Supertramp - ...Famous Last Words (1982)

Year: 29 October 1982 (CD 198?)
Label: A&M Records (Germany), 393 732-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 48:04
Format: Flac Tracks 16/44,1 kHz
Size: 279 Mb

I enjoy early Supertramp, but have little positive to say about Famous Last Words. The album isn't unpleasant (except maybe the crass and cliched "My Kind of Lady"), but there's little above the average. I'd only be confident in describing "Don't Leave Me Now" as good. "Don't Leave Me Now" is one of the simpler songs on the album—with another cliched lyric—yet somehow it seems to fill its 6:25 very satisfactorily through sheer bombasticism.
While the album is standard, vaguely bluesy, pop, there are some nice instrumental choices. Davies and Hodgson craft the songs well enough—if the saxophone is overused to my liking—but the basic compositions lack the flair of, say, Breakfast in America. Supertramp's usual melancholic but still somewhat uplifting sound is there (typical is "Crazy", with the opening line 'Here's a crazy little song to make you feel good' which then paints a black picture of the world), but there's nothing rivalling "The Logical Song"."C'est le Bon"—almost a sequel to "The Logical Song" in lyric and music—for example, only fleetingly catches the attention.
The album credits everything to Davies and Hodgson, but it sounds (as with some previous Supertramp) that the songs are largely by one or the other. Hodgson was soon to leave the band to go solo: perhaps Famous Last Words failed to raise his interest too.
(bondegezou.co.uk/reviews/recorded/flw.htm) Henry Potts, revised 16 Jan 98; re-revised 31 Aug 05

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Crazy (04:45)
02. Put On Your Old Brown Shoes (04:20)
03. It's Raining Again (04:25)
04. Bonnie (05:38)
05. Know Who You Are (05:02)
06. My Kind Of Lady (05:17)
07. C'est Le Bon (05:33)
08. Waiting So Long (06:35)
09. Don't Leave Me Now (06:24)

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Supertramp - Paris [Live 2CD] (1980)

Year: 26 September 1980 (CD ????)
Label: Polygram Records (West Germany), 825 726-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41, 46:41
Format: Flac Tracks 16/44,1 kHz
Size: 281, 295 Mb

Charts: UK #7, AUS #3, AUT #7, CAN #3, FRA #9, GER #5, NLD #2, NOR #6, SWI #1, US #8. UK, FRA, GER & US: Gold; CAN: Platinum.
Supertramp followed Breakfast in America with this soiree in Paris. I don’t recall ever thinking to myself, “Man, I bet Supertramp would be an awesome live band,” any more than I was interested in hearing 10cc or Alan Parsons Project perform their songs on stage. Which isn’t to say that the band doesn’t do a nice job of thumbing through their back catalog or that the audience in Paris doesn’t appreciate the effort. The sax and guitar solos shine a little brighter under the stage lights, the rhythm section doesn’t miss a beat and the vocals from Roger Hodgson and Rick Davies sound as good as you remember.
The trouble with Paris is that it finds the band in a holding pattern at the peak of their popularity. It would be three years before the band released another studio album, by which time my tastes had already shifted from pop music to new wave. Enough Supertramp fans stayed along for the ride to help both Paris and Famous Last Words chart well, but it many ways this marks the end of an era. Looking back over their last few albums, it had been a great ride. Bloody Well Right, Dreamer, Ain’t Nobody But Me, The Logical Song, Take the Long Way Home, all the highlights are here (with the notable exception of “Give a Little Bit”).
The spoken intros from John Anthony Helliwell, done mostly in French, are a nice touch. So is the selection, which digs deep into popular album tracks such as School, Asylum, Hide in Your Shell and Fool’s Overture. As a treat, the band also slips in an old B side, You Started Laughing. The live mix is good, with enough crowd noise to keep you in the moment and clean editing. I can see where someone familiar with Breakfast in America would want to pick up Paris to navigate their back catalog, although I would point you first to Crime and Crisis. Fans will appreciate what basically amounts to a long curtain call after Breakfast, but for most of us Paris can wait.
(progrography.com/supertramp/review-supertramp-paris-1980/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. School (05:28)
02. Ain't Nobody But Me (05:37)
03. The Logical Song (03:56)
04. Bloody Well Right (07:38)
05. Breakfast In America (02:56)
06. You Started Laughing (04:02)
07. Hide In Your Shell (06:54)
08. From Now On (07:07)

