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| Search Results for Keyword(s):Led Zeppelin (matching all words) | | Search found 56 matching products. |
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"Jeff Beck, Beck-Ola"
Classic Analog LP Pressing
BECK-OLA
If the Jeff Beck Group's 1968 debut, "Truth" is the blueprint for Led Zeppelin's debut as well as much of what we might call hard rock or metal through the '70s (Van Halen, etc) and beyond, "Beck-Ola," the 1969 followup is savage, malevelont, and chaotic, albeit less accessable. Certainly the more calculating Jimmy Page never put out anything quite so raw, in every sense of the word. The edgy quality makes it no surprise that the amazing lineup - Beck, Ron Wood, Rod Stewart, Nicky Hopkins, and in place of Mick Waller, drummer Tony Newman - broke up three months after its completion.
Beck has switched to a '54 Stratocaster, and "Beck-Ola" suggests Led Zeppelin having a showdown with the Stooges circa "Funhouse." Wood and Stewart wrote most of the material, and it is here that Stewart's songwriting voice (his humor especially) is first evident (check "Spanish Boots").
In the same vein as TRUTH, albeit minus quieter moments like "Ol' Man River", "Morning Dew" and "Greensleeves", BECK-OLA is a rip-roaring, nearly perfect hard rock follow up. Once again, Stewart's signature vocal style steals much of the show, as he is simply amazing on every track in which he appears.
Energetic covers of "All Shook Up" and "Jailhouse Rock" (the latter with some particularly superb piano) stand alongside some of Beck's finest original hard rockers "Spanish Boots" and "Plynth", with riffs that would have made Zeppelin proud.
The ever-present Zep connection continues with the epic closing cut "Rice Pudding", anchored by its larger-than-life riff and multi-layered, shifting guitar solos (especially the soaring slide segment). BECK-OLA was to be his last consistent work for six years, until the arrival of the very different BLOW BY BLOW. This album is highly recommended to fans of Beck, Stewart, the early metal/Zep sound and hard rock in general.
Track Listings
1. All Shook Up
2. Spanish Boots
3. Girl from Mill Valley
4. Jailhouse Rock
5. Plynth (Water Down the Drain)
6. Hangman's Knee
7. Rice Pudding
SKU Number: DOLP EPIC26478
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"Eric Clapton, Clapton Chronicles (2 LPs)"
ERIC CLAPTON - CHRONICLES - THE BEST OF ERIC CLAPTON - NOW OUT OF PRINT AND BECOMING TREMENDOUSLY RARE.
FACTORY SEALED - OUT OF PRINT EUROPEAN 1999 RELEASE DOUBLE LP SET
High definition analog vinyl pressing for superior fidelity. The nicest thing you can do for your stylus and ears. The ultimate record – the way music was meant to be heard. Out of Print forever!!
Clapton joined The Yardbirds in 1963 and quickly developed a big reputation for his guitar ability and style.
In 1965 he joined Mayall's band, and their album of the following year Bluesbreakers with Eric Clapton is widely hailed as a classic of its style. A famous photograph of a piece of London graffiti summed up the reaction of fans: it read "Clapton Is God".
In 1966 he formed Cream with Jack Bruce and Ginger Baker. For the two-and-a-bit years that they existed, Cream were a massive worldwide success, selling out tours wherever they went and selling millions of albums. Clapton developed as a songwriter for classic records such as Disraeli Gears (1967) and Wheels of Fire (1968), both of which were inspirational to Led Zeppelin and the other hard rock and metal acts that followed.
After Cream broke up in 1968, Clapton's next project was Blind Faith, formed with Baker, Steve Winwood and Rick Grech. They toured to massive crowds and released one self-titled album, before splitting.
Clapton released an eponymous solo album and spent 1970 guesting on albums by others, including All Things Must Pass by close friend George Harrison. He then formed Derek and the Dominos, and released Layla and Other Assorted Love Songs. It was met with a mixed reception but has since been reappraised as a classic. It features the lead single "Layla", which includes one of the most famous guitar riffs ever written.
During this period Clapton declined into depression, worsened by a serious heroin habit, the deaths of close friend Jimi Hendrix and band-mate Duane Allman, and the poor initial response to the Layla album. Derek and the Dominos gave up halfway through recording a second album, and Clapton retreated from public view.
