A great album though, which saves its best for last. Rating: 4. I was visiting my brother in Boston at the time I was around 15 years old and the guy next door invited me in to listen to this cool new band. He proceeded to roll up a big fat one and give the record a spin.
I was amazed at how different the music sounded; I had not heard anything like it before. Although I can recall fondly all the great music that would come after that, I never got into the band as I did others of that time.
It is now and nearly their entire catalog is available in the remastered form. I feel more like the new audience rather than the old classic rock fan after hearing these amazing recordings with the crisp and pristine sound.
The listeners that were previously gained prior to the impact of "Crime Of The Century" became disappointed with the bands more mainstream rock direction. I personally feel it made them a better band and allowed for more diversification, thereby reaching a much larger audience. What Crisis? In fact, there were so many great songs on these four albums it is hard to keep track of them all.
Some tracks would be become FM radio staples and remain so today and others huge hits on the AM radio side of the dial. There was enough mixture of genres in their sound for them to satisfy a large mix of admirers. The usage of piano, acoustic and electric guitars, soaring vocals, and all-around outstanding musicianship is brilliant on all four of these albums.
The sound has become simply phenomenal with the remastering process. The combination of progressive rock and pop would prevail over the course of the first three releases. When the multi-platinum by the 90s 18 million units were sold "Breakfast In America" was released they became a full-blown rock-pop sensation, leaving all of their progressive influences behind.
The featured instrument was the keyboards, when previously the guitar and keys had an equal measure of influence on all of the other releases. Roger Hodgson and Rick Davies voices played off each other beautifully, and their harmonies were so sweet and melodic.
I think that they reached their peak working together on this album. After the huge triumph of their most successful album, the aftermath would result in creative burn out. I can see how it would be difficult to match the string of successful albums that they produced over the course of a five-year period. They were a literal musical juggernaut, but all good things must eventually come to end. These four albums stand as the most prolific and significant of the group's catalog.
Each album stands on its own as classic renderings of rock, progressive rock, and pop. This is pure Supertramp, melancholy in the piano parts, a big fat sound to the bass and a rythmic-only drum. Really if I had to describe Supertramp in one song, wich is about impossible, I would probably go for ''Loverboy''.
Everything is what you would expect from the Tramps! Following this song is the excellent title track. The acoustic guitar is absolutely beautiful, and the addition of the flute makes this moments , a really quiet one! The song is all in all great and pleasing, and at some point you will find yourself sing the first couple of lines, if not the whole song!
Downstream is absolutely a Richard Davies song, him along his piano, singing about his life. Not necessarily the strongest song on the album, especialy prog wise, but really pleasant anyways. A good way to close a side too. And the side two starts wit hthe same instrument: the piano. Once again, pure Supertramp from start to finish! From now on is for me the weakest track on the album, as it is some weak lyrics, some weak feel to it and it can even be described as a bit on the cheesy side.
But it does not prepare weel enough for the last song of the album: the great Fool's Overture. Now, what a song it is! AIg you have listened once to a classic rock radio station, chances are you heard this song! Without a doubt the most beautiful song on the album, maybe even in Supertramp's career, this is a song with so many emotions, so much feeling.
You need to listen to it, if it is not already done of course! All in all, this is a brilliant album, maybe not as consistent as constant as Crime of Century and not as praised as Breakfast in America, but definitely a must for any fan of classic rock and art rock. The simple opening acoustic guitar riff is progressively layered through a number of iterations with drums, piano, and saxophone, all wrapped inside Roger Hodgson's John Lennon-like humanitarian lyrics like "see the man with the lonely eyes, oh take his hand - he'll be surprised".
This was one of the finest feel-good songs of what was a supremely satisfying and memorable year for me at least. A top- notch backdrop to the spring of Rick Davies' piano and vocal lead-in to "Lover Boy", like many of his tunes, smacks heavily of a Randy Newman tune. This one perhaps more so considering the sarcastic character sketch of a rather shallow guy who is apparently looking for validation in pop culture and self-help books.
The backing vocals and whistling keep the mood light and make this an engaging but somewhat inconsequential ditty. Hodgson's guitar and melodic accompanying vocals make for another pleasant, artsy pop tune that would not be out of place on a 10cc album circa around the same timeframe.
The title track is one of Supertramp's least appreciated art rock numbers in which everyone in the band gets in the act in the buildup to a signature 70s-sounding finale.
