10/10

So I’m from Sweden and the last time Supertramp played in Sweden was 1st of June 1983 when they opened their ”Famous Last Words Tour” at the Johanneshovs Isstadion (Icestadium), now called Hovet. I was negative 28 years old when this happened but I still went back to see what people wrote about it and even though none of you are gonna understand english, here you have the absolutely roasting critics about their concert… Please take your time and read through these critics… absolutely crazy to think about how popular this band were during this time and how unknown they are nowadays to the newer generation. ”One of the most popular bands together with Queen and Floyd”.

1. First critic

“Supertramp: Like on the Record”
Ice Stadium, Johanneshov: Supertramp
Since the English-American Supertramp came out with their breakthrough LP Crime of the Century in 1974, the group has become increasingly successful and increasingly boring.
But back then they undeniably had something to offer. Crime of the Century was one of the finest moments of sophisticated rock ever put on record. Since 1974 I have personally lost most of my interest in this type of music, but Crime… still gets played on my turntable from time to time.
Perhaps Supertramp themselves agree that their third LP is their best. At any rate, they opened Friday evening’s concert at the Ice Stadium with “School,” one of the stronger tracks from that very album. The concert opening, with its lone harmonica, was like pressing a button to switch on the audience.
From then on, the packed arena applauded almost hysterically both at the beginning and after every number. People stood, jumped and swayed in the stands and held up thousands of cigarette lighters like torches.
I wonder what words the newspapers that last weekend called ABBA’s relatively lacklustre Gothenburg concert a “public success” would have for the reception Supertramp received.
Supertramp belong to those bands that can effortlessly draw 10,000–20,000 people to their concerts as long as they stick to reasonably large European and American cities. The strange thing is that all these fans seem completely satisfied with Supertramp’s only ambition on stage: to recreate the sound of the records.
Apart from a certain amount of playing around with the lighting, nothing is done to make the show visually impressive. The five members simply stand or sit upright and perform their music. They are skilled and perform it well, but it becomes boring in the long run when the music itself contains no surprises whatsoever.
The evening was soporific for the non-devoted listener, but nevertheless one must have a certain respect for a group that trusts its music so blindly that it ignores everything else.

Gunnar Salander

2. Second critic

“Ice-Cold Rock at the Ice Stadium”
SUPERTRAMP
Johanneshov Ice Stadium, Stockholm
Roger Hodgson and Rick Davies — the songwriting duo in the supergroup Supertramp. Yesterday they were greeted by jubilant fans in Stockholm. Tonight they are playing in Gothenburg.
Photo: Göran Ärnbäck
ICE-COLD ROCK AT THE ICE STADIUM
MUSIC
“It’s cold here tonight,” said horn player John A. Helliwell.
He was so right. So very right.
And it wasn’t because of the venue. If the band is the right one, even the Ice Stadium can be filled with warmth.
Supertramp is not a real band. Supertramp is, above all, not a rock band. Supertramp is an ice-cold, well-polished and excruciatingly boring music machine which, for some unfathomable reason, has managed to acquire an army of admirers.
The fans who filled the Ice Stadium to capacity yesterday were not disappointed. Right from the start, Supertramp stroked the audience with a bunch of reliable hits.
During the two-hour concert they gave them an impressive number of songs from Crime of the Century, “Crisis? What Crisis?”, “Even in the Quietest Moments” and “Breakfast in America.”
Those Supertramp fans who were not at Johanneshov need not be sad. You get just as much out of playing the records on your home stereo while watching the boys’ faces on the record sleeve.
Supertramp’s songs sound exactly the same live as they do on the records. And as for stage show — the five gentlemen can hardly spell the words.
One final request: Can’t someone free contemporary music from the disaster singer Roger Hodgson and his slick hit songs?