01. Dreamer (03:29)
02. Rudy (07:23)
03. Soapbox Opera (04:51)
04. Asylum (06:55)
05. Take The Long Way Home (05:08)
06. Fool's Overture (10:57)
07. Two Of Us (01:23)
08. Crime Of The Century (06:31)

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Supertramp - Breakfast In America (1979)

Year: 16 March 1979 (CD 1983)
Label: A&M Records (US), CD-3708
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 45:58
Format: Flac Tracks 16/44,1 kHz
Size: 300 Mb

Charts: UK #3, AUS #1, CAN #1, FRA #1, GER #1, NL #1, NOR #1, SWE #2, SWI #1, US #1. SWI: Gold; UK, FRA, GER & NL: Platinum; US: 4x Platinum; CAN: Diamond.
The album went through two rounds of demos. The first were home demos, each of which consisted of the chief songwriter (either Rick Davies or Roger Hodgson) singing and playing either acoustic piano or Wurlitzer electric piano. The second were eight-track demos recorded at Southcombe Studios in Burbank, California during late April and early May 1978. It was in recording these demos that the band worked out the backing track arrangements for all the songs (with the exception of "Take the Long Way Home") and determined the order in which they would appear on the album.
In order to avoid spending a lot of time on mixing, the band and their production team devoted a week to experimenting with different sound setups until they found the perfect arrangement. The effort proved to be wasted, as the engineering team would end up spending more than two extremely stressful months searching for the right mix, and were finished after that length of time only because the deadline had arrived, not because they felt at all satisfied with the results.
Tensions between Hodgson and Davies were reportedly almost non-existent on the album. Engineer Peter Henderson recalled: "They got along fantastically well and everyone was really happy. There was a very, very good vibe and I think everyone was really buoyed up by the recordings and A&M's response to them." Hodgson contested this, saying that he and Davies had increasingly different lifestyles, and that he felt that Davies disliked many of his songs and kept quiet about his displeasure only because he sensed that he would be voted down. Melody Maker journalist Harry Doherty offered a third take on the duo's interactions during the album sessions: "In three days with the band, I don't think I saw Davies and Hodgson converse once, other than to exchange courteous greetings."
(en.wikipedia.org/wiki/Breakfast_in_America)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Gone Hollywood (05:19)
02. The Logical Song (04:11)
03. Goodbye Stranger (05:50)
04. Breakfast In America (02:39)
05. Oh Darling (03:48)
06. Take The Long Way Home (05:09)
07. Lord Is It Mine (04:09)
08. Just Another Nervous Wreck (04:25)
09. Casual Conversations (02:58)
10. Child Of Vision (07:25)

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Supertramp - Even In The Quietest Moments... (1977)

Year: 8 April 1977 (CD ????)
Label: Polygram Records (West Germany), 394 634-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 43:41
Format: Flac Tracks 16/44,1 kHz
Size: 264 Mb

Even in the Quietest Moments... is the fifth album by the British rock band Supertramp, released in April 1977. It was recorded mainly at Caribou Ranch in Colorado with overdubs, vocals, and mixing completed at the Record Plant in Los Angeles. This was Supertramp's first album to use engineer Peter Henderson, who would work with the band for their next three albums as well.
Even in the Quietest Moments... reached number 16 on the Billboard Pop Albums Chart in 1977 and within a few months of release became Supertramp's first Gold (500,000 copies or more)–selling album in the US. In addition, "Give a Little Bit" became a US Top 20 single and reached number 29 on the UK Singles Chart. While "Give a Little Bit" was the big hit, both "Fool's Overture" and the title track also received a fair amount of FM album-rock play.
In 1978, Even in the Quietest Moments... was ranked 63rd in The World Critic Lists, which recognised the 200 greatest albums of all time as voted for by notable rock critics and DJs.
(en.wikipedia.org/wiki/Even_in_the_Quietest_Moments...)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Give A Little Bit (04:09)
02. Lover Boy (06:52)
03. Even In The Quietest Moments (06:29)
04. Downstream (04:04)
05. Babaji (04:51)
06. From Now On (06:22)
07. Fool's Overture (10:52)

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Supertramp - Crisis What Crisis (1975)

Year: 28 November 1975 (CD 1988)
Label: A&M Records (West Germany), 394 560-2
Style: Pop Rock, Soft Rock, Progressive Pop
Country: London, England
Time: 47:26
Format: Flac Tracks 16/44,1 kHz
Size: 268 Mb

