Makes me wonder if his heart was ever in the band at the time this album was produced. This was the last album with the presence of their guitarist, vocalist, keyboardist, composer and founder member Roger Hodgson, who left the group to pursue a solo musical career. All songs were written by Hodgson and Rick Davies. The first track "Crazy" is a very good song to opens the album. It's a typical Supertramp's song and represents perfectly well their unique and unmistakable sound.
It's a song very well written and based on the piano that sounds so typical of the band. It's very well accompanied by John Helliwell's saxophone and by Hodgson's voice. It's clearly a song influenced by jazz and blues with reminiscences from many other songs composed by him. Despite being a very nice and fun song, I think it doesn't work so well on this album.
So, this is my less favourite song on the album. The third track "It's Raining Again" is a typical pop song and represents on the album the most commercial track and a typical song made to be released as a single. This is a typical song of the band, that we love or we hate since the first listening, such as "The Logical Song" and especially "Dreamer". Sincerely, I must confess that I like very much the song and I think that it's a perfect example how to make a good pop commercial song with really good quality.
The fourth track "Bonnie" is another kind of thing, because it's, in my humble opinion, one of the best songs on the album and represents one of its highlights. This is a love song that describes the obsession of a fan who wants to be closer to a movie star.
However, some think that the lyrics are only symbolic and describes the intensely and difficult personal relationship between Davies and Hodgson. Anyway, we are in presence of a great song, one of the best composed by Davies, and curiously, it's a song with no wind instruments and where Helliwell plays keyboards, which I think was the only time that happened on the entire Supertramp's musical career.
The fifth track "Know Who You Are" is another great song and represents also one of the highlights of the album. It's a perfect song, at the same time sad and beautifu, made by the hand of Hodgson, and sincerely, only he can write songs like this. It's a song with great melody performed by a great sensitive singer alone with his acoustic guitar.
Here we have Hodgson and Supertramp at their best. It's a Davies' love ballad very well sung by him, who harmonizes his natural voice with a falsetto vocal. It's a good song, a tribute to the 50's, magnificently arranged and performed and with a nice saxophone work by Helliwell, as usual.
I think we can consider that we aren't in presence of one of the best musical moments of Davies, but like "Put On Your Old Brown Shoes", we are in presence of two typical and decent Davies' songs.
It's a classic Hodgson's song that stood perfectly well the test of time. It's a song very well arranged with a catchy melody and good lyrics and where once more, and like "Know Who You Are", we have a great sensitive singer performing with his acoustic guitar.
The eight track "Waiting So Long" represents one of the highest moments on the album, if not the better. This is in reality a great song, extremely well arranged, very progressive and with fantastic individual musical performances by all band's members. The epic development of the song can be connected with the great classics made by them all over the years.
This is a genuine progressive song and here we have Davies and Supertramp at their best. The ninth and last track "Don't Leave Me Now" is another pearl of the album and closes it in a great style. This is, in my humble opinion, the best Hodgson's song on the album. Despite being a sad song with pessimistic lyrics about solitude and fear of loneliness, it's a very powerful song that closes the album magnificently.
Conclusion: "Famous Last Words" is an underrated album. So, I can't agree with those who consider this album a minor work of the group. It has all the ingredients that made of Supertramp a great band. It has one of the most creative, one of the most respected and one of the most successful duo of composers in the progressive rock music.
But unfortunately, "Famous Last Words" puts an end in this great duo of composers. The future has shown that the whole is better than the sum of the parts. Hodgson and Davies can't really be replaced and they worked better together than apart. So, "Famous Last Words" represents the Hodgson's last contribution to the band.
But we may say that, with this album, he leaves Supertramp by the front door. Prog is my Ferrari. Supertramp's follow up to 's "Breakfast in America" paints a sonic portrait of a fractured whole. The band responsible for cracking the insulated egg of the US charts, striking gold with three massive hit songs, finds itself facing a crisis. The creative duo of Rick Davies and Roger Hodgson's a Almost every single progressive rock band was affected in some way, trivial or otherwise, by the eighties.
Phil Collins took Genesis into a whole new pop direction, Roger Waters left Pink Floyd, and Jethro Tull delved into the vein of 'synthpop', among other things.
One of these disappointing chang Take your time, ladies and gentlemen and, of course, dear prog-lovers, friends and Supertramp-fans , cause this review is going to be a loooong one. It's going to be two reviews in one, actually, and it has a long introduction as well, cause this album were the "Famous last Words" of Supertramp, What a kind of disappointing album! My second two stars rating, but the first one given without any internal conflict!
Crime Of The Century days had vanished in the past. Poppy approach are strong than ever. But if this strategy worked well for Breakfast in America, what worked wrong here Well, this album is a problem to me.
I really like it but I know that is almost pure pop rock. The prog feel is almost completely disappeared here. From Even in the quietests moments the prog sound of Supertramp was always downhill, until they returned with Brother where you bound. The Hod While you can't flash a vinyl in the toillette you can use it as a dart pointer-mark the songs between the pauses Compared to Breakfast in America, Even in the quietest moments, Crisis- what crisis, Crime of the Century, this album is slightly weak-- but not very weak.
Its certainly way too stronger than Indelibly Stamped and definitely the best last album of this great band. Off course if Roger Hodgeson con The answer was you couldn't have complete song-writing collaboration and unision like Supertramp enjoyed in BIA. The partnership of Rodger Hodgson and Rick Davies was pulling in all directions in this album.