He only came out to perform at Harrison's 1971 Concert for Bangladesh (during which he passed out on-stage), before The Who's Pete Townshend organised a comeback gig for him, later released as the Rainbow Concert (1973).
His first album after kicking the heroin habit, 461 Ocean Boulevard (1974), was a big hit with critics and the public, and included a hit cover of Bob Marley's "I Shot the Sheriff". Subsequent albums were low-key, but Slowhand (1977) featured two big singles: "Wonderful Tonight" and "Cocaine".
In 1992, there was a re-emergence in Clapton's commercial fortunes, brought about by deep personal tragedy. His four year old son Conor died after falling out of a high-rise window in New York. The sorrowful song Clapton wrote about it, "Tears in Heaven", was a worldwide smash, and won three Grammy Awards. It was included on the Unplugged live album, which was widely acclaimed.
ERIC CLAPTON - CHRONICLES - THE BEST OF ERIC CLAPTON - EUROPEAN PRESSING - 1999 RELEASE - LONG OUT OF PRINT 2 LP SET - If this were your first exposure to Eric Clapton, a bit of bewilderment would be in order. This is the legendary guitar icon? This is (as his early apostles once proclaimed) God? Ranging from the mid-'80s through the late '90s, The Clapton Chronicles owes less to the groundbreaking blues-rock of Clapton's '60s and '70s classics than to the polished-to-a-glare pop of PHIL COLLINS, who produced one of the tracks included in this 15-song anthology.
His reinterpretation of his BEST OF--the once-gripping, now-placid "Layla"--perhaps best illustrates Clapton at middle-age: Who wants to bask in his darkest period? Not Clapton, who converts his surging, purging charge into a soothing stroll. And perhaps not fans of such docile MOR fare as "My Father's Eyes," "Tears in Heaven," and the two new tracks, "Blue Eyes Blue" and "Get Lost."
TRACKS ARE:
1. Blue Eyes Blue
2. Change the World
3. My Father's Eyes
4. Tears in Heaven
5. Layla (UNPLUGGED VERSION)
6. Pretending
7. Bad Love
8. Before You Accuse Me (Take a Look at Yourself)
9. It's in the Way That You Use It
10. Forever Man
11. Running on Faith (UNPLUGGED VERSION)
12. She's Waiting
13. River of Tears
14. (I) Get Lost
15. Wonderful Tonight [Live Edit only for the lp)
SKU Number: FOLP 9362475641GM
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"Eric Clapton, Unplugged - 180 Gram - Gatefold Cover - CURRENTLY OUT OF STOCK"
ERIC CLAPTON - UNPLUGGED - LIMITED EDITION 180 GRAM PRESSING.
FACTORY SEALED LP with Gatefold Cover - analog vinyl pressing
The debate whether, when learning to play the guitar, you should begin with an acoustic or an electric instrument, is probably as old as the history of the electric guitar itself; regardless which event you associate most strongly with its invention, and which of the enterprising souls who began experimenting with the amplification of the six-string sound way back in the 1930s you most credit therewith. Many find the sound of an electric guitar more impressive than that of an acoustic; and I'll freely admit that few pieces of music make my inner membranes resonate as instinctively as those featuring a really well-played e-guitar solo. Purists, however, argue passionately in favor of the acoustic guitar, and maintain that you're simply not going to learn to play "cleanly" if you don't start out that way. And there is definitely something to be said for that, because it is much easier to conceal a sloppily-played chord behind an electric guitar's amplified volume or a clever-sounding solo (or behind both) than in the unadulterated sound of an acoustic guitar. The discussion about the early 1990s' trend towards "unplugged" recordings centers around similar arguments. Some pieces of music are of course simply not meant to ever be played on an acoustic guitar. Others, however, live from their amplified soundeffects more than from their intrinsic musical values, and they simply fizzle when reduced to their core and performed acoustically.
