CRIME OF THE CENTURY

I am going to call myself a 1.5 on this album. I have never played it straight through but know 6 of the 8 tracks quite well (1, 2, 3, 5, 6, 8). I have enjoyed Supertramp for many years, but I mainly know the big radio hits and the songs from the "A&M Classics" compilation CD that I had from the late 80s onward. I am overdue to hear what many consider to be their masterpiece straight though. Here we go?.

Track 1 - School

Not too many prog albums begin with a bluesy harmonica, but here we have it. A Hodgson/Davies collaborative composition. A clean guitar & Hodgson's vocals enter with children's playground sounds in the background. The rhythm section provides a steady beat for verse 2, then things drop out for an instrumental section to build up. The piano takes the forefront with a quicker tempo next. Distorted guitar joins in for the bridge following the instrumental break. Verse 3 is strong and steady. We end with sustained sounds from the instruments.

Track 2 - Bloody Well Right

This is one of Supertramp's biggest radio hits. I'm certain that most, if not all of those reading this are very familiar with it. But here are some highlights. A rhythm section accent leads to an electric piano solo, also very bluesy. Then the band plays a transitional melody and establishes a groove for a Wah-wah guitar solo. Distorted guitar comes in for the verse, sung by Rick Davies. Then only the electric piano and rhythm section accents start the first chorus with the fun background vocals. Second verse is similar to the first. Same with the second chorus, but both sections have more guitar fills. Then a bit of coda section with sax fills between lines, and eventually taking over as a solo on the fade out. Such a fun track.

Track 3 - Hide in Your Shell

A mid-tempo ballad led by electric piano. It is Hodgson's turn on lead vocals again. The chorus is almost breezy feeling, and slightly faster than the verse. Do I hear a theremin in the background? Or is it a bowed saw? Not sure. [ Prog Archives lists an anonymous street musician playing saw, so there it is]. Second verse takes things back down. The drums are a bit more pronounced on the pre-chorus section this time. Each chorus seems to build, and the background vocals are amazing. Once again, a sax solo leads us out of the song.

Track 4 - Asylum

The electric piano gives way to the acoustic piano. Back to Davies vocals. The opening verse is slow and quiet, then builds to the chorus. I love the ascending chord pattern at the end of the chorus (I do think I've heard this a few times as well). I also quite enjoy the chord progression leading into the second chorus. This is an amazing arrangement. I love the tubular bells, and the choir-like backing vocals.

Track 5 - Dreamer

Another big radio hit. Perhaps their first? That eighth-note electric piano part drives the song, and we are back to Hodgson's vocals. Once again, great arranging. You gotta love the glockenspiel at the end! Such a fun tune.

Track 6 - Rudy

Acoustic piano returns with octave notes over a backdrop of shoreline sounds. The tempo becomes steadier as the song progresses through the verse and chorus. Once again, it's Davies' turn to sing. Nice instrumental sections. I've heard Supertramp referred to as "sophisticated rock" --I'd say that term definitely applies to this track. I love the build-up in the instrumental section that leads back to the vocals. I love the trade-off vocals with Hodgson & Davies as the song builds to a climax. Then the strings close out the song after a brief final vocal section.

Track 7 - If Everyone Was Listening

This is the least known track to me. We are back to Hodgson. Acoustic piano forms the foundation for this one. A slow dramatic ballad. Lots of dynamic changes. Good track

Track 8 - Crime of the Century

One of my favorite Supertramp songs! A Davies/Hodgson collaboration. The slow 6-8 rhythm is a nice canvas to build the song on. That piano pattern in the instrumental section is absolutely sublime! One thing that really shines on this song (and throughout the album) is the wonderful use of dynamic changes. I love how they layer the instruments in the instrumental section. And once again, the sax solo leads us to the fade-out.

OVERALL IMPRESSIONS-

A beautifully executed album from start to finish. No weak tracks at all, but "If Everyone Was Listening" might not be as strong as the rest. As I mentioned, the arrangements and dynamic changes are absolutely fantastic and really help to make this album what it is. The playing and vocals are strong throughout, but they aren't overwhelmingly virtuosic. This album is about the SONGS, not the players. A great listen. 4.5 out of 5 stars.