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DISCID=880b360a
DTITLE=Supertramp / Supertramp
DYEAR=1970
DGENRE=Progressive Rock
TTITLE0=Surely
TTITLE1=It's A Long Road
TTITLE2=Aubade And I Am Not Like Other Birds Of Prey
TTITLE3=Words Unspoken
TTITLE4=Maybe I'm A Beggar
TTITLE5=Home Again
TTITLE6=Nothing To Show
TTITLE7=Shadow Song
TTITLE8=Try Again
TTITLE9=Surely
EXTD=Supertramp (West German Pressing)\n1986 A&M Records, Inc.\n\nOrig
EXTD=inally Released 1970\nCD Edition Released 1986\nRemastered CD Edi
EXTD=tion Released September 1, 1997\n\nAMG EXPERT REVIEW: Progressive
EXTD= in texture for the most part, Supertramp's debut album became in
EXTD=creasingly disregarded as they blossomed commercially through the
EXTD= '70s. The album was the only one on which drummer Bob Miller and
EXTD= guitarist Richard Palmer appeared, replaced by Kevin Currie and 
EXTD=Frank Farrell for the Indelibly Stamped release which surfaced a 
EXTD=year later. Quite a bit different than their radio and AOR materi
EXTD=al, Supertramp is inundated with pretentious instrumental meander
EXTD=ing, with greater emphasis and attention granted to the keyboards
EXTD= and guitars than to the writing and to the overall effluence of 
EXTD=the music. There are some attractive moments, such as the mixture
EXTD= of ardor and subtlety that arises in "Words Unspoken," "Surely,"
EXTD= and "Nothing to Show," and some of the fusion that erupts throug
EXTD=hout the 12 minutes of "Try Again" is impressive even though the 
EXTD=whole of the track results in one of the most extravagant and ove
EXTD=rblown pieces the band has ever produced. Hodgson's use of cello,
EXTD= flageolet, and acoustic guitar is endearing in spots, and while 
EXTD=both he and Davies had just recently formed their alliance, it wa
EXTD=s evident that their songwriting was going to be one of the band'
EXTD=s strengths. Ultimately dissatisfied with the results of the albu
EXTD=m, they retorted with Indelibly Stamped, which disappointingly fo
EXTD=llowed suit. It wasn't until 1974's Crime of the Century that thi
EXTD=ngs began to improve for Supertramp, replacing Farrell and Currie
EXTD= with saxman John Helliwell, bass player Dougie Thompson, and dru
EXTD=mmer Bob Benberg.  -- Mike DeGagne\n\nAMAZON.COM CUSTOMER REVIEW\n
EXTD=An long forgotten gem!, March 22, 2007 \nBy  Benjamin Foti "gropi
EXTD=us admierer"\nI first started to like Supertramp when i used to l
EXTD=isten to my father's copy of their compilation "Classics Vol. 9",
EXTD= and started building my collection starting from "Crime of the C
EXTD=entury". I discovered this album for the first time from a Supert
EXTD=ramp website and bought an original British copy of the LP from e
EXTD=bay. I never even realized there were albums before "Crime", and 
EXTD=that there were guys named Richard Palmer and Bob Millar! \n\nThe
EXTD= songs on the album have an overall sad feeling to them and I was
EXTD= also surprised to find all lead vocals by Roger Hodgson and none
EXTD= by Rick Davies. The songs I tended to enjoy the most were the tw
EXTD=o versions of "Surely", "It's a Long Road", "Aubade and I am Not 
EXTD=Like Other Birds of Prey", Nothing to Show" and "Shadow Song" all
EXTD= stood out to me. I think this album shows a young band trying to
EXTD= find a good sound that would capture an audience. \n\nHowever th
EXTD=is would not be. Unfortunately, the album failed to impress the p
EXTD=ublic when released, and resulted in the departure of Palmer and 
EXTD=Millar. \n\nIf you're expecting to hear the classic, poppy "Break
EXTD=fast in America", you're not gonna find it here! Its something dr
EXTD=atically different. \n\nOverall, I highly reccommend this album t
EXTD=o all the Supertramp fans out there. Its too bad this album is ov
EXTD=erlooked so often, and really deserves positive recognition! \n\n
EXTD=\nAMAZON.COM CUSTOMER REVIEW\nA wonderful surprise!, December 29,