And then there is that rare category of pieces which sound equally fantastic both ways, and that rare category of players who manage to dazzle you regardless what type of instrument they're playing. Eric Clapton is such a musician, and some of the songs on the playlist of his "Unplugged" album are such pieces of music. Most notable among those, of course, is "Layla," Clapton's intensely personal dedication to one-time wife Patty Boyd; written in 1970 and at a time when he saw no chance of ever winning her for himself. From the memorable opening riff of the song's original recording to its guitar solos, screaming with despair, it is extremely hard to imagine how this song could ever work in an acoustic version. Yet on a whim and at the last minute, Clapton decided to include it in the "Unplugged" playlist. And transposed by a full octave, reduced to a languid and almost upbeat, somewhat jazzy blues rhythm, it works out wonderfully; and Layla/Patty finds herself miraculously transformed from an object of desire to one of reflection instead. In fact, that track alone, which won the 1992 Grammy as Best Rock Song, turned out to be responsible for a good share of the enormous popularity of this album which (together with 1989's "Journeyman") reestablished Clapton as an artist to reckon with, after his career had threatened to slump over the course of much of the previous decade. And similarly responsible for the success of "Unplugged" was the inclusion of another and more recent piece performed from the bottom of Clapton's soul, the triple Grammy winning "Tears in Heaven;" dedicated to his son Conor who had tragically died after falling from the open window of a 53rd floor apartment in New York City the preceding year. (The studio version of the song is contained on the soundtrack of the movie "Rush," likewise released in 1992.)
But "Unplugged" is to large extents a classic blues album, from the twelve-bar rhythm of Bo Diddley's "Before You Accuse Me" (featuring only Eric Clapton himself and one of the most modest and supremely talented living guitarists, Clapton's trusted friend and touring partner Andy Fairweather Low) to Jimmy Cox's "Nobody Knows You When You're Down and Out" (the second cut besides "Layla" from the famous album recorded under the name Derek and the Dominos), Delta Blues king Robert Johnson's "Walkin' Blues" and "Malted Milk," Jesse Fuller's upbeat "San Francisco Bay Blues," and the traditionals "Alberta" and "Rollin' and Tumblin'" (the latter, here attributed to the great Chess blues man M[cKinley] Morganfield a/k/a Muddy Waters, who made it famous). Three more of Eric Clapton's own compositions stand out among the songs which round up the album's playlist: the introductory lighthearted "Signe," which reflects his love of Brazilian music, the melancholic "Lonely Stranger" and finally "Old Love," a cut from 1989's "Journeyman."
Few white artists understand as well as Eric Clapton that the blues thrives, first and foremost, on a live atmosphere - preferably in a smaller setting like the one used for this recording, which allows for plenty of spontaneous interaction between stage and audience. And few artists are as unafraid of the gaffes that are almost invariably associated with a live appearance, even in the case of Clapton and his outstanding backup band; and manage, time and again, to turn them into a light moment. The garbled beginning of "Alberta" is an excellent example here; you can almost hear Clapton grinning when he says "Hang on, hang on, hang on" and simply starts over. Similarly, "Layla" is merely introduced with the words "See if you can spot this one" - and instantly greeted with the enthusiastic cheers of an audience which doesn't even need to hear the famous five notes of the song's introductory riff to recognize it.
Asked whether he, too, would ever consider an "unplugged" appearance, e-guitar legend Jeff Beck, who with Eric Clapton and Led Zeppelin's Jimmy Page forms the trinity of "guitar gods" that emerged from Great Britain's famous Yardbirds, reportedly once responded that he couldn't imagine such a thing because it would make him feel "naked." And listening to Eric Clapton's "Unplugged" album, you can't shake the impression that Beck does have a point. These are pure, naked blues songs, supremely performed - and a pure joy to listen to.
SKU Number: FOLP 450241
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"Nirvana, When The Lights Go Out - Japan Issue 3 CD Box w Bonus of LG Tee"
NIRVANA - WHEN THE LIGHTS GO OUT - RARE JAPAN ISSUE WITH AN ADDITIONAL LARGE SIZE BONUS T-SHIRT AND 3 CD Box Set-
Special VERY RARE LIMITED EDITION BOX SET ONLY PRODUCED ON FUTURES FOR THIS ONE TIME PRESSING -- were only available in Japan.
