It happens in literature, cinema and also in music: there are works that have overwhelming success at the time of their publication but that fall just as quickly into oblivion; and others that do not achieve notoriety when they are published but end up becoming cult works. In other words, not only do they not age, but they gain respect and admiration over time. When compared in the world of music, it could be said that the LPs The Dark Side of by Moon (1973) or Whish you were here (1975) by Pink Floyd have stood the test of time much better than, as an example, The Wall (1982).
It is appropriate to place another masterpiece of symphonic rock, Crime of the Century (1974) by Supertramp. One of those works in which the best qualities of each of the members of a band emerge to produce a unique product, capable of forever changing the history of a British group that shortly before was close to throwing in the towel. It's not an exaggeration: Roger Hodgson and Rick Davis, after two previous monumental failures, thought about leaving music and pursuing another profession with less risk. In fact, the A stamp
Roger and Rick decided to give themselves one last chance. The new commitment coincided with the incorporation of three new members who would end up making up the band in its best times: first the bassist Dougie Thompson, the saxophonist John Anthony Helliwell and the drummer Bob Siebenberger. The great Ken Scott was the engineer and producer of the album which was worked on during the months of February and March 1971 on a farm in Southcombre, Somerset. During recording, Davies and Hodgson cut more than forty demo songs, of which only eight were released on the album and others were saved for later albums.
Crime of the Century has been widely praised for its originality, exceptional musical composition and profound lyrics. It contains some of Supertramp's biggest hits, such as "Dreamer", "Bloody Well Right" and the song that gives its name to the work and which have become rock classics. Additionally, the album marked a turning point in the band's career, establishing their distinctive sound and status as one of the leading progressive rock bands of