After eating so many flat and flavorless tramps (Paris, Indelibly Stamped, Famous Last Words), finally a bum I can sink my teeth into. Crisis? What Crisis? is Christmas come early: ten progressive pop songs patterned on the eccentric masters (10cc, The Kinks, Wings). It’s not progressive rock, never was, but it is ambitious and tuneful.
The first side feels like a concept, especially when “A Soapbox Opera” rolls around. That it follows the wonderful “Ain’t Nobody But Me,” which followed the fine “Sister Moonshine,” which followed the charming “Easy Does It,” makes for one of the most perfect sides of plastic in the Supertramp collection (I’d even give it the nod over the second side of Breakfast). I haven’t heard Crime*; maybe that’s much better (Quietest quite frankly baffled me). (*I’ve since hear Crime of the Century and it’s pretty awesome.)
Personally, Crisis came at a perfect time. I was beginning to think that Supertramp just had the one good album (Breakfast) and a few good songs (“Dreamer,” “Bloody Well Right,” “Give A Little Bit”). But this album is loaded with wonderful boobytraps the likes of which I hadn’t heard on a pop album since Sheet Music or Venus and Mars. That Crisis doesn’t contain any big hits actually worked to its advantage, since it made every song on here a new discovery for me.
If you arrived late for Breakfast, you need to go back to Crisis. It’ll help you form an appreciation for the band’s pop artistry, more so than an Indelibly Stamped anyway. And while I usually take pains to tell you that Supertramp isn’t a prog band, “The Meaning” reminds me a lot of Gong and, I will concede, qualifies as a prog song. If I find a few more like “The Meaning,” I may change my mind.
(progrography.com/supertramp/supertramp-crisis-crisis-1975/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Easy Does It (02:16)
02. Sister Moonshine (05:15)
03. Ain't Nobody But Me (05:12)
04. A Soapbox Opera (04:57)
05. Another Man's Woman (06:16)
06. Lady (05:25)
07. Poor Boy (05:07)
08. Just A Normal Day (04:02)
09. The Meaning (05:24)
10. Two Of Us (03:26)

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Supertramp - Crime Of The Century (1974)

Year: 25 October 1974 (CD 1983)
Label: A&M Records (US), CD-3647
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 44:20
Format: Flac Tracks 16/44,1 kHz
Size: 247 Mb

Crime of the Century is the third studio album by the British rock band Supertramp, released in October 1974 on A&M Records. Crime of the Century was Supertramp's commercial breakthrough in many countries, most notably in the UK, Canada and Germany where it peaked in the Top 5 while also making the Top 20 in Australia and France. It was the band's first album to chart in the United States, reaching No. 38 on the Billboard 200. The single "Dreamer" reached No. 13 on the UK singles chart, but listeners in the United States preferred its B-side, "Bloody Well Right", which peaked at No. 35 on the Billboard Hot 100. "School" was another popular track, particularly on album rock-oriented radio stations. The album was eventually certified Gold in the US in 1977 after the release of Even in the Quietest Moments.... In Canada, it was eventually certified Diamond (sales of one million copies). The album was Supertramp's first to feature drummer Bob Siebenberg (at the time credited as Bob C. Benberg), saxophone and clarinet player and vocalist John Helliwell, bassist Dougie Thomson, and co-producer Ken Scott. The album has received critical acclaim, including its inclusion in Rolling Stone's "50 Greatest Prog Rock Albums of All Time".
The album's dedication reads "To Sam", which is a nickname for Stanley August Miesegaes, the Dutch millionaire who supported the band financially from 1969 to 1972.
(en.wikipedia.org/wiki/Crime_of_the_Century_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. School (05:34)
02. Bloody Well Right (04:31)
03. Hide in Your Shell (06:48)
04. Asylum (06:54)
05. Dreamer (03:28)
06. Rudy (07:23)
07. If Everyone Was Listening (04:04)
08. Crime of the Century (05:33)

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Supertramp - Free As A Bird (1987)

Year: 23 October 1987 (CD 1987)
Label: A&M Records (Germany), 395181-2
Style: Pop, Soft Rock
Country: London, England
Time: 44:11
Format: Flac Tracks 16/44,1 kHz
Size: 269 Mb