The box set spans Nirvana's entire career, from a recording of Led Zeppelin's "Heartbreaker" at the band's first show in 1987 to solo acoustic performances from singer-guitarist Kurt Cobain in 1994. With The Lights Out features a 60-page color booklet with rare photos and liner notes by Sonic Youth's Thurston Moore and writer Neil Strauss. The three CDs, arranged largely chronologically contains home and rehearsal demos, including for "Smells Like Teen Spirit" (whose lyric "With the lights out" provides the set's title), "Rape Me," "Heart Shaped Box" and a trio penned by legendary bluesman Leadbelly. Heard in the 12 previously unreleased solo acoustic tracks are such gems as "All Apologies," "Lithium" and "Sliver." Six previously unreleased radio performances range from "Anorexorcist" in 1987 to "Dumb" in 1991 (two years before it was on 1993's In Utero). Along with the remaining debuts are a handful of earlier issued, though rare, b-sides and demos as well as the original Butch Vig mix of "Smells Like Teen Spirit." Highlighted on the With The Lights Out DVD is a previously unreleased video of nine songs performed in 1988 at bassist Krist Novoselic's mother's house in Aberdeen, Washington; the rare "In Bloom" Sub Pop music video, and 10 never-before-seen live performances. Noteworthy among them are debut renditions of "Pennyroyal Tea", "Smells Like Teen Spirit" both from early 1991. Also premiering is an unlikely performance of Jacques Brel and Rod McKuen's "Seasons In The Sun" shot at a Rio de Janeiro studio.
This set is absolutely amazing. Many of the songs and demos that are on the set I have had for years now on cassettes that have found their way to me but on this set they have been cleaned and mastered fantastically. Then there are the songs and demos that have never seen the light of day... They speak for themselves.
There is some great humor here starting right off Disc 1 with the band at their very first gig about to launch into Led Zeppelin's "Heartbreaker" and Kurt can be heard yelling in the background "I don't know this song!" Kurt's trippy demo of "Beans", with his harmonized vocal is hilarious. There are great "Bleach" era demos ("If You Must", "Pen Cap Chew"), to some killer sessions with Mark Lanegan doing Leadbelly covers. But here is where it hits the hardest...
The very last song (rumored) to have ever been recorded is a demo included here called "Do Re Mi" (sometimes referred in the past as "Dough, Ray and Me"). This demo (along with the acoustic "You Know Your Right") is the clear example of where Kurt was about to go musically... The melody is breathtaking, and the beauty of the composition is absolutely devastating knowing what was to come. The recording is Kurt himself with an acoustic guitar (probably at home, Courtney can be heard talking to him in the background as the song finishes) and the starkness of his voice with his lone acoustic sets up a landscape of undefinable melodic beauty. This song is worth the price of the entire set.
All you need to be reminded of the value of this set is to turn on the radio... Today's rock music genre is a a soul-less desolate landscape of 4th and 5th generation imitators of previous forms. This box set historically shows the most important band since the Beatles before and during the most important time in musical history since the fab four walked off the plane at JFK airport. Who else came along, sent a music genre before them to the graveyard, defined a generation, opened the gates for a whole new genre of musicains, and left a void in it's wake a generation wide? Exactly. The bullet that killed Kurt Cobain didn't just kill a person, it blew a hole thru a rock n roll in a way that no one could have ever imagined, even more so than John Lennon. Imagine if Lennon or McCartney had died at the height of their skills? You don't have to, it happened in Seattle in 1994.
When you listen to "Do Re Mi" the "What could have been" is absolutely heartbreaking...
SKU Number: *
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"Iron Butterfly, In-A-Gadda-Da-Vida - Factory Sealed MFSL Gold CD - With J-Card"
When the original MFSL went out of business some of the remaining titles no longer had J-Cards printed underneath the seal. This title was purchased direct from the original MFSL company and has never been opened or played from this original factory seal. .
In-A-Gadda-Da-Vida [Gold Disc CD]
Track listing
1. Most Anything You Want
2. Flowers And Beads
3. My Mirage
4. Termination
5. Are You Happy
6. In-A-Gadda-Da-Vida
7. In-A-Gadda-Da-Vida - (live)
8. In-A-Gadda-Da-Vida - (single version)
Details
Playing time: 58 min.
Distributor: n/a
Recording type: Mixed
Recording mode: Stereo
SPAR Code: AAD
Album notes
Iron Butterfly was the American answer to the heavy riff-rock of British groups like Cream and Led Zeppelin, with a touch of Vanilla Fudge's organ-led theatricality and the Doors' mysterioso image. They will forever more be known for the 17-minute title track of this, their second album.
