EPs/Fan Club/Promo, 1982
3.90 | 2 ratings

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Don't Leave Me Now / Waiting So Long
Supertramp Crossover Prog

Review by Matti
Collaborator Neo-Prog Team

4 stars Famous Last Words, SUPERTRAMP's last studio album featuring Roger Hodgson, is doubtlessly weaker as a whole compared to the preceding Breakfast in America (1979) or other albums starting from the excellent Crime of the Century (1974). But it sure contains some great songs, and this single happens to include exactly the two best ones if you ask me.

'Don't Leave Me Now' by Hodgson is one of my favourites from the whole discography. It's a very emotional and dramatic song, one to bring you goosebumps. It's also respectable that there's no abridged single version (according to discogs.com where I copied it here) but the whole six and half minutes of this marvelous and relatively progressive song. The fantastic instrumental section features a beautiful female vocalise part.

The equally long B-sider 'Waiting So Long' is also from the album, written and sung by Rick Davies. It's a perfect companion to Hodgson's song, sharing some of its emotional intensity. Both of these songs are from the darker side of Supertramp's output. This was a fine way to put an end to the classic era of this unique band.

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 Brother Where You Bound  by SUPERTRAMP album cover Studio Album, 1985
3.66 | 247 ratings

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Brother Where You Bound
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

5 stars It was a sad thing to see Roger Hodgson leave Supertramp. Gone was that balance that was needed to soften up the raspyness of Rick Davies voice and together they were amazing. The fact that they proved to the world that piano rock was alive and well and also needed was amazing. At the time, Supertramp was my favorite band, so it was a sad day when I heard that that side of Supertramp was gone.

I was disappointed in the previous album "Famous Last Words" thinking that for the most part, Rick actually had the best songs and except for a few instances, Roger's songs were very boring. I still had high hopes for this album before I heard it, I loved Cannonball because the uptempo sound that Roger was best at was still there, so I was excited to hear all of it. However, I was very disappointed at first listen and it took me a while to appreciate this album. I bought both this album and Roger Hodgson's debut solo album and arranged them on a cassette so that the lead singers still traded off every other song and that helped this album grow on me. Now I can listen to this album all on it's own and appreciate everything about it.

This album is much more proggy than Roger Hodgson's solo album (even though it's still a favorite of mine also). The songs on this Supertramp album are amazingly written, smart, and in my opinion, among some of their best. Suddenly this album started to make a lot of sense to me, and to tell you the truth, has aged much better than Roger's solo albums. The trend to try to get some of the popularity back with Rick doing all the vocals made the subsequent albums suffer a lot. It makes me wish the song writing team could get back together to get that special mix that they used to have. But, if Supertramp had continued the path that this album had started, I don't know if I would have missed Roger so much.

This is an amazing album and just like most prog masterpieces, it takes a few listens to really appreciate it. So, forget that Roger was ever a member of the band while you listen to this, give it a chance, and maybe you'll see how great it is. I consider this essential because it only proves that even with a major loss in a band, it is still possible to deliver excellent quality music and progressiveness without needing to sell out. 5 stars people, 5 stars.

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 Breakfast in America by SUPERTRAMP album cover Studio Album, 1979
3.94 | 541 ratings

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Breakfast in America
Supertramp Crossover Prog

Review by TCat
Prog Reviewer

4 stars This is the album that blew things open in a big way for Supertramp. It brought an amazing band out into the white, hot spotlight. The group had it's following before, but this album made them superstars. So full of pop sensibility while retaining a lot of their original sound and still full of surprises. But at this point, it has been so played to death because of the plethora of hits. No doubt about it though, this is still a lot of fun to listen to, but it's popularity has watered it down a bit. This is the album that opened myself and many other people up to Supertramp's great music and it also made the band my favorite for many years. The favorite spot now is inhabited by King Crimson, Porcupine Tree, Yes, and My Morning Jacket, but Supertramp will always hold a special place in my heart, especially the albums "Crime of the Century" and "Even in the Quietest Moments". If it weren't for this album, I probably would never have discovered the essential albums in their discography as early as I did. Plus, these albums influenced me to search for more prog since I loved Supertramp so much. Anyway, this is the entry point if you haven't yet discovered Supertramp, just make sure you listen to Crime of the Century if you want to hear a masterpiece. This one however poppy it is, is still an excellent addition to your prog rock collection, though.