EXTD= 2006 \nBy  Jeffrey J.Park (Massachusetts, USA)\nHaving heard Sup
EXTD=ertramp saturate the airwaves in the early 1980's with songs like
EXTD= "Give a Little Bit", I was very uncertain as to whether I would 
EXTD=actually like this album or not. To be perfectly honest, as a tee
EXTD=nage prog fan in the early 1980's who was obsessed with bands lik
EXTD=e Yes, King Crimson, and Pink Floyd, I was a bit provincial in my
EXTD= listening habits. Fortunately, I have revisited several British 
EXTD=Symphonic pop bands (apart from Supertramp) that I dismissed in m
EXTD=y youth and found them to be generally quite good. Supertramp's d
EXTD=ebut album has three things going for it that made this purchase 
EXTD=virtually frictionless: (1) it was released in 1970; (2) it repor
EXTD=tedly sounded nothing like their later material; and (3) a lot of
EXTD= my fellow proggers have heaped praise upon it. After listening t
EXTD=o the album several times I am happy to report that everything th
EXTD=at has been said about the debut is true. \n\nThe musicians on th
EXTD=is album include Richard Davies (Hammond organ, piano, electric p
EXTD=iano, harmonica, and vocals); Roger Hodgson (bass guitar, flageol
EXTD=et, acoustic guitar, cello, and vocals); Richard Palmer (electric
EXTD= guitar, acoustic guitar, balalaika, and vocals); and Robert Mill
EXTD=ar (percussion, harmonica). Although all of the musicians are dec
EXTD=ent enough, Richard Palmer is excellent on the guitar and quotes 
EXTD=from styles such as jazz and blues, while staying strictly in a r
EXTD=ock context. I guess it is also worth noting that Richard went on
EXTD= to join the ranks of 1973-1975 phase King Crimson as a lyricist 
EXTD=(at least I think so at any rate). The spacey Hammond organ work 
EXTD=of Richard Davies is also superb, although I really wished that h
EXTD=e had used the mellotron - there are some supremely melancholy pa
EXTD=ssages on this album that would have been made more so by several
EXTD= orders of magnitude. Come to think of it, the use of the mellotr
EXTD=on would most likely have made this album nearly as hallowed as t
EXTD=he eponymous debut album by the English rock band Spring (1971). 
EXTD=\n\nThis is a fantastic spin that is stylistically somewhat simil
EXTD=ar to other English rock bands lumped under the "progressive" umb
EXTD=rella in 1970 that were interested in pushing boundaries (includi
EXTD=ng Spring). In short, very moody and haunting rock, with some att
EXTD=ention paid to things like arrangement and dynamics. The tracks o
EXTD=n the album range in length from 0'31 to 12'03" and blend togethe
EXTD=r somewhat, imparting a song-cycle feel to the album. Although mu
EXTD=sically this album is still largely indebted to psychedelic and s
EXTD=pacey blues-jam styles (you will not have your mind blown by intr
EXTD=icate ensemble work), I did notice brief references to the emergi
EXTD=ng progressive rock scene as it developed in England. For example
EXTD=, there is an experimental passage on the lengthy piece Try Again
EXTD= that would not have been out of place on the track Moonchild fro
EXTD=m King Crimson's 1969 debut. Specifically, the section is structu
EXTD=reless (no melody or meter) and consists of little "bleeps and bl
EXTD=urbs" on the organ and guitar, with a little bit of percussion th
EXTD=rown in for good measure. \n\nAs far as the remastering of this C
EXTD=D goes, it is just so - so. While the sound quality is fine, the 
EXTD=CD "booklet" is about as skimpy as they come (no lyrics or notes 
EXTD=about the band). There are black and white photos of each band me
EXTD=mber however. \n\nI was really impressed by this debut album by S
EXTD=upertramp and like it just as much as any of the other early expe
EXTD=rimental English bands like Spring, Gracious!, and Cressida. Alth
EXTD=ough I have a tendency to give a lot of albums five star ratings 
EXTD=(I really can't help myself), this album definitely deserves it. 