"In-A-Gadda-Da-Vida" (a poke at singer/organist Doug Ingle's gruff, John Kay-like delivery of "In the Garden of Eden") is built around one of the most memorable riffs of the '60s. It's filled out by long solos from all concerned, especially from drummer Ron Bushy, whose lengthy extemporizing provided the template for Big Rock Drum Solos for decades to come. The rest of the tunes reveal that Iron Butterfly did indeed possess some pop sensibility to leaven the heaviness; "Flowers and Beads" in particular is simultaneously a romantic '60s pop-rock ballad and a subtle but surprising swipe at flower power culture.
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"Supertramp, Breakfast In America - Japanese OBI MINI REPLICA LP TITLES making a 10 CD Box Set"
SUPERTRAMP - BREAKFAST IN AMERICA - Japanese OBI MINI REPLICA LP TITLES making a 10 CD Box Set- ALL TITLES Japanese only SHM-CD (Super High Material CD - playable on all CD players) pressing packaged in a paper sleeve.
Japanese OBI MINI REPLICA BOX SET
Japanese re-mastered Mini LP replica Limited Edition Collection
Recorded from the finest Original Masters available. Each title Comes with anti-static sleeves similar to Vinyl LPs, Cardboard packaging exact to the original LP, Re-sealable plastic wrap cases for protection of each collectible Actual miniaturized version of the 12” JACKET LP in 4” REPLICA JACKET CD version
Special VERY RARE LIMITED EDITION BOX SET ONLY PRODUCED ON FUTURES FOR THIS ONE TIME PRESSING -- were only available in Japan.
THE BOX SET - INCLUDES
INDELIBLY STAMPED - Like their 1970 self-titled debut, Supertramp's second album, 1971's "Indelibly Stamped," was critically-acclaimed but didn't exactly set the cash registers ablaze. Still, the band continued to evolve, as they stepped away from the psychedelic rock of the first album and honed their trademark jazz/pop/rock hybrid sound that would eventually sell millions, starting with "Crime Of The Century." "Indelibly Stamped" is a marvelous Supertramp album, and a definite sign of things to come. For the second 'Tramp album, singer/guitarist Roger Hodgson and keyboardist Rick Davies got themselves a new line-up: bassist Frank Farrell, drummer Kevin Currie, and Dave Winthrop on flute & sax. Also, Rick Davies finally stepped up to the microphone for the first time with his first batch of lead vocals. Every single song on "Indelibly Stamped" is an excellent one. "Your Poppa Don't Mind" is a fun keyboard-thumper. "Travelled" is a lovely acoustic number that reminds me of vintage Crosby, Stills & Nash, and "Rosie Had Everything Planned" is a fine, light & breezy tune about a woman who gets into trouble with the law. "Remember" is pure arena rock all the way (complete with cheering audience), and "Forever" is, in my estimation, one of the greatest love songs ever written, as it says everything you could ever want to say to your sweetheart in a song, and you can slowdance to it. I'm definitely playing it at my wedding, that's for sure! "Potter" is a brief but excellent blast of guitar rock. "Coming Home To See You" is a pure gem, the lyrics in the style of a phonecall from a rude boyfriend to his girl, with the band kicking into a delightful, chugging choo-choo train jam at the end, featuring some outstanding organ & harmonica from Davies. "Times Have Changed" is a classic Davies ballad, signaling his other great, piano-based compositions that would follow. "Friend In Need" is a short but appealingly playful number, featuring some nice 20's-style piano & sax. And finally, Hodgson leads the band in the tremendous "Aries," a breathtaking 7 1/2 minute acoustic whirlwind. It's a phenomenal piece, another unsung 'Tramp classic. Once again, Hodgson & Davies' singing, songwriting & playing are superb, and their musical chemistry with the rest of the band simply cooks.This second version of Supertramp quickly folded after the commercial disappointment of "Indelibly Stamped," but, without question, they undeniably laid down the blueprint for the third and most-famous version of the band that would follow with "Crime Of The Century," with the band's signature jazz/pop/rock sound now firmly in place. "Indelibly Stamped," like Supertramp's self-titled debut from 1970, is a wonderful buried treasure that no 'Tramp fan should do without.