The album was a turn of direction of sorts, with most of the songs stepping back from their progressive rock sound, employing synthesised dance beats and rhythms. Chief songwriter Rick Davies later recalled, "Free as a Bird was an experiment to try and be modern and build it up with computers and drum machines and have people come in one by one, which makes you lose the band spirit a little bit."[4] In the liner notes to the 2005 compilation Retrospectacle, Davies said, "Each time we went in, we would try to give it something a bit different. Free as a Bird was a lot more machine-based than anything we'd done before. That was good and bad, but it had some interesting songs on it."
Free as a Bird was the first Supertramp album to feature contributions from guitarist/vocalist Mark Hart. He would later become a full-fledged member of the group, as would trumpet player Lee Thornburg.
The group disbanded after the tour in support of the album and would not reconvene until 1997. They did so without bassist Dougie Thomson.
(en.wikipedia.org/wiki/Free_as_a_Bird_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. It's Alright (05:00)
02. Not The Moment (04:37)
03. It Doesn't Matter (04:53)
04. Where I Stand (03:41)
05. Free As A Bird (04:22)
06. I'm Beggin' You (05:30)
07. You Never Can Tell With Friends (04:18)
08. Thing For You (03:59)
09. An Awful Thing To Waste (07:47)

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The Alan Parsons Project - Eve (1979)

Year: September 1979 (CD 1990)
Label: Arista Records (Germany), 258 981
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 39:36
Format: Flac Tracks 16/44,1 kHz
Size: 233 Mb

Like on "Turn of A Friendly Card", there are orchestral arrangements here. I'd rather be a man is excellent, with this usual discrete fast keyboards notes like on "Pyramid"'s HYPER-GAMMA-SPEEDS. You have the chance to hear the wonderful voice of Clare Torry (PINK FLOYD's Great gig in the sky) on don't hold back. My favorite one is probably "Secret Garden", where amazing loud bass, orchestral and vocal arrangements are played through fast and discrete keyboards. "If I Could Change The World" is a James Bond-esque main song, with beautiful female lead vocals. Most of the rest is very pop, accessible, rather addictive and well made: when ALAN PARSONS makes a pop song, he rarely misses his shot.
(https://www.progarchives.com/album.asp?id=1094) Review by greenback. April 5, 2004. ****
Alan Parsons fourth album is a very weak one with only one good track, the opening instrumental Lucifer. The rest of the songs are so lacklustre, generic and middle-of-the-road that I find it difficult to find words to describe them in detail. The worst songs from the previous Pyramid album give you a very good idea of what the majority of the songs here sound like. Some are Disco-ish Pop tunes, others are Rock 'N' Roll numbers and yet others are mildly symphonic ballads. But nothing here comes even remotely close to Prog.
The concept this time - as we all know there is always a concept behind the Project's albums - is women, or rather perhaps the relation between men and women. 'Eve' obviously refers to that famous character in The Bible which according to that particular story was the very first woman ever. I'm not really sure whether this album is a bit sexist or not? Anyway, if Parsons and Woolfson wanted to make the point that women are evil, then they really succeeded to make an album that is from hell! I would say that Eve is the low-point of the entire career of the Alan Parsons Project.
(https://www.progarchives.com/album.asp?id=1094) Review by SouthSideoftheSky. April 8, 2009. *
I'm on the outside looking in here; I have never considered the Alan Parsons Project to be that special of a group, and I fail to understand what it is that makes APP a prog rock band. EVE does not sound anything like a prog record to me; it has 80's pop music written all over it. Some of the dullest sounds I've ever heard on any album come from here. Not a single song stands out other than ''Damned If I Do'', and that song is just another slick pop hit. I would avoid this record if you enjoy lots and lots of prog rock.
(https://www.progarchives.com/album.asp?id=1094) Review by Sinusoid. May 31, 2009, 2009. *

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Lucifer (05:09)
02. You Lie Down With Dogs (03:48)
03. Id Rather Be A Man (03:54)
04. You Wont Be There (03:37)
05. Winding Me Up (04:02)
06. Damned If I Do (04:53)
07. Dont Hold Back (03:37)
08. Secret Garden (04:44)
09. If I Could Change Your Mind (05:48)

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The Alan Parsons Project - Pyramid (1978)

Year: May 1978 (CD 1987)
Label: Arista Records (Germany), 258 983
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 37:48
Format: Flac Tracks 16/44,1 kHz
Size: 216 Mb