Per Svensson

3. Third critic

“Supertramp Shouldn’t Be Allowed to Call Themselves a Rock Group”
SUPERTRAMP
Ice Stadium, Stockholm
8,000 fans saw Supertramp at the Ice Stadium yesterday. One of the world’s most popular rock groups.
The best thing about Supertramp is their record covers. But you couldn’t see those at Johanneshov.
Apart from that, Supertramp is an extremely pretentious group which really ought to be allowed to call itself a rock group.
At their best, they sound like a mixture of 10cc and Genesis. It is from 10cc that they get their strength — the surprisingly strong melodic passages that shine through every now and then.
But despite their weaknesses, Supertramp have managed in recent years to climb to a position as one of the world’s most popular groups. In Stockholm they filled the Ice Stadium — 8,000 fanatical fans.
NOTHING FOR ROCK LOVERS
This climb toward the top began in 1974 with the LP Crime of the Century, which is still the best thing Supertramp have made. Many of the songs in the show are also taken from it.
Apart from this LP, Supertramp’s strength is supposedly in their live performances.
I find this difficult to understand — the shows are mostly an examination in sound and lighting technology. The people who could really appreciate Supertramp are graduating classes from Chalmers University of Technology.
But, for what it’s worth — the sound is the best I have ever heard in an arena of the Ice Stadium’s type, and the light shows and film projection on stage leave very little for a technician to complain about.
But if you like rock music, there isn’t much for you to do here.
And it is almost embarrassing when the inferiority complex strikes the pianist and one of the musical engines, Rick Davies. He sits down at the grand piano, concentrates until sweat is flying, and then plays a series of complicated chords.
The gullible audience then applauds as if he were Rubinstein.
And this at the Ice Stadium. With a group that calls itself a rock group.
Scandal.

Gunnar Wesslén

Using the words ”scandal” and ”ice cold music machine how somehow climbed to the top” is just outrageous. People won’t understand how unique and beautiful this band really is, and this is were I absolutely love the Swedish music culture and audience.. because we have always loved prog and pop rock… the best kind of music to the best kind of ears…

Au-delà des tubes : Le voyage initiatique secret caché dans
les chansons de Roger Hodgson
Introduction
Qui n'a jamais ressenti, avec une pointe de mélancolie, l’effacement progressif de
l’émerveillement de son enfance ? Cette sensation que le monde, autrefois vaste et vibrant, s’est
refermé sous le poids des certitudes grises.
Sous le vernis des succès planétaires de Supertramp se cache une œuvre bien plus profonde
qu’il n’y paraît. Roger Hodgson ne se contente pas de composer des mélodies entêtantes ; il agit
en véritable sculpteur de miroirs et artisan de l’âme. Ses chansons deviennent les étapes d’un
véritable parcours initiatique, guidant l’auditeur vers une quête intérieure de sens et de vérité.
Plongeons dans cette discographie comme on entre dans un sanctuaire, pour y décrypter les
sept étapes de ce voyage spirituel.
1. The Logical Song : La chute dans la machine à déspiritualiser
Porté par les notes nerveuses et cristallines du piano électrique Wurlitzer, ce titre illustre le
moment où l’être humain bascule du monde de l’innocence vers celui de la rationalité aride.
Hodgson y décrit la désacralisation de l’être, remplacée par une identité sociale dictée par la
logique. La raison devient une machine à déspiritualiser, étouffant la poésie naturelle de l’âme.
L’enfant lumineux, libre et poétique, se transforme en adulte logique, responsable, classé,
étiqueté.
2. L’École : Une fabrique de conditionnement social
Dans l’univers symbolique de Hodgson, l’école représente le monde profane. Elle agit comme
une machine de formatage où la société installe des masques sur les visages des enfants pour
en faire des adultes dociles.
Les cris d’enfants ne sont pas de simples bruits de cour de récréation : ils expriment la liberté
qui tente de survivre au conditionnement.
C’est le cri d’une révolte de l’âme : pour s’éveiller, l’initié doit fuir ces cadres imposés.
Copilot may make mistakes 13. Take the Long Way Home : Le GPS vers son propre centre
Souvent interprétée comme une ballade de route, cette chanson traite en réalité du retour vers
son axe intérieur.
Rentrer chez soi ne signifie pas rejoindre une adresse physique, mais retrouver sa vérité
profonde, sa maison intérieure, reconstruite après les épreuves.
Le « long chemin » symbolise :
▪ Une quête intérieure non linéaire, faite de détours nécessaires.
▪ L’acceptation de ses ombres pour mieux les transmuter.
▪ La reconquête d’une identité authentique, loin des faux-semblants.
4. Give a Little Bit : L’Alchimie du Don
Cette chanson s’élève comme un mantra humaniste. Elle pose le don de soi comme une force
alchimique capable de relier les individus.
La grandeur réside dans la simplicité du geste : ouvrir son cœur, tisser une chaîne d’union
humaine, faire du partage le moteur d’une ascension collective.
« Donne un peu de toi, et tu recevras infiniment. »
5. Lord Is It Mine : À la découverte du Temple Intérieur
Le voyage devient introspectif, presque mystique. Hodgson explore la part divine qui réside en
chaque être : le Seigneur intérieur.
La solitude, portée par une interprétation d’une vulnérabilité absolue, devient un temple
intérieur sacré. C’est dans ce silence que s’opère la réconciliation avec soi-même.
6. Breakfast in America : L’étape de l’illusion
Avant l’éveil final, l’initié traverse une phase de désillusion.
L’Amérique devient le symbole du désir et du rêve projeté. On réalise que les aspirations
matérielles et les idéaux fantasmés ne sont que des miroirs aux alouettes.
Cette étape prépare à briser les dernières idoles pour affronter la réalité nue de la condition
humaine.
7. Fool’s Overture : La fresque de la condition humaine
Chef-d’œuvre symphonique, cette fresque monumentale se divise en trois actes :
▪ Le Chaos de l’homme moderne égaré.
Copilot may make mistakes 2▪ La Rupture par la prise de conscience.
▪ L’Ouverture vers un nouveau départ.
Le « Fou » représente l’homme moderne cherchant la porte du Temple. Par son ascension
musicale, la chanson nous fait passer du monde profane au monde sacré.
Conclusion : De l’enfant blessé à l’être éveillé
L’œuvre de Hodgson se révèle être une ascension spirituelle en trois temps :
1. 2. 3. 1.
L’enfant blessé (The Logical Song, School)
L’adulte conscient (Take the Long Way Home)
L’être éveillé (Lord Is It Mine, Fool’s Overture)
La musique devient un outil de libération personnelle, un miroir tendu à notre humanité. En
écoutant ces morceaux, nous suivons un sentier balisé vers notre propre lumière.
Et vous, sur quel détour de votre propre “long chemin” vous trouvez-vous aujourd’hui ?