1. Your Poppa Don't Mind
2. Travelled
3. Rosie Had Everything Planned
4. Remember
5. Forever
6. Potter
7. Coming Home to See You
8. Times Have Changed
9. Friend in Need
10. Aries
SUPERTRAMP - SELF TITLES - Many people like Supertramp up to Breakfast in America before they became 'too commercialised', and others like the Breakfast sound and not the earlier albums. Personally I would like to scrap both of those opinions, and say that I think ALL of their albums range from extremely good to sublime. But this first one stands out in my record collection of them. Surely, Maybe I'm A Beggar, Aubade and Other Birds of Prey bring tears to my eyes; and Nothing to Show and It's A Long Road are excellent rockers. As always, the falsetto of Roger Hodgson is hauntingly beautiful, leaving a soaring feeling long after you've turned off your hi-fi. Rick Davies does magic on the keyboards, Bob Miller's Led Zeppelin drumming is fantastic, and Richard Palmer's bass adds perfectly tuned low notes to the ensemble. All in all this is Supertramp at its finest - at times a Floyd/Zeppelin sound, mixed with their later sound: a FANTASTIC album. Another few albums I would recommend for the melodious sound are Even In The Quietest Moments, Crime of the Century and Famous Last Words, as well as Breakfast in America of course. Long live Supertramp
1. Surely
2. It's a Long Road
3. Aubade and I Am Not Like Other Birds of Prey
4. Words Unspoken
5. Maybe I'm a Beggar
6. Home Again
7. Nothing to Show
8. Shadow Song
9. Try Again
10. Surely
FREE AS A BIRD - It's back in print! Hooray! After being MIA from record shops for several years, Supertramp's 1987 album, "Free As A Bird," has been re-issued & re-mastered, for which Tramp fans, especially those who missed the album the first time around, can be grateful. "Free As A Bird" barely made a dent on the album charts 15 years ago, and the band couldn't even tour for it in North America, but it's a great album all the same. After the serious tone of 1985's "Brother Where You Bound," Rick Davies & company decided for the follow-up album to lighten things up and have fun. "Free As A Bird" is a very catchy, upbeat, sometimes dance-oriented Tramp album that's perfect to play at a party, or cruise down the highway to. Songs like "It's Alright" & "I'm Beggin' You" will get you on the dancefloor in no time. The title song, a minor hit, is a Supertramp concert staple, with a great sing-along chorus. And there's more great jazz/pop from the band in tracks like "Not The Moment," "Thing For You," and the calypso-influenced finale, "An Awful Thing To Waste."After "Free As A Bird," Supertramp took a whole decade off before resuming work with 1997's "Some Things Never Change," and the "Free As A Bird" album itself went out of print for several years. But now that it's back, DON'T miss out. "Free As A Bird" is Supertramp at their most fun, and a great buried treasure from this great band.
1. It's Alright
2. Not the Moment
3. It Doesn't Matter
4. Where I Stand
5. Free as a Bird
6. I'm Beggin' You
7. You Never Can Tell With Friends
8. Thing for You
9. An Awful Thing to Waste
BROTHER WHERE YOU BOUND - This album, the first to be recorded without guitarist/vocalist Roger Hodgson stands out for a couple reasons:
1. It was a massive improvement on their previous album, "Famous Last Words"
2. It has a darker, jazzier sound than any of their other work.
Granted that most of their previous material had been largely upbeat, majoy key compositions, many die hard Supertramp fans simply don't know what to think of this, hence the bad reviews. But this is a brilliant album. Possibly one of the best released in the horrendous decade for music, the 80's.
4 of the six songs are dark, minor key and somewhat slow in tempo, except for the danceable, infectious "Cannonball." The remaining two songs have a happier feel. The title track is very different for Supertramp, and the most progressive work they've done to date, alongside "Fool's Overture." In terms of structure is it somewhat incohesive, but overall it has brilliant music moments in it that make it a true masterpiece, a standout in the bands repertoire.
The melancholy "No Inbetween," is quite slow moving, but still holds your interest. "Better Days" is somewaht dramatic and emotional and has a cool jam thing in the end. "Still in Love" is more traditional Supertramp fare, with it's catchy sax lines and jumpy piano. "Ever Open Door" is sort of a slow, tender kind of song, and a nice warm way to close an album.
For people who aren't fans of change, skip this. For those who are, buy it for sure. The darker, piano-dominated sound is certainly a change, and definetly a welcome one. True, the loss of Hodgson is lamentable, but don't worry about it too much, because without him, Supertramp is alive and well.