Anything featuring the Wilson sisters can't be all bad but for me the album is let down by the awful It's raining again which has to be one of my top 10 all time irritating tracks. Away from that there is some good music in places although its certainly no 'Crime of the Century'.
As a big Supertramp fan I have waited so long for this album back in But I remember how dissapointed I was after listening several times to this album. Today I still got the same opinion. At first I thougt "don't leave me now" was a masterpiece but after a view listens I understand it is Supertramp's tellingly titled "Famous Last Words" album was the studio follow-up to their mega-smash "Breakfast In America.
The whole situation was a re This album was not nearly as pitiful as some have suggested. I, infact, have grown to thoroughly enjoy it- track one to track nine. As always, lyrically and instrumentally, Supertramp has compiled a completely clever and brilliant album. Perhaps selected pieces by Bay City Rollers and such, It's not as bad as people would have you believe, but of course it is nowhere near as good as their classic four.
I hate disagreeing, but I enjoyed this album. Actually, I have enjoyed it more and more over the years. The only true clunker was their top 40 hit Its Raining Again, which is a bit syrupy for my liking. This album is darker in scope overall, which is why that song doesnt belong in this set.
You must be a forum member to post a review, please register here if you are not. Copyright Prog Archives, All rights reserved. Please consider supporting us by giving monthly PayPal donations and help keep PA fast-loading and ad-free forever. No doubt it is one of the bands most memorable songs, alas this is surely not one their better albums.
They abandoned their progressive sound for a straight-ahead, perhaps over produced, pop and rock format. This album has some strengths but very few, hardly anything nearly as consistent as previous studio efforts.
By the time the late 70s and early 80s were reshaping the rules for disseminating music, Supertramp had joyously refashioned their signature sound with patent AOR flourishes and a melodic drive that felt quite comfortable in its formulaic self-indulgence. This is true despite the fact that their amazing live album "Paris" comprised a repertoire dominantly devoted to the band's historical art-rock leanings. But no, the AOR orientations prevailed for the germination, recording and production of " Famous Last Words Not unlike the "Breakfast" album, this is a musical work somewhat focused on the projection of hit singles and palatable songs, yet still containing pieces in which the band pursues more elaborated musical frameworks.
A good yet uneven art-rock album, whose better moments are sure to please the friendly prog listener. This was actually the album's third single, and IMHO, this was the one that deserved more attention than the previous two did: Hodgson-penned 'It's Raining Again' and Davies-penned 'My Kind of Lady' are well constructed songs that are obviously radio-friendly.
The Hodgson one follows in many ways the pattern of 'The Logical Song' but with a kinder motif even the powerful sax solos by Halliwell and melodica solo by Davies echo the sugary moods provided by the vocal lines and the basic piano chords , while the Davies one is a relatively unsubstantial semi-ballad on a blues tempo, very Broadway, kind, gentle, but as I said, unsubstantial. This is, in itself, a clever "love song" in which one sentence from the lyrics reveals the real intentions behind the guy's apparent affection for his lady.
Both are quite pleasant to me with the former featuring delicious sting arrangements , but on the other hand, they don't seem to provide something particularly invigorating in the band's repertoire. The album's brightest moments are comprised in the last two tracks. Davies' 'Waiting So Long' refurbishes the standard of 'From Now On' and takes it to a more furious level, of course, in a constrained fashion much in tune with what Supertramp is all about at its best.
The epic development of this song can also be connected with the classic 'Rudy' arguably, the best Davies-written piece ever. The guitar solo is quite Gilmouresque, while the orchestrated keyboards and rhythm section bear a genuine progressive feel.
Hodgson's 'Don't Leave Me Now' closes down the album with flying colors. Despite its pessimistic lyrics about solitude and fear of loneliness, this song displays a genuine sense of power. Halliwell's sax deliveries and Siebenberg's drumming are crucial to this factor, no doubt about it: but also, there is the fact that Hodgson was providing his last guitar solo ever in a Supertramp item, and he delivers with passion and strength. The ethereal fade- out, filled with soft female vocalizations and typical Davies harmonica lines, manages to bring an excellent ending for an album that is only very good in general terms.
I don't know but they are in similar context, I think. From Wikipedia, the free encyclopedia. Retrieved 1 June Retrieved 27 March The Supertramp Book. Toronto, Canada: Omnibus Press. ISBN Retrieved 8 October Retrieved 25 July — via Rock's Backpages. Encyclopedia of Popular Music. Oxford University Press. Brackett, Nathan ; Hoard, Christian eds. Smash Hits 25 November — 8 December Australian Chart Book — Archived from the original on 12 March Retrieved 31 January Archived from the original PHP on 24 February Hung Medien in Dutch.
Archived from the original on 13 March Archived from the original on 6 May CS1 maint: discouraged parameter link Note: user must select 'Supertramp' from drop-down. Media Control. Archived from the original on 2 April Archived from the original on 29 December Retrieved 9 June Roppongi , Tokyo : Oricon Entertainment. Hung Medien. Recording Industry Association of New Zealand. Archived from the original on 8 March Archived from the original on 26 February UK Albums Chart.
Archived from the original PHP on 29 December Retrieved 1 February Archived from the original on 20 August Retrieved 29 April Hodgson 's abundance of romantically inclined poetry and love song fluff replaces the lyrical keenness that Supertramp had produced in the past, and the instrumental proficiency that they once mastered has vanished.
Romantic Sad Sentimental.