Alan PARSON is the king of catchiness and emotions here! No more sophisticated complex patterns. He proves here that complexity is not necessarily required to make an excellent album. All the songs are at least very good, and more: they are all very catchy and thus will retain your attention! That's a tour de force by PARSON! Sincerely, "Pyramid" is among my favorite ones from him. I have miscellaneous kinds of feelings when I listen to the tracks. "Voyager" was the theme of a jeans advertisement on TV; The poignant "What Goes Up" has a mix of romance, nostalgia and melancholy; The Elton JOHN esque "One More River" will give you a kick in the ass; The funny "Pyramania" will make you sing and beat the ground. "Hyper Gamma Spaces" announces a complete mastering of serious modern rythmic & melodic keyboards. You will notice that the lead & backing vocals are really among the main strength of this album.
(progarchives.com/album.asp?id=1093) Review by greenback. August 15, 2004

The material on this album is very lightweight, even in comparison with other works by the Alan Parsons Project. The opening creates an interesting atmosphere, but by the third similarly soft rock song in a row, this album cries out for a rocker. One More River is the first rocker on the album, but it is more of a Rock 'N' Roll number, very much in the vein of Elton John. Even the vocals sound like Elton's!
In The Lap Of The Gods is fairly interesting symphonic prog number, but still rather lightweight. Pyramania is so horrible that it hurts my brain! Skip this one unless you want to go seriously insane! Hyper-Gamma Spaces is an instrumental that could have been a theme song to some cartoon. The last song is a symphonic ballad, decent but rather forgettable.
As always with the Project, this album is very well-produced and overall very well-crafted. But that is not enough to make a good album. Only for fans and collectors this one.
(progarchives.com/album.asp?id=1093) Review by SouthSideoftheSky. December 3, 2008

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Voyager (02:25)
02. What Goes Up... (03:31)
03. The Eagle Will Rise Again (04:22)
04. One More River (04:18)
05. Can.t Take It With You (05:04)
06. In The Lap Of The Gods (05:28)
07. Pyromania (02:44)
08. Hyper-Gamma-Spaces (04:19)
09. Shadow Of A Lonely Man (05:34)

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Meat Loaf - Bat Out Of Hell (1977)

Year: October 21, 1977 (CD )
Label: Epic Records (Europe), CDEPC 82419
Style: Hard Rock, Progressive Pop
Country: Dallas, Texas, U.S. (September 27, 1947 - January 20, 2022)
Time: 46:36
Format: Flac Tracks 16/44,1 kHz
Size: 309 Mb

Charts: US #13, AUS #1, GER #11, IRE #1, NL #1, NZ #1, NOR #3, SWE #13, SWI #9, UK #3. CAN: 2x Platinum; UK: 11x Platinum; AUS: 26x Platinum; US: Diamond (14x Platinum).
Bat Out of Hell is the debut studio album by American rock singer Meat Loaf and composer Jim Steinman. The album was developed from the musical Neverland, a futuristic rock version of Peter Pan which Steinman wrote for a workshop in 1974. It was recorded during 1975–1976 at various studios, including Bearsville Studios in Woodstock, New York. The album was produced by Todd Rundgren, and released in October 1977 by Cleveland International/Epic Records. Bat Out of Hell spawned two Meat Loaf sequel albums: Bat Out of Hell II: Back into Hell (1993) and Bat Out of Hell III: The Monster Is Loose (2006).
Bat Out of Hell has sold over 43 million copies worldwide, making it one of the best-selling albums of all time. It is certified 14? platinum by the Recording Industry Association of America (RIAA). It is the best-selling album in Australia, having been certified 26? platinum by the Australian Recording Industry Association (ARIA). As of June 2019, it has spent 522 weeks in the UK Albums Chart, the fourth longest chart run by a studio album. In 2012, Rolling Stone ranked it at number 343 on its list of the 500 Greatest Albums of All Time.
A musical based on Bat Out of Hell, staged by Jay Scheib, opened at the Manchester Opera House on February 17, 2017, before transferring to the London Coliseum and Toronto's Ed Mirvish Theatre in late 2017. Between April 2, 2018 and January 5, 2019, the show was performed at the Dominion Theatre in London, before a short run the same year in the United States.
(en.wikipedia.org/wiki/Bat_Out_of_Hell)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Bat Out of Hell (09:51)
02. You Took the Words Right Out of My Mouth (Hot Summer Night) (05:05)
03. Heaven Can Wait (04:41)
04. All Revved Up with No Place to Go (04:19)
05. Two Out of Three Ain't Bad (05:25)
06. Paradise by the Dashboard Light (08:28)
07. For Crying Out Loud (08:44)