1. Cannonball
2. Still in Love
3. No Inbetween
4. Better Days
5. Brother Where You Bound
6. Ever Open Door
FAMOUS LAST WORDS - Famous Last Words" was just that for Roger Hodgson, co-songwriter, whose departure is synonymous with the album. But not letting disputes or history ruin the music, Supertramp offers yet another superb album, still keeping their catchy mock-pop flavor, but trading in their stark cynicism for a well balanced and finely produced element of R&B, with that classic arrogant touch. Though FAMOUS LAST WORDS was one of the last in a string of successful albums for Supertramp, it nonetheless shows a wonderful progression from their tight musical style of the 70's to an even more harmonic, traditional--yet inventive--fashion. The tracks here may be the most quintessential Supertramp tracks of the 80's, setting the stage for those contained on 1985's Brother Where You Bound? (which Hodgson was not a part of). Crazy has a catchy yet uniquely creative beat and tune (like all tracks on FAMOUS LAST WORDS)
My Kind of Lady is a simple love song that compliments Bonnie, which could have easily been a staple of soft rock radio, while the vocally organized Put On Your Old Brown Shoes and C'est Le Bon are probably Supertramp's most obviously R&B-influenced songs to date; the excellent Know Who You Ar' holds a mood of near-melancholia; It's Raining Again is one of their most curious songs (since'Give a Little Bit from"Even in the Quietest Moment"), this one being a highly upbeat, traditionally quirky ditty for the brokenhearted, complete with a chorus of kids singing It's raining, it's pouring, the old man is snoring..." Then again, Waiting So Long boasts heavier guitar riffs and haunting vocal sounds, an exemplary Supertramp performance, as Don't Leave Me Now is one of the more musically imaginative ballads of the 80s.
PARIS - GATEFOLD JACKET REPLICA - If you are a fan of the 70's, you need this album. If you don't own any Supertramp, this is the one to get. From the opening harmonica in 'School' to the closing harmonica in 'Crime of The Century', this 16-track set is just mind-blowing. Why? So many textures working magically together to create rich musical patterns. Even if this was a studio album, the production/arrangements would be classed as awesome. Consider that it is live, and that there are only 5 musicians (not 30 as it sometimes sounds), it has got to be just bloody brilliant! "Do yourself a favour!" Close the blinds - dim the lights - sit in your comfy chair - setup your multidisc player for uninterrupted play, and transport yourself to 1980, Paris. Oh, and by the way - standout track is the climactic "Crime of the century". The guitar part is verging out-of-control, and the sax part will rip your heart out!
DISC ONE - 1. School
2. Ain't Nobody But Me
3. The Logical Song
4. Bloody Well Right
5. Breakfast in America
6. You Started Laughing
7. Hide in Your Shell
8. From Now On
DISC TWO - 1. Dreamer
2. Rudy
3. A Soapbox Opera
4. Asylum
5. Take the Long Way Home
6. Fool's Overture
7. Two of Us
8. Crime of the Century
BREAKFAST IN AMERICA - After a shaky start followed by several critically acclaimed releases, the English group Supertramp hit the commercial jackpot in 1979 with Breakfast in America. The album combined the band's FM radio, AOR-rock style with an almost carnival-like nature. Breakfast gave the band major hits with "The Logical Song," "Goodbye Stranger," and "Take the Long Way Home." The plinking piano and dramatic clarinet runs of "The Logical Song" imparted a comic, yet bittersweet tone to the release as a whole. In another example of the band's devotion to alternative ways to carry their melody lines, "Goodbye Stranger" rings with some of the purest whistling ever recorded. There's also a healthy dose of cynicism running through the 10 tracks with "Just Another Nervous Wreck."
1. Gone Hollywood
2. The Logical Song
3. Goodbye Stranger
4. Breakfast in America
5. Oh Darling
6. Take the Long Way Home
7. Lord Is It Mine
8. Just Another Nervous Wreck
9. Casual Conversations
10. Child of Vision
EVEN IN THE QUESTEST MONENTS - In Supertramp's heyday back in the 1970's and early 1980's, there was nobody else quite like them. Their music was, and still is, unique. On Even in the Quietest Moments, this band has done what they always did best: they play intelligent music with complex musical compositions, variable textures, and thoughtful lyrics. This album is a masterpiece.