EXTD=Recommended to fans of the bands previously mentioned along with 
EXTD=(perhaps) 70-71 Pink Floyd. \n\n\nAMAZON.COM CUSTOMER REVIEW\nAma
EXTD=zing debut LP....from 1970 and not issued in the US until after C
EXTD=rime Of The Century, November 21, 2006 \nBy  B. Margolis (Minneap
EXTD=olis, MN United States)\nLong before "Crime Of The Century", I bo
EXTD=ught a promo copy of their 2nd LP ("Indelibly Stamped") and fell 
EXTD=in love with the quirkiness of the music and Roger Hodgson's voic
EXTD=e. I quickly discovered their first LP "Supertramp" and became a 
EXTD=died-in-the-wool fan long before they got big. \n\nThis CD is an 
EXTD=exact duplicate of the once-available US issue. Great sound and n
EXTD=ice, crisp highs. \n\nIt's musically more melancholy than later a
EXTD=lbums, but anyone who loved Supertramp during their big-hit perio
EXTD=d will find this a welcome addition to their collection. \n\nIt's
EXTD= just a shame it's so expensive! \n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nThe Psychedelic Supertramp, April 26, 2003 \nBy  Alan Caylow (U
EXTD=SA)\nThis is the 1970 self-titled album that started it all for S
EXTD=upertramp (NOT "Crime Of The Century," which many U.S. fans mista
EXTD=ke as the group's debut disc). Some fans may be in for a shock wh
EXTD=en hearing this album for the first time, as it's by far the most
EXTD= psychedelic, art-rock album in the band's catalog. There's no tr
EXTD=ace of jazz leanings or saxophone anywhere, OR any lead vocals by
EXTD= Rick Davies (though he does play), and lots and lots of organ. T
EXTD=here's even a brief detour into avant-garde experimental noodling
EXTD=. It's a far cry from "Breakfast In America," but don't let that 
EXTD=throw you off. This is an absolutely fantastic album, one of the 
EXTD=band's best. Believe me, you've never heard Supertramp ROCK like 
EXTD=this before. For the first line-up of Supertramp, singer/guitaris
EXTD=t Roger Hodgson and keyboardist Rick Davies are joined by bassist
EXTD= Richard Palmer & drummer Bob Miller (and, as already mentioned, 
EXTD=there's no sax player yet). This four-piece version of Supertramp
EXTD= is outstanding, and their 1970 debut album is a stunning one. Af
EXTD=ter the short-but-sweet acoustic intro of "Surely," the band rip 
EXTD=into "It's A Long Road," a totally cookin', punchy rocker that ne
EXTD=ver fails to amaze. The instrumental bridge alone is mesmerizing,
EXTD= with the band locking into their instruments like a four-headed 
EXTD=machine, but from the first note to the last, this song is a true
EXTD= unsung 'Tramp classic. After the brief organ intro of "Au Bade" 
EXTD=comes "And I'm Not Like Other Birds Of Prey," a lovely Hodgson nu
EXTD=mber. "Words Unspoken" is a simply dreamy tune, and "Maybe I'm A 
EXTD=Beggar," featuring bassist Palmer on co-lead vocals with Hodgson,
EXTD= is another psychedelic gem. Hodgson's "Home Again" is brief but 
EXTD=very nice. The band continue rocking out with gusto on "Nothing T
EXTD=o Show," and "Shadow Song" is another winning ballad from Hodgson
EXTD=. Then comes the album's centerpiece, "Try Again," a 12-minute ar
EXTD=t-rock masterwork that, like "It's A Long Road," allows the band 
EXTD=to really flex their muscles (and it also gives them a brief, exp
EXTD=erimental King Crimson-ish moment toward the end---strange, but i
EXTD=t works). It's a jaw-droppingly great piece, another 'Tramp burie
EXTD=d treasure. Finally, the band concludes with a longer version of 
EXTD="Surely," and it's a fine album-closer. From beginning to end, th
EXTD=e band's chemistry here is superb. Hodgson's falsetto voice, like
EXTD= always, is wonderful, and he plays a mean guitar on this one. Ri
EXTD=ck Davies has yet to show the world his vocal abilities, but his 
EXTD=keyboard/organ playing throughout is awesome. And, in their only 
EXTD=album with the band, Richard Palmer's bass is big and firm (and h
EXTD=is vocals on "Maybe I'm A Beggar" are quite good as well), while 
EXTD=Bob Miller is a pure powerhouse on the skins.I love all of the ba
EXTD=nd's music, but "Supertramp" really stands apart from the rest of
EXTD= their work, and in more ways than one. I sincerely hope that 'Tr
EXTD=ampheads who still think that the band started with "Crime Of The
EXTD= Century" will pick up this album (as well as the band's second d
EXTD=isc, "Indelibly Stamped"). Until they do, they are totally missin
EXTD=g out on something special here. "Supertramp" is Hodgson, Davies 
EXTD=& company as you've never heard them before, and never will again
EXTD=. As the band's lone detour into psychedelic rock, it sure is dif
EXTD=ferent, but it is totally outstanding stuff. \n\n\nAMAZON.COM CUS
EXTD=TOMER REVIEW\nSelf titled debut not reflective of band's classic 
EXTD=sound, July 11, 2002 \nBy  My Science Fiction Twin (My Little Blu
EXTD=e Window, USA)\nDon't let the horrible cover fool you. There's qu
EXTD=ality music hidden beneath the picture on this fine debut album. 