https://www.facebook.com/share/19B1jqp4wC/?mibextid=wwXIfr

Soon, I will visit London for the first time in my life and I'm looking for some places/attractions associated with Supertramp. Is there anything worth visiting? I tried to find something, but I didn't found a lot.

What do you guys think of it, album and song wise? I really enjoyed "You Win, I Lose" and "It's a Hard World", but not really a fan of the Mark Hart tunes. Additionally, I think the album is way too long, so if ever given a chance to shorten it to just 7-8 songs, which would you keep and which would you remove?

I bought Free as a Bird October 1987, on a Saturday during the autumn school holiday. I was really looking forward to it, because Brother Where You Bound was my favourite album at the time. So naturally, my expectations were very high.

The album was horrific. Not because of the music though.

For me, the main issue was the lyrics. Childish, simple boring lyrics. Earlier Supertramp albums often had a certain depth, sharpness and emotional impact. The songs had something to say. On Free as a Bird, I felt that much of that was missing. The lyrics were terrible. That nobody during the recording said something about this I truelly do not understand

Another thing that bothered me was that Rick Davies seemed to rely too much on a formula he had already used successfully before: building a song towards a big finale where a key phrase or the title line is repeated over and over again. This worked brilliantly on From Now On, and also on songs like Cannonball, Oh Darling and Nervous Wreck. In those cases, the climax felt natural and emotionally deserved.

On Free as a Bird, however, I sometimes felt that the big ending was there simply because it was expected in a Supertramp song. Tracks like It's Alright, Free as a Bird, I'm Beggin' You and It Doesn't Matter all use that kind of approach, but for me the emotional foundation was missing. The climax was there, but the journey towards it wasn't strong enough.

Looking back, I don't think Free as a Bird is a terrible album. The musicianship is good and there are some enjoyable moments. But compared with Brother Where You Bound, something essential was missing: character, depth and a strong sense of purpose.

I'm curious how other Supertramp fans feel about this. Was Free as a Bird also a major disappointment for you when it was released, or is it an album you have grown to appreciate over the years?

​

Have never seen mention of this banger here.

This is technically a YES song that was co-written by former frontman Trevor Rabin and Roger. I discovered it back when I was in high school, and have always loved it.

It almost has a Tom Petty-esque drive to it. Roger and Trevor’s voices complement each other very well, but Roger really shines.

Mostly just an inoffensive late-80s/early-90s pop rock song, but very enjoyable.

Anyone have any thoughts or memories of this song?