"Fool's Overture" is an unforgettable epic song, taking eleven minutes to wind through a masterfully crafted musical landscape until reaching an intense crescendo led by Roger Hodgson's soaring vocals. The title track is of similar magnanimity; it's just as enthralling, but it's only six minutes long. "Give A Little Bit" proved to be a hit single and is Supertramp's most widely known song on the album. "Lover Boy" is a lighthearted affair, and "Downstream" is a quaint voyage on the water with nothing more than Rick Davies and his piano. "Babaji" is another intense and entertaining ride, and "From Now On" has an almost jazz-like sound to it highlighted by John Anthony Helliwell's saxophone.
That covers the album... Seven outstanding songs from a talented group of seven musicians. It's a shame Roger Hodgson left Supertramp, as he was half of the band's creative genius (the other half being Rick Davies, of course). But Even in the Quietest Moments captures Supertramp's majestic sound, and I highly recommend the album to you!
1. Give a Little Bit
2. Lover Boy
3. Even in the Quietest Moments
4. Downstream
5. Babaji
6. From Now On
7. Fool's Overture
CRISIS WHAT CRISIS? - Ex-`Tramp Roger Hodgson calls "Crisis? What Crisis?" the Supertramp album he listens to most often, because of it's "rawness," at Hodgson puts it. The album was indeed devised while the band was under pressure to put forth another album and tour in the wake of their breakthrough third album "Crime of the Century," which may be why the ex-vocalist finds the finished product more raw when compared to other Supertramp albums. But for an album that was planned and recorded while the band was under stress to keep the momentum going, "Crisis? What Crisis?" is an elaborate suite of songs, making it a crushing shame that the album will almost never appear on any big-time 100 Greatest Albums of Rock & Roll lists.
The dignified pop of Supertramp always sounded clinical and studio-polished, but not because of any Steely Dan-like studio isolation. That's just the way it was (ironically it translated well onto stage, as captured on the 1980 live album "Paris"). This album isn't exactly "raw" but it is certainly a bit more freewheeling and often less tightly wound as Supertramp's other albums. The album also allows a bit more space for Hodgson's guitars, which he often replaced with keyboards. Even though the quintet was under pressure to release another album, many spots on the album suggest that the band was having some fun, shown in the positive opener `Easy Does It,' `Lady,' and `Another Man's Woman.' There is however at least one genuinely raw song, the heavy schizophrenic `Ain't Nobody But Me.' But there are also plenty of tracks to confirm Supertramp's ability to create pure, flawless, and sophisticated pop songs like `Sister Moonshine' and `A Soapbox Opera.'. The world-weary `Just A Normal Day' is balanced by the more optimistic and catchy `The Meaning.' The innocent `Poor Boy' is a delight, and speaking of innocent, the closing `Two Of Us' is as elegant a three-and-a-half-minutes as any `Tramp fan could ask for.
"Crisis? What Crisis?" connected perfectly with "Crime of the Century," and though its chart peak in the US was just a few spots below its predecessor, many of its songs were becoming staples of FM radio, establishing Supertramp as a serious, dignified attraction. And there was more where this came from; maybe it wasn't such a "Crisis" after all.
1. Easy Does It
2. Sister Moonshine
3. Ain't Nobody But Me
4. A Soapbox Opera
5. Another Man's Woman
6. Lady
7. Poor Boy
8. Just a Normal Day
9. The Meaning
10. Two of Us
CRIME OF THE CENTURY - After releasing two albums to less than positive critique, Crime of the Century, with the classic track "Dreamer," set Supertramp truly on the map. It also marked the beginning of a long and illustrious career for a band that originally came together through the "Musicians Wanted" section of a British paper. Combining the best of a myriad of musical styles, Supertramp, with its heavily keyboard-powered and sax-colored progressive pop sound, forged a sound that few have ever come close to emulating
1. School
2. Bloody Well Right
3. Hide in Your Shell
4. Asylum
5. Dreamer
6. Rudy
7. If Everyone Was Listening
8. Crime of the Century
These are Japanese digitally re-mastered Mini LP replica CDs (the OBI Edition).
This Limited Edition Collection has only VERY FEW made world-wide and are immediately Out of Print. Recorded from the finest Original Masters available. Comes with anti-static sleeves similar to Vinyl LPs, Cardboard packaging like an LP. Actual miniaturized version of the 12inch LP in 4inch CD version.
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