EXTD=What a difference a couple of years makes! Rick Davies and Roger 
EXTD=Hodgson would remain the only hold overs from the first album on 
EXTD=later Supertramp classics. Interestingly, later King Crimson lyri
EXTD=cist Richard Palmer-James (called just Richard Palmer here)was an
EXTD= early part of the line up and receives 1/3 of the songwriting cr
EXTD=edit on all 10 compositions.\nThe best comparison I can think of 
EXTD=is early Yes with a hint of Steve Windwood's Traffic thrown in. T
EXTD=he songs meander all over the stylistic map with Maybe I'm a Begg
EXTD=er and Surely the most closely related to the later Supertramp so
EXTD=und. The songs have all the right ingredients for the later, more
EXTD= commerically polished prog pop sound but they clearly haven't be
EXTD=en cooked long enough for the right flavor.\n\nHodgson handles th
EXTD=e bulk of the lead vocals on the debut and he does so quite well.
EXTD= The bluesier elements that distinguish the Davies sung pieces ha
EXTD=sn't quite emerged yet with the sound firmly planted in the "clas
EXTD=sic" prog sound of the early 70's. \n\nWhile not quite as stunnin
EXTD=g as the later material that the Davies & Hodgson team would late
EXTD=r write, SUPERTRAMP has a number of powerful moments. Listening t
EXTD=o their debut and second album reminds me of watching a friend gr
EXTD=owing up; you can see all of the essentials that make up the pers
EXTD=on but they haven't converged in a way that reveals the true, qui
EXTD=rky personality that you've grown to love over time. \n\n\nAMAZON
EXTD=.COM CUSTOMER REVIEW\nNot like later Supertramp, June 3, 2002 \nB
EXTD=y  BENJAMIN MILER (Eugene, OR United States)\nI don't usually con
EXTD=sider myself a big Supertramp fan. Personally I felt Breakfast in
EXTD= America was rather overrated. I admit they made some fine music,
EXTD= but the problem is the production, as the band sounded often obs
EXTD=essed with studio perfection. Not this, their 1970 debut. Roger H
EXTD=odgson and Rick Davies are here, with future King Crimson lyricis
EXTD=t Richard Palmer-James on guitar, and drummer Bob Millar. Hodgson
EXTD='s voice is still very unmistakable, it just occured to me how mu
EXTD=ch he sounded like Yes' Jon Anderson, particularly on this album.
EXTD= But Rick Davie's voice is still very unrecognizable here, and yo
EXTD=u won't be able to tell that this was the same guy who sang "Bloo
EXTD=dy Well Right", "Goodbye Stranger", "Lover Boy", "Your Poppa Don'
EXTD=t Mind" (from 1971's Indelibly Stamped, for those who aren't fami
EXTD=liar with that song, which are many), and many others. In 1970, S
EXTD=upertramp was more of a typrical prog rock band. Lots of Hammond 
EXTD=organ, some electric piano (but not played in the style of "Dream
EXTD=er" or "The Logical Song"), more guitar than I'm accustomed to on
EXTD= any of their other albums, some occasional use of flageolet (a s
EXTD=ix-holed recorder). Several ballads like "Aubade" and "Words Unsp
EXTD=oken", plus a big prog rock epic in the form of "Try Again", and 
EXTD=a couple of great rocking numbers like "It's a Long Road" and "No
EXTD=thing to Show". Their debut is obviously greatly underappreciate 
EXTD=not only by the fans, but even the rock critics. The material def
EXTD=inately isn't the most accessible (which is pretty normal in the 
EXTD=world of prog rock, to begin with, that's why 99% of music listen
EXTD=ers are rather bewildered by that kind of music). Regardless, it'
EXTD=s still quite a decent album, and forget what certain critics or 
EXTD=Supertramp fans might say of this album because it's quite good. 