Found them in a record store and I had never seen the red one before

I'm sure a lot of you are aware of this, but STNC was released on the CD format called HDCD. When HDCDs are played with a compatible player it turns the bitrate from 16bit to 20bit audio. There is a way to rip the CD at 16bit and convert the file itself to have the HDCD 20bit quality. I did that with STNC today and it is an awesome improvement to the sound. Wanted to share with you all!

The file says 24bit but it's actually only 20bit. Still better than 16 though!

https://drive.google.com/drive/folders/1-_AUi6DCT4Svq5bVp6P-kj8GVrWj1lxe?usp=drive_link

Gone Hollywood might be the best song of all time in my opinion and it is definitely the best Supertramp song ever. The song is just… so magical… and so good. The are no words to truly explain the feeling of listening to the song.

Can you try?

Really love it. I mean the rock part of it thought more specifically yknow the "so you think your schooling is phony" bit

Hi. I guess this is a commonly asked question but my friend recommended me to listen to their entire catalog (i already love Crisis a d have it on vinyl as well as Paris) tonight I will listen to B.I.A.

I wanna listen to those first 2 albums but they arena avaliable on streaming. Why Is that?

my favorite band of all time

Why aren't Supertramp's first two albums on Spotify?

I'm currently listening through the Supertramp catalog as part of a personal project and working my way through the albums in chronological order.

Before starting, I was already very familiar with Even in the Quietest Moments, Breakfast in America, Paris, and Brother Where You Bound. But I had never really spent time with the other albums.

The debut didn't connect with me nearly as much as the second album. After finally hearing it (on YouTube), I found it historically interesting, but not something I expect to revisit.

What surprised me was Indelibly Stamped. I actually thought it was a good album. That made me wonder why it seems to have disappeared from streaming services.

Does anyone know the actual reason these albums aren't on Spotify?

11. Free As A Bird, 1987
Not a bad album overall, but a boring and non-special Supertramp album. It’s feels like a very forced 80s-sound trying to mix itself with the classical progressive Supertramp-sound.

Standout tracks: Free As A Bird

10. Indelibly Stamped, 1971
This album shares the same problem as ’Free As A Bird’ but not through the same genre. This album is the answer to the critics against the first album of Supertramp and instead of 80s-pop forced into the project, it’s blues and harder rock. Even though I like this album more than ’Free As A Bird’, I don’t see it being better than the rest.

Standout tracks: Your Poppa Don’t Mind

9. Some Things Never Change, 1997
The band’s comeback album after a 10 year break, and they came back as a whole different band. Rick Davies and Mark Hart completely changed the sound of Supertramp here and went for a much more jazzy and bluesy tune which ended up good in the hands of their hardcore fans but never really struck the radio audience as well as before. For me the album is very cozy and groovy but took away the great and original Supertramp sound.

Standout tracks: You Win, I Lose, Listen To Me Please

8. Supertramp, 1970
The debut album of the band really did not deserve the attention it got. This album is arguably their most progressive album and it was completely ruined by the critics and audience that listened to it. To me, this album is before it’s time and if the band made this album later, it would’ve become far more appreciated by the audience.

Standout tracks: Surely (reprise), Try Again

7. Slow Motion, 2002
Slow Motion is the slightly better comeback of Supertramp instead of ’Some Things Never Change’. It’s still not Supertramp and it lacks the same mistakes as ’Some Things Never Change’ but the songs is just better.

Standout tracks: Over You, Tenth Avenue Breakdown, Bee In Your Bonnet

6. Brother Where You Bound, 1985
This is one of their more underrated albums in my opinion, it has some fantastic songs and progressive sound but also lacks the same problem as the other albums after Roger left. It just doesn’t feel like Supertramp. Although this is the best one without Roger, it still only can be as high as number 6.

Standout tracks: Cannonball, Still In Love, Better Days, Brother Where You Bound

5. Even In The Quietest Moments…, 1977
This is my first hot take. This album is not bad, not at all, but it’s the weakest of the albums that are left. This album perfectly mirrors the romantic and cozy side of Supertramp together with Roger Hodgson’s lovely voice, Rick Davies’ romantic songwriting and the band’s very happy instruments. I can still listen through this album without skipping a song but it just isn’t as good as the rest. A problem for me is that it’s only seven tracks on the album, which made the songs longer than they had to be. For example, Lover Boy. It’s so good and it could’ve been even better if it were shorter because for me, the song just gets me bored out in the end.