Here again the acoustic guitar and piano combine for that clean, crisp, melodic sound for which the band was so well known in the latter 70s. The clarinets give an added dimension that is both idyllic and rather nostalgic at the same time. With the possible exception of "Fool's Overture" this may be the best track on the album. By the time "Downstream" rolls around the tone of the album is pretty much set as a rather laid-back work, much less angst-ridden than their previous offering Crime of the Century.
Davies' vocals are not unlike some of the contemporary works from Dan Fogelberg in the same period. The composition is highly repetitive with apparently spiritualistic lyrics that apparently pay tribute to the Himalayan yoga master of the same name. I'm not familiar with the percepts of that faith, but apparently Hodgson was. Not one of the stronger songs on the album, but an interesting diversion nonetheless.
This one feels awkward at times, but once again the piano and mild guitar work make it work for the most part. The closing "Fool's Overture" would become a concert staple for a while, with the band taking the closing lyric "let's go crazy" literally by dragging costumed characters and ancillary musicians on stage for a decadent display of gleeful madness. The quiet opening piano chords give way to a myriad of musical forays over the ten minutes or so the song runs, combining with what appear to be nonsensical lyrics and vaguely discernable sound effects.
At one point guest musician Gary Mielke kicks in some goofy variety with an oberheim keyboard riff behind Hodgson and Davies' competing vocals before Hodgson heads off on an acoustic guitar and vocal rant about 'Sister Moonshine', whoever the heck that is. Kind of a strange tune, especially for the highly pop-conscious Hodgson, but again an appealing diversion and overall one of the band's more unusual works.
This is not a masterpiece on par with Breakfast in America or Crime of the Century, but it is certainly a highly accomplished bit of musical history that would be welcome in just about anyone's collection. Four stars does not seem out of line. The album opens with the all-famous song "Give a Little Bit" which carried on the legacy of the earlier "Bloody Well Right" in the avenue of hit singles. The song is a great listen and it "flows" wells through the chord progressions.
It is made even more impressive by the Saxes from John Helliwell which gives the song that little bit extra push. It did well to promote the album! It begins with a piano melody before the vocals begin, at which time the whole band comes in. The song changes slightly around the second minute to be slightly reminiscent of the beginning of the song.
Throughout this section there can be heard the squawking of the trumpet. The next four or so minutes is predominantly instrumental with some sax spotted here and there. Next up is the title track "Even in the Quietest Moments" which is the most progressive song on the album save "Fool's Overture. The song starts off with birds singing quietly in the background, before an acoustic guitar and saxophone comes in.
Vocals follow, with the acoustic guitar maintaining the underlying melody. I'm very fond of the lyrics, especially the line "don't you let the sun fade away. Great song all up, my favourite from the album. The song is basically just you standard boiler-plate love song I guess, nothing too intriguing or special about it.
That said there's nothing wrong with the song either. It may just be me but the melody reminds me somewhat of Russian folk music. Some of the short instrumental passages are quite interesting and the saxophone and other woodwinds light up the song somewhat. It is kind of similar to "Downstream", although it is more interesting.
Again, it's quite a mellow song but there are a few interesting sections here and there. Last of all is "Fool's Overture. Around the second minute the growing sound of a crowd of people can be heard shouting with a brass band and bells in the background. Then there are spoken words from who sounds to be Winston Churchill although I may be wrong about that. These words make me believe that the song is based around World War 2.
The song then moves into a very intense an interesting song featuring many progressive elements. A brilliant song! Supertramp continues to produce high quality albums They needed a bit of time for this one two years but who can blame them since this one is another great piece of music! The piano from the cover was hauled up a mountain side and left out over night to become covered in snow.
It's not a trick shot. Still, the harmonies vocals and piano are superb. Only one weak track here : "Downstream" which sounds as a hotel lobby song. Just average. A few highlights like the wonderful "Lover Boy" : great melody Jeff Lynne could have wrote it , probably too long to make a hit single, but what a great song.
Emotion at its peak. The band performs really well. I like quite a lot "Babaji" for its harmonized vocals and great background keyboards.
Sax solo is also very pleasant. Hodgson is, as always, very convincing and emotional. Another poppy highlight. Babaji is an Indian "Saint" who will influence a lot of Indian philosophers throughout the ages. Maybe Rodger was under his influence while he wrote : "I can see it's not too good to me, To be afloat in the sea of glory, Babaji, Oh how you comfort me, By showing me it's a different story" "From Now On" is a nice and mellow ballad : full of keys and sax.