EXTD=\n\n\nAMAZON.COM CUSTOMER REVIEW\nAN OVERLOOKED GEM, December 14,
EXTD= 2001 \nBy  AL GENNUSA (HILLSBOROUGH, NJ USA)\nI came upon this a
EXTD=lbum in a little store on W. 8th Street in New York in 1970, whic
EXTD=h was one of the few to stock hip British Imports at that time. I
EXTD= bought it because the instruments and the song titles appealed t
EXTD=o my tastes at the time. When I put it on my turntable, I guess I
EXTD= placed it on Side 2, as "Nothing to Show" came on first. Well, I
EXTD= thought I hit the motherlode. It had everything I wanted in a pe
EXTD=rfect rock song; great harmony vocals,lots of melody, piercing gu
EXTD=itar, and swirling organ. When I finally got through both sides, 
EXTD=I realized that this was one of my favorite albums ever. I don't 
EXTD=know much about the later, more famous incarnation of this band, 
EXTD=as I never much cared for the sound. The electric piano on the la
EXTD=ter works never did it for me. But on this album, the high pitche
EXTD=d harmonies, piercing guitar licks, interplay between acoustic an
EXTD=d electric moments a la Led Zeppelin, swirling organ (absent in l
EXTD=ater material), and harmonica as a distant rhythm instrument, com
EXTD=bined to place this album squarely in the top ten of a two thousa
EXTD=nd piece collection.\nSome might say that this piece is not produ
EXTD=ced as well as its slicker successors. I don't agreee. Instead I'
EXTD=ll propose that this effort is so different from their later ende
EXTD=avors that it must not be compared to them. The production is fin
EXTD=e, making use of all of the low's and highs of the sound spectrum
EXTD=. I am dumfounded over the fact that I never heard one cut from t
EXTD=his album on either progressive or AOR radio. What a shame.\n\nIn
EXTD= summary, if you buy this piece, walk-don't-run to your CD player
EXTD= and prepare yourself for a tremendously enjoyable and melodic pi
EXTD=ece of progressive music. Like some of my fellow reviewers, I fin
EXTD=d this album to be hauntingly beautiful, especially "Nothing to S
EXTD=how" and "Maybe I'm a Beggar". Enjoy. \n\n\nAMAZON.COM CUSTOMER R
EXTD=EVIEW\nThe band's lacklustre debut album, February 24, 2001 \nBy 
EXTD= Gavin Wilson\nHave you ever wondered why none of Supertramp's gr
EXTD=eatest hit compilation CDs ever includes a track from this album?
