BROTHER WHERE YOU BOUND

With Hodgson now gone, the remaining quartet forged ahead although the future outcome wasn't certain, since Roger was the main "hit" writer, one of the most recognizable ion radio and wrote at least half the tracks of Supertramp. But Davies soldiered on and surprisingly enough wrote their most progressive album since Crime. The average songwriting is so high on this album that one almost doesn't miss Hodgson's presence, as he's not replaced on vocals surprisingly enough Helliwell didn't get a shot at it, despite often doubling Roger's voice; while the only place where there is some guitars (the epic title track), Floyd's Gilmour and Lizzy's Gorham are taking care of it. However, whatever few other guitars are handled guest marty walsh. With an evocative evolution artwork enhancing the album title, the most amazing feat of Brother Where You Bound is its release date: 1985.

A shock awaits the listener the first time he hears this album: Cannonball is a very unlikely Supertramp song with its infernal groove and a very 80's-ish rhythm, but that track got a lot of airtime on FM radios and I believe an abridged version was released as a single. After an average Still In Love, Davies hits the right spot with the poignant No In-Between, a song where Rick bares it all with plenty of emotions. The highlight of the A-side is definitely the very progressive Better Days featuring Scott page's flute, a track that could rank just behind Rudy and Fools Overture.

The flipside is mostly occupied by the superb16-mins+ title track epic divided in four or five movements (not specified on the sleeve, though), with an incredible Gilmour doing a not-too-Gilmouresque intervention. Although this is probably the most difficult Supertramp track to listen to, this gains to be heard a few times before it sinks in your brains and remain in there. The album closes on the unremarkable Ever Open Door, maybe a call for Roger.

THIS CAME OUT IN 85, DUDE. CAN YOU BELIEVE THAT?

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