CRIME OF THE CENTURY

In the universe of Supertramp, "Crime Of The Century" is not the crime but the blessing of the century. All that beautiful music is mainly due to Roger Hodgson and Rick Davies taking a new, more symphonic approach with a new lineup. What a flood of creativity can be heard on this album. It wants to blaze with saxophonist John Helliwell, bassist Dougie Thomson and drummer Bob C. Benberg on board. From the desolate opening with harmonica to the magnificent outro of the record, you can easily get lost in the world. This third album by Supertramp marked a global breakthrough for the band in 1974 after two moderately received records.

Finally, recognition has come for the work of Hodgson and Davies. "Crime Of The Century" presents a new sound for the band, with a strong interplay between both vocalists and plenty of sparkling piano tones, including the electronic Wurlitzer. It is a thrilling blend of accessibility and enchantment, where the sophisticated rhythms and graceful saxophone playing also contribute their share. Many consider "Crime Of The Century" to be the band's artistic pinnacle and personally, I believe they have never surpassed it, at best equaled it.

Producer Ken Scott also deserves immense credit for the beauty of this album. He successfully translated Hodgson and Davies' make or break mentality into a timeless whole. The vibrant music is bursting with dynamics and when the phenomenon of CDs arrives ten years later, "Crime of the Century" is among the first albums to appear on this new medium. You can rightfully attribute the intense atmosphere in which the compositions thrive to Scott. The Ramport and Trident Studios must have been ideal workplaces.

"Crime Of The Century" consists of eight songs, each shining in its own way. The great thing about this particular Supertramp is that, without making truly progressive music, they still manage to touch the heart of prog music enthusiasts. It often helps if you have an affinity for catchy melodies, as can be heard in Dreamer, the well-known single released to promote the album at the time. The rhythmic vocals never get tiresome. However, the popularity of the song has been surpassed by School, the album open-er. Perhaps it's the many tempo and mood changes that make this song so captivating, or maybe it's the exuberant piano playing in the middle section. Supertramp did them- selves a great service with the infectious School. It is followed by the Davies-sung Bloody Well Right, where contrasts abound. The jazzy piano evolves into almost-hard rock before suddenly shifting back to piano and vocals. It is moments like these that make time stand still on "Crime Of The Century" as if it doesn't matter. Take the crea-tive refrains of Hide In Your Shell, where an unknown street musician is invited with his singing saw, or the bombast in Asylum and you'll come to the conclusion that everyone must have been in quite a frenzy.

On the original B-side, we find the delightful Rudy. This song is the most symphonic of them all, largely due to the unmatched string arrangements. Rudy is followed by the light-hearted If Everyone Was Listening, which, despite sounding somewhat old-fashioned, is also beautiful thanks to the smooth clarinet. The album concludes with the ultimate closer. The last few minutes have an incredible impact, once you've heard it, you'll never forget it.

Listening to the entire album is also an experience for a lifetime. "Crime Of The Century" confronts you with sincere musicians who have their hearts in the right place, musicians who are true wanderers always in search. Yet, they didn't have to look far for inspiration. If anything is clear, it is that Roger Hodgson, Rick Davies, Bob C. Benberg, Dougie Thomson and John Helliwell have stayed true to themselves while creating this blessing.

Originally posted on www.progenrock.com