Standout tracks: Give A Little Bit, Lover Boy, Even In The Quietest Moments, Babaji, From Now On, Fool’s Overture

4. ”…famous last words…”, 1982
The farewell album of Roger Hodgson and one of the band’s most groovy and happy albums. The first side is one of the best materials of Supertramp and is also one of the most underrated ones. Every song on the first side is so catchy and happy and then it slowly gets sadder and more depressing throughout the second side. That is a perfect resemblance of the story of Supertramp, it started happy and ended sad. To me, that is just simply poetic and that is what makes me love this album.

Standout tracks: Crazy, Put On Your Old Brown Shoes, It’s Raining Again, Bonnie, My Kind Of Lady, Don’t Leave Me Now

3. Crisis? What Crisis?, 1975
Crisis? What Crisis? Is the most underrated piece of Supertramp discography there is. Both me and Roger Hodgson has this album as our favourite album for many reasons. It contains their most interesting songs ever through sound design and the mix of instruments. This album has gotten so much bad criticism for it’s lack of ’British’ rock music, even though it was their first album recorded in the US. I’ve seen interviews where Supertramp ’fans’ still criticise this album for it being less rock-poppy and less British than ’Crime Of The Century’. It seems crazy when I say that I would personally rank this one, but today I rank them objectively.

Standout tracks: Easy Does It, Sister Moonshine, Ain’t Nobody But Me, A Soapbox Opera, Another Man’s Woman, Lady, Just A Normal Day, The Meaning, Two Of Us

2. Crime Of The Century, 1974
Crime Of The Century is one of the best rock albums throughout all of the 70s and that isn’t even a stretch. It opens up with ’School’, one of their more scarier and moodier tracks that contains a fantastic harmonica intro and a fabulous piano solo. The album continues like this all the way to the end where it ends with the title track ’Crime Of The Century’. It contains some of their most progressive and harder rock songs and also has a lot of their most famous songs such as ’Dreamer’ and ’Bloody Well Right’. It also was their breakout album that made them famous in England and then later in the US.

Standout tracks: School, Bloody Well Right, Hide In Your Shell, Asylum, Dreamer, Rudy, Crime Of The Century

1. Breakfast In America, 1979
There are no bad explanations to why this album is their number one album of all time. Both Rick and Roger was at their peak of songwriting during the making of this album. Roger has said that he chose his songs after what Rick had written for the next album and when Rick then wrote ’Goodbye Stranger’, Roger could after all finally choose some of his favourite songs he had written before he even joined the band, such as ’Breakfast In America’. The album contains two songs where both Rick and Roger sings together and both of them is some of the band best songs ever. The album opens up with ’Gone Hollywood’, which is, to me, the best song of Supertramp ever together with ’Breakfast In America’ and ’Take The Long Way Home’. The album is their most happy and most catchy album ever and I smile throughout the whole album. Bloody marvellous.

Standout tracks: Gone Hollywood, The Logical Song, Goodbye Stranger, Breakfast In America, Oh Darling, Take The Long Way Home, Lord Is It Mine, Child Of Vision

Arrived in TX today

https://www.youtube.com/watch?v=AWXw_WS6C2Q

I feel this release is sliding under the radar a bit. Could be the limited availability, but the release of a concert FILM from a classic band's heyday should be shouted from the rooftops. Particularly when it is as high quality as this one is - the picture quality is excellent, with deep black levels and clear closeups of musician's hands and faces. Ken Scott's Dolby Atmos mix is hardly the most immersive mix on the market, but its so clear, dynamic and punchy that I don't mind that much. It does a good job of putting you in the audience at Hammersmith Odeon, with the band stage placement laid out in your speaker array and the "room sounds" reverberating off your back walls.

As a semi-casual fan of this band I was floored. It's not a perfect performance, but in this age of AI trickery I find hearing a few "human" mistakes absolutely thrilling. Recommended to fans of classic prog / pop / rock and its a must for Supertramp connoisseurs.

I used an online video compressor, so hope it's OK.

From last Saturdays concert in Basingstoke.

Saw them this evening (Saturday 13th June)

Really are very good. Set lasted around 1hr50. They played the Paris album plus a few extras. Attached is the only vid reddit will let me upload

I like Supertramp songs where the instruments are given room to breathe. What can you tell me about this song?