A great Davies song and a good way to reach the last number. This is a true epic forget about "Try Again" from their first album. Long keyboard intro raise the level of your audio system to capture all the elements! This is a pure British prog song : Big Ben and Churchill on the same track "we will never surrender"! The song really kicks after this three minutes quiet intro. The beat goes on you are transported into another dimension from then on : glorious bass and keys work. Vocals start after 5' minutes 20" : probably the most beautiful 'Tramp vocal session.
So delicate, intimate : one has the impression Hodgson sings just for you. I was lucky to see him live in solo and the emotional feeling one gets in his concert is HUGE. It is perfectly rendered here in this song.
After those wonderful three minutes, the song goes quietly to its end and the only remark I would make is that the finale should have been of an extra level : more generous, more pompous, more Four stars.
The sax as usual sounds great in this song that is like a warm, sunny, summers day. This is the song that caused me to buy this Lp back in I love the sound 3 minutes in and after with the guitar that comes and goes.
The song speeds up after 5 minutes with more guitar. Sax comes in, then the vocals as the drums slowly pound. Great tune! A very catchy song. The ending is quite uplifting as sax, piano and drums are joined by everyone on vocals. The song starts to accelerate. This is what we in Canada call the W5 section, this was the theme music for this investigative news program called W5 that was on TV up here that I used to watch sometimes.
I love the vocals after 5 minutes especially when Hodgson cries "I know, I know, I know" as his vocals trail off into the soundscape. Then we hear a sax solo followed by the wind blowing. Although not as good as their masterpiece "Crime Of The Century" this one is still a very good record and well worth checking out. But all of those enviable characteristics wouldn't mean much if they weren't coupled with the necessary skill for writing good tunes and this album opens with a great example of their penchant for that art.
Starting with the full strumming of an acoustic string guitar beneath Roger Hodgson's charismatic singing, this innocuous song hit the airwaves at the perfect time with the perfect message of hope and sent this LP soaring into the top Its subtle, infectious energy and superbly-crafted structure ensures that it will still be heard regularly 50 years from now.
Here the rich orchestral score and the fat electric guitar tone make this cut stand out. It's about a cad whose sole ambition in life is to be some kind of macho chick magnet and I'm wondering if Rick Davies isn't describing the same scoundrel he was to write his memorable "Goodbye Stranger" for on their next release.
After a sneaky false ending the band roars back and lays down a driving beat to the fade out. The hypnotic "Even in the Quietest Moments" is one of the group's most mesmerizing tunes ever. He seems to be saying "Lord, if I'm so enlightened then why do I still feel empty and sad? It's a great track. Rick delivers a basic piano and vocal performance of a tender love song without enlisting any assistance from other members of the group. The shock comes when you realize that you don't miss them at all.
The stripped-down production works like a charm and Davies' honest delivery is endearing. Here Roger once again expresses his personal longing for spiritual fulfillment as he pleads "is it mine, is it mine, is it mine to know? The track begs for the spark that his wind instruments consistently provide but his allotted solo is far too brief and calculated.
The next song, "From Now On," remedies that situation immediately. Written about a fellow who utilizes his vivid daydreams to escape the drudgery of his uneventful life, this cut showcases Supertramp's uncanny gift for creating musical landscapes. After a scintillating sax solo from John they detour into a segment that mimics a soundtrack for some kind of stereotypical 's Italian secret agent movie complete with tremolo guitar and accordion.
Quirky, to be sure, but excellent fun nonetheless. The almost minute "Fool's Overture" is terrific. Once again they start with piano but this time it's accompanied by a synthesizer playing a beautiful melody. What follows is a Pink Floyd-ish collage of noises and voices before a new, bouncy theme emerges.
Helliwell's sax returns with a sizeable orchestra rearing up behind him as they descend into what seems to be a distant choir singing "Jerusalem" on a windy hilltop. The bouncing melody returns with Hodgson singing in front of a strangely affected chorale before the epic dissolves into the cacophony of a symphony tuning up. It's an interesting journey, no doubt. While I believe they were still trying to match the excitement and enthusiasm they captured on the phenomenal "Crime of the Century" album from three years earlier, this band continued to put out high quality material with regularity throughout the 70s.