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 Crime Of The Century by SUPERTRAMP album cover Studio Album, 1974
4.34 | 1176 ratings

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Crime Of The Century
Supertramp Crossover Prog

Review by Michael678

4 stars ahhh, hello. my second actual review. and as a disclaimer for people who see my profile here, one of my ratings is NOT TRUE!!! i never even heard it in my life. just want it to get it out there right now. so anyway, Crime of the Century. released in September 1974, this turns 40 years old this year, and thankfully it will be re- released in December this year in honor of that. i cannot wait for that one bit!! and yes, i love this album, like alot. the 8 songs are just awesome and definitely hold up to prog standards. i consider it one of the gateway albums to prog, along with Moving Pictures by Rush, and Fragile & Going for the One by Yes, etc. etc. etc. blah blah blah blah blah. so, let's get on with the songs shall we!!

Side 1:

1. School - .......huh......funny to mention this beforehand but as of this review i am working on an analytical essay focusing a song's lyrics that relate to social justice; this is the song i chose for the essay. well, that is basically because the lyrics criticize the (mainly British) school system around the time of its release, not promoting individualism and try to be "civilized" and what not. They are awesome and so is the music, from the harmonica intro to the jam with the piano solo in the middle (probably played by Rick Davies), this 5:34 of greatness.

2. Bloody Well Right - kicking where the previous track left off, we are treated with a great electric piano solo by Davies that leads into the actual song itself. it became their first hit single in the US, reaching the Top 40 there, and it clearly shows. a catchy chorus, a saxophone coda (played by John Helliwell), and what not, though i wish this song was a little longer to be honest. but hey, i've got the bloody right to say!!

3. Hide in Your Shell - ah, yes, my favorite track on here. the theme of isolation and loneliness plays here, though i can see some motivation and what not within the lyrics as well, as in "You're not alone" or something (just like School). Roger Hodgson did an excellent job with this song, lyrically and musically, with my favorite part being the last couple minutes of the song. god, i love it all. i mean, this should be like some theme song for something in particular (*cough cough Crona from Soul Eater cough cough*). Really give it a listen.

4. Asylum - the unknown one of the bunch, ehy? this is another good tune, dealing with madness and denial and insanity and what not, with the music catching on with this mood, especially during the loud parts imo. even though it is kind of my least favorite on here, like i said it's still very good. and also, what is that noise at the very end of the song? just curious

Side 2

5. Dreamer - the BIG hit here, reaching the Top 20 in the U.K. (and the "Paris" version following suit 6 years later in the U.S.). everything's not a dream; it's reality. though some people try to get away from it with all of their dreams. that's what i think this song is about from listening to it, of course i could be wrong, but who cares!!! the lyrics are sing-along-like, the music is great as per usual, and the vocals as well by Hodgson (and Davies). i can see why it is one of the most popular of their songs.

6. Rudy - the proggiest track here, as well as the longest (7:19) and my other favorite. The intro here i believe is the proggiest moment on this album, helping the song move more along in the best way possible. the whole band fleshes out and jams well (though not 100% unfortunately) during the second part of the song. Rudy, the song's character here (obviously!), has no where to go in his life and is has had a bad life. it sucks, i get it, and im sympathetic for him. so, ummmmm, have fun on the train i guess? or have fun in a little field running everywhere with what appears to be some sort of tennis racket in hand (yes, the guy that's in my avatar i consider to be Rudy, idk if you disagree, though you probably would.

7. If Everyone Was Listening - i absolutely adore this song, the last huge favorite here. like Bloody Well Right however, i wish it was longer, i mean, it's the shortest track on the album (4:03). but, it is still fantastic, especially the lyrics, metaphoring (is that a real word?) the reality and a large amount of people, like in a city, with a circus act, hoping that nothing would fall apart and trying not collapse on its side or booty or wherever it may fall on.

8. Crime of the Century - ahhhh the title track. i like this song much more than on previous listens. i just felt like that there wasn't enough lyrics to cut out for it (like One More Red Nightmare (*GASPS!!!!*)), and once again i wish it were a little longer, but now i feel like it's short and sweet (that's a compliment btw). of course, the second half, instrumental, is just amazing. it's almost like a wrap-up (of course, i mean this is the last track), with a recurring theme here and there (the harmonica from School for example at the very end), fading out into obscurity, thus ending this album.

what can i say, this is an excellent addition to any prog collection, and maybe even just a regular old music collection in general. it is SO close to getting 5 stars however, from a couple of the negative comments i made (which i hope you can spot), so i give it 4 stars. it should be more like 4.5 stars if there is such a thing. this is Michael678, signing out, probably returning again one of these days.....

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