EXTD= It's not the label, as Supertramp have stuck to A&M throughout t
EXTD=heir career. Have you ever wondered why this album has only ever 
EXTD=been available in the US on import? Supertramp's debut album has 
EXTD=never been released in the US -- not on CD, and not even on LP. T
EXTD=here's a reason for that -- it's a really lacklustre album. And y
EXTD=et on Amazon it gets an average five-star rating.\nHaving disband
EXTD=ed after their first two albums flopped, Supertramp only came goo
EXTD=d with their third album CRIME OF THE CENTURY, which is a classic
EXTD= that deservedly earned them a very loyal fan base. This fan base
EXTD= was prepared to buy everything that the band subsequently produc
EXTD=ed, but was tentative about delving into the band's back-catalogu
EXTD=e. These were the impecunious 70s and we were just schoolboys the
EXTD=n. A friend took the risk of going back one album: INDELIBLY STAM
EXTD=PED had a vaguely appealing pair of breasts on the cover, but the
EXTD= music provided convincing evidence that going back a further alb
EXTD=um would be a waste of our limited financial resources.\n\nBut th
EXTD=is album has some merit. Track #4, 'Words Unspoken', sounds much 
EXTD=like same-period Genesis, i.e. a bit like TRESPASS. 'Home Again' 
EXTD=could have been a Cat Stevens number. The instrumental on 'Nothin
EXTD=g to Show' pre-dates the final track on Manfred Mann's ROARING SI
EXTD=LENCE by five years. Elsewhere the band sounds like Yes's TIME AN
EXTD=D A WORD. There are shades of Traffic, and even Kingdom Come's no
EXTD=w-deleted GALACTIC ZOO DOSSIER. In short, they sound like just ab
EXTD=out every other white English 'progressive' band of the era. As o
EXTD=ne of the other reviewers here notes, it is only Davies' and Hodg
EXTD=son's distinctive voices that tell you that it's a Supertramp alb
EXTD=um.\n\nThe album disappeared without trace, and shortly afterward
EXTD=s, Hodgson and Davies replaced Palmer (guitar) and Miller (drums)
EXTD=. By 1973, Supertramp had spent their time "bombing up and down t
EXTD=he M1 -- the main North-South motorway in the UK -- in a Transit 
EXTD=van and playing Johnny B. Goode as an encore" according to Rick D
EXTD=avies. Their label, A&M, was losing faith after the first two alb
EXTD=ums nosedived. Fortunately Hodgson and Davies persuaded them to l
EXTD=et the band record just one more album, and the rest is history.\n
EXTD=\nHundreds of better albums than this were released in 1970. This
EXTD= is for Supertramp addicts only. It's an informative historical d
EXTD=ocument showing how Hodgson and Davies kept the faith, yet change
EXTD=d their style to create something infinitely more distinctive. \n
EXTD=\n\nAMAZON.COM CUSTOMER REVIEW\nNot exactly like their other stuf
EXTD=f, but still great., February 2, 2001 \nBy  "roger-walker" (Morri
EXTD=sville, PA USA)\nThis is an excellent album. Admittedly, most of 
EXTD=the songs are longer than most of the band's tunes, which were us
EXTD=ually brief and succinct and thus easily playable on the radio. A
EXTD=nd the overall upbeat feeling of much of their later songs is not
EXTD= always present; often, there's a bit of melancholy within much o
EXTD=f the songs and the way they're played. But man, could these guys
EXTD= play! "Nothing To Show" is a real powerhouse number in particula
EXTD=r, incidentally revealing Roger Hodgson to be a heck of a bass gu
EXTD=itarist (call me a nut, but later on, you never really got to hea
EXTD=r the guy's instrumental prowess that fully; on this LP, you do, 
EXTD=both on bass, acoustic guitar and recorder). There's no saxophone
EXTD= on the album, notably, which was always a hallmark of the band's
EXTD= sound, but there is a dash of woodwind courtesy of Hodgson's rec
EXTD=order. The album's opener is a brief version of the closer, "Sure
EXTD=ly," which is not only a really nice folkish number sung really w
EXTD=ell by Hodgson but creates that feel and mood the band was so wel
EXTD=l known for and appreciated for. \n\n\nAMAZON.COM CUSTOMER REVIEW
EXTD=\nA fascinating and beautiful piece of rock and roll., January 27
EXTD=, 1999 \nReviewer: A music fan\nIf you like Supertramp, there's n
EXTD=o telling if you'll like their first album. If it weren't for the
EXTD= vocals, you might never guess it was them. But it's great. It's 
EXTD=very moody and mostly sad, but has driving rhythms and haunting m
EXTD=elodies. As you might expect, there's a somewhat amateurish sound
EXTD= to it. The mixing is a far cry from their masterpiece, Crime of 
EXTD=the Century. But this album has an intimacy and personality that 
EXTD=makes it a classic in my stack. There are many gems on this album
EXTD=, and you won't have to wait for them to "grow" on you. Every tun
EXTD=e is creative and original, both musically and lyrically. If you'
EXTD=re collecting Supertramp, DON'T save this one for last! It's a fa
EXTD=scinating and beautifully performed piece of rock and roll. \n\n\n
EXTD=Half.com N/A
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