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The Alan Parsons Project - I Robot (1977)

Year: 8 July 1977 (CD )
Label: Ariola Records (Germany), 259 651
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 41:06
Format: Flac Tracks 16/44,1 kHz
Size: 235 Mb

The album was intended to be based on the I, Robot stories written by Asimov, and Eric Woolfson spoke with Asimov himself, who was enthusiastic about the idea. As the rights already had been granted to a TV/movie company, the album's title was altered slightly by removing the comma in "I," and the theme and lyrics were made to be more generically about robots rather than to be specific to the Asimov universe. The cover inlay reads: "I Robot... The story of the rise of the machine and the decline of man, which paradoxically coincided with his discovery of the wheel... and a warning that his brief dominance of this planet will probably end, because man tried to create robot in his own image." The title of the final track, "Genesis Ch.1 v.32", follows this theme by implying a continuation to the story of Creation, since the first chapter of Genesis only has 31 verses.
According to the band's website, Paul McCartney unintentionally helped to inspire the song "Some Other Time". When Parsons had asked if McCartney could read a line of poetry for the band's first album in exchange for a favor Parsons had previously done him, McCartney replied by saying; "Some other time Alan, some other time". This gave the band an idea for a song title.
By pure coincidence, the album was released shortly after Star Wars came out in the United States. The group acknowledges that part of the album's success came from it being the only album with a robot on the cover during a time when robots were suddenly "all the rage".
The artwork was created by the English art design group Hipgnosis. The album cover photo features Storm Thorgerson's assistants in the escalator tubes of the circular Terminal 1 building of the Charles de Gaulle Airport outside of Paris. The picture was taken without the permission of the airport management. Over this is superimposed a painting of a robot with a stylised atom for a brain. The robot also appears on the label of the record. The original vinyl release has a gatefold-style cover; the inside spread has the lyrics and a monochrome photograph of Parsons. The pose and angle of the photograph echoes that of the robot on the front cover.
(en.wikipedia.org/wiki/I_Robot_(album))

01. I Robot (06:02)
02. I Wouldn't Want to Be Like You (03:23)
03. Some Other Time (04:05)
04. Breakdown (03:52)
05. Don't Let It Show (04:21)
06. The Voice (05:23)
07. Nucleus (03:31)
08. Day After Day (The Show Must Go On) (03:49)
09. Total Eclipse (03:09)
10. Genesis Ch. 1 V. 32 (03:28)

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Supertramp - Indelibly Stamped (1971)

Year: 25 June 1971 (CD ????)
Label: Polygram Records (Germany), 393 129-2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 40:23
Format: Flac Tracks 16/44,1 kHz
Size: 251 Mb

Charts: AUS #53, US #158. CAN & FRA: Gold.
Rick Davies and Roger Hodgson more or less pressed the reset button on Indelibly Stamped. The band was re-tooled to include Dave Winthrop (flute/sax), Frank Farrell (bass/keyboards) and Kevin Currie (drums) and the progressive affectations of Supertramp were replaced with English rock/pop that drew from a mix of influences while still managing to sound original. Unfortunately, what the album lacks is a compelling raison d’etre. Maybe that’s what happens when you’re bankrolled by a rich Dutch patron.
For years, I’ve viewed this album as a disappointment. And, in view of what came before and after, it is. But there are some interesting songs that fans will want to salvage: Forever, Rosie Had Everything Planned, Times Have Changed. Stylistically, Indelibly Stamped is all over the place. The Beatles, Procol Harum, Traffic (Aries) and even Frank Zappa (Potter) are equally valid reference points along the way. English pop/rock in 1970/1 was still finding its way in a world without The Beatles, and Indelibly Stamped sometimes feels like that search set to music.
Over their career, it’s easy to see Supertramp‘s second album as a wrong turn or a case of turning the wheel too sharply in a different direction after drifting into deep progressive waters. Yet it’s rarely less than interesting and you have to at least partially admire the band’s ambitions. While you won’t find a pair of lost hits on here (unless you’re looking at the album cover), Indelibly Stamped isn’t the inedible stump that some have made it out to be.
“There was confused testosterone going off in all directions. There is no theme or continuity to the album or its artwork, but there is some interesting stuff on it.” — Roger Hodgson, talking about Indelibly Stamped in a Goldmine interview (March 17, 2006).
(progrography.com/supertramp/supertramp-indelibly-stamped-1971/)