They were consummate musical craftsmen possessing an inquisitive sense of adventure. A very solid 4 stars. Flaunting a varied discography that never shows one album the same from the next, it's no surprise that Supertramp's ''Even in the Quietest Moments is a unique work of art.
While the album had huge commercial success it still showed a progressive side that proved that any band could still be progressive while trying to come up with hits. In that same respect this is one of the Tramp's most progressive works, it's lush melodies entrancing to any listener that thought that Crime Indeed, this album still has it's pop moments.
However this is forgivable thanks to Hodgeson's clean delivery and the soothing acoustic guitars that are what make the song so profitable in the first place. However, in that classic Supertramp fashion so recognizable in songs like ''Dreamer'' and ''Take the Long Way Home'' this song's upbeat tempo and mood hide the very human lyrics behind it.
For me this was a song that I wasn't about to take seriously just based on the title, but after a few listens it sunk right in. Supertramp have always been at their best with that kind of deception. Some of the songs on this album are just so beautiful that it's beyond belief. Hodgeson's vocals come in right after some sounds of nature and wilderness before the guitars and pianos take the audience to a whole other plane.
Again, a darker song than the surface leads one to believe, but again what would Supertramp be without those songs. Davies takes the vocals for this one, following the trend of the album and indeed many Supertramp albums of Hodgeson and Davies leap-frogging between lead and backing vocals between tracks. Of course Supertramp can't do an album without having a fast song.
It starts out slowly just like most of the other songs on the album, but soon explodes into motion -- okay, so it's not that fast, but driven by the bass and drums it certainly seems like it is.
A great piano and sax solo near the latter third of the song make a very welcome addition. Following that, Hodgeson's vocals light up the skies and make this song one of the standouts of the the album. Nicely opened by piano and welcomely Davies voiced this is a song that has a lot of promise. The first half of the song is very well performed with some great parts and pacing and even features a very nice sax solo right near the middle of the song.
The chorus of people singing in the background also doesn't really support it's argument too much. A good song that unfortunately falls under the nitpicking of this listener. One of the Tramp's few long songs along with the excellent ''Brother Where You Bound'' and the experimental ''Try Again'', this is a song that's very pleasing for the prog-heads of the world. This is the song that epitomizes the album and truly captures the band at this moment in life, bringing in all the elements that make the album great and pressing them into one wonderful track.
Synth driven and even opening with a segment of Churchill's speech, this is a song that immediately catches the progger's ear. It's not long until Hodgeson reaches glass breaking proportions with his voice as he delivers a chilling prophet's tale that is led out by a couple minutes of wonderful instrumentation and vocals mixed at last into a spine chilling conclusion.
While not the band's best album it definitely is one that can't be missed. They would certainly take a different road after this album and would never be the same again. British Hit Singles. London: Guinness Superlatives. ISBN Archived at rocklistmusic. The Supertramp Book. Toronto, Canada: Omnibus Press. Retrieved 22 April ISBN X. Retrieved 13 March — via robertchristgau. Encyclopedia of Popular Music. Oxford University Press. Brackett, Nathan ; Hoard, Christian eds.
Australian Chart Book — Archived from the original PHP on 2 April Retrieved 1 June Hung Medien in Dutch. Archived from the original on 6 May Note: user must select 'Supertramp' from drop-down.
Media Control. Hung Medien. Recording Industry Association of New Zealand. UK Albums Chart. XXXIX 7. United States. Retrieved 24 January Australian Chart Book — illustrated ed. St Ives, N. Archived from the original on 5 April Retrieved 9 June Archived from the original ASP on 12 May Retrieved 2 April They are underused here of course, but that is understandable considering the mellowness of the surroundings. I had to look all three of these names up in Wikipedia, by the way.
This and Breakfast in America were listened to by me in their original 8-track. Therefore, no liner notes. Like I said before, I prefer to listen to this rather than their climatic album Breakfast in America. That is the reason that Even in the Quietest Moments does not measure up to that monolith. Hodgson is simply the stronger composer here. The fact that I long ago had too much Breakfast in America should not deter you from listening to it.
The truth is I recommend both. You can almost hear the music jumping off the page when these two guys write. You can follow him on Twitter djrobblog. You can also register for free to receive notifications of future articles by visiting the home page see top for menu.
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