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Your Poppa Don't Mind (03:03)
02. Travelled (04:24)
03. Rosie Had Everything Planned (03:01)
04. Remember (04:12)
05. Forever (05:00)
06. Potter (02:23)
07. Coming Home to See You (04:44)
08. Times Have Changed (03:49)
09. Friend in Need (02:07)
10. Aries (07:36)

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Supertramp - Some Things Never Change (1997)

Year: 24 March 1997 (CD 1997)
Label: EMI Records (UK & Europe), 89989 2
Style: Progressive Pop, Soft Rock
Country: London, England
Time: 70:03
Format: Flac Tracks 16/44,1 kHz
Size: 429 Mb

Charts: UK #74, CAN #44, FRA #2, GER #3, NL #12, NOR #19, SWI #2. FRA: Gold; SWI: Platinum.
Rick Davies, Bob Siebenberg, Mark Hart, and John Helliwell re-formed Supertramp with a number of anonymous studio musicians in 1997 to record and release Some Things Never Change, their first album in ten years. And the title is correct -- nothing much has changed within Supertramp's world; they're simply churning out the same sophisticated jazzy, lite-funk-inflected pop as they did in the mid-'80s. The only thing that is different is that the group can no longer write ingratiatingly catchy melodies as they did when they called it quits in the '80s, but hardcore fans will still find the instrumental interplay a joy to hear.
(allmusic.com/album/some-things-never-change-mw0000020860)

01. It's A Hard World (09:46)
02. You Win, I Lose (04:31)
03. Get Your Act Together (04:47)
04. Live To Love You (05:19)
05. Some Things Never Change (06:26)
06. Listen To Me Please (04:46)
07. Sooner Or Later (06:51)
08. Help Me Down That Road (04:37)
09. And The Light (04:41)
10. Give Me A Chance (04:23)
11. C'est What? (08:17)
12. Where There's A Will (05:35)

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Supertramp - Supertramp (1970)

Year: August 1970 (CD 1987)
Label: A&M Records (Germany), 393 149-2
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 47:50
Format: Flac Tracks 16/44,1 kHz
Size: 267 Mb

Charts: CAN & FRA: Gold.
It was not released in the United States until late 1977.
All the album's lyrics were written by Richard Palmer, since none of the other members of Supertramp were willing to write any. Palmer himself later said that he considered writing lyrics "like having to do school work" at the time. The music to the songs were all composed jointly by Rick Davies and Roger Hodgson.
The album was recorded entirely at Morgan Studios in night sessions running from 12 midnight to 6 am, due to a superstition on the part of the band members (fuelled by their having heard that Traffic and Spooky Tooth recorded at late hours) that there was some "magic" to recording at night. Hodgson later recalled "Invariably our engineer, Robin Black, would fall asleep on us in the middle of the sessions, which were pretty intense as it was, because we fought a lot with Richard Palmer." He was fond of the resulting album, however, and commented over a decade later that "It was very naive, but it has a good mood to it."
To promote the album, the band played at the Isle of Wight Festival 1970, held a few weeks after release.
Songs from this album, including "Words Unspoken" and "I Am Not Like Other Birds of Prey", were used as part of the soundtrack for the UK film Extremes (1971), along with music from other groups.
(en.wikipedia.org/wiki/Supertramp_(album))

Album recorded and mixed in the analog domain - AAD. That is, a minimum of digital processing.
A=Analog. D=digital. The first letter stands for how the music was recorded. The second letter for how it was mixed. The third letter stands for the format (all CD's will have D as the last letter).

01. Surely (00:31)
02. It's a Long Road (05:34)
03. Aubade and I Am Not Like Other Birds of Prey (05:17)
04. Words Unspoken (03:59)
05. Maybe I'm a Beggar (06:43)
06. Home Again (01:14)
07. Nothing to Show (04:53)
08. Shadow Song (04:24)
09. Try Again (12:02)
10. Surely (2) (03:09)

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Supertramp - Slow Motion (2002)

Year: 23 April 2002 (CD 2002)
Label: EMI Music (France), 7243 5 38624 2 8
Style: Progressive Pop, Progressive Rock, Soft Rock
Country: London, England
Time: 50:10
Format: Flac Tracks 16/44,1 kHz
Size: 330 Mb

Charts: FRA #8, GER #17, NL #83, SWI #6. FRA & SWI: Gold.
Even the term slow motion implies some infinitesimal amount of progress. But you won’t find any on this second limp-noodle release from the partially reconstituted Supertramp.
Like 1997’s Some Things Never Change, the nine-song Slow Motion is just more of the same sorta-funky, sorta-jazzy, sorta-poppy glop these faded ’70s icons can (and have) churn out like butter for decades. With one notable difference: None of these tastefully executed but artistically lifeless songs can hold a snuffed-out candle to classics like School, Dreamer, Bloody Well Right and The Logical Song. That’s because of the other notable difference here: Roger Hodgson, who co-wrote all those hits, isn’t in the band anymore. Without him, Slow Motion is more like No Motion.
(tinnitist.com/2022/09/06/classic-album-review-supertramp-slow-motion/)

01. Slow Motion (03:50)
02. Little By Little (04:30)
03. Broken Hearted (04:28)
04. Over You (05:06)
05. Tenth Avenue Breakdown (08:57)
06. A Sting In The Tail (05:17)
07. Bee In Your Bonnet (06:27)
08. Goldrush (03:06)
09. Dead Man's Blues (08:26)

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Cheap Trick - Cheap Trick [6 bonus tracks] (1977)

Year: February 3, 1977 (CD 1998)
Label: Epic Records (US), EK 65572
Style: Hard Rock, Power Pop
Country: Rockford, Illinois, U.S.
Time: 57:13
Format: Flac Tracks 16/44,1 kHz
Size: 395 Mb

Loud, raw, noisy, messy: those are the adjectives that spring to mind when hearing Cheap Trick's debut. Too bad the melodies are hit and miss, and the noise kind of buries the hooks ocassionally. Other than those problems, though, this is one exciting platter; it rocks crazier and harder than they ever would again, veering close to anarchy in a few spots. I'm glad that their producer reined them in for a concentrated attack on their next two discs, but the chaotic mess here is fun in its own right - it sounds like what Nirvana were shooting for on Nevermind, but were a little too glossy to get right. Hell, Steve Albini even covered "He's A Whore" in his Big Black days. For once me and Albini meet at the same taste - that song rocks! It's probably the catchiest number on here, with Zander screaming "I'll do anything for money!", sentiments which he would unfortunately live up to during Trick's asslicking '80s tenure. Oh, but there's "Taxman, Mr. Thief", which pushes its Beatles homage far beyond any reasonable call for obviousness, but only in the title and lyrics - the Fabs would never have played music this heavy and sinister, though they would have written the melodic chorus. "The Ballad Of TV Violence" is sung from serial killer Richard Speck's point of view, as Zander keeps screaming over and over, "I'm not the only boy!". "Elo Kiddies" is a warped kind of Garry Glitter style chant that advises youngsters to ditch school for crime 'cause it's all that matters and everybody steals it anyway; for some reason the song starts off with the sound of alarm bells. The whole shebang kicks off with the driving lust ditty "Hot Love", which ends with a barely audible (put your head next to the speakers and turn it up really loud) Nielsen cackling "Hello there I'm Steven Tyler of Aerosmith" and something more that's unintelligible (they were on the same label). The album ends with "Oh Candy", an elegy for a depressed friend's suicide, and one of the great lost singles from the mid-'70s MidWest. There are some other songs on here, too, but they're not as good.
(starlingdb.org/music/temp/cheaptrick.html)

01. Elo Kiddies (03:41)
02. Daddy Should Have Stayed In High School (04:44)
03. Taxman, Mr. Thief (04:15)
04. Cry, Cry (04:22)
05. Oh, Candy (03:06)
06. Hot Love (02:30)
07. Speak Now Or Forever Hold Your Peace (04:34)
08. He's A Whore (02:42)
09. Mandocello (04:46)
10. The Ballad Of TV Violence (I'm Not The Only Boy) (05:25)
11. Lovin' Money (Outtake) (Bonus track) (04:09)
12. I Want You To Want Me (Early version) (Bonus track) (02:44)
13. Lookout (Previously unreleased studio version) (Bonus track) (03:30)
14. You're All Talk (Previously unreleased studio version) (Bonus track) (03:31)
15. I Dig Go-Go Girls (Previously unreleased) (Bonus track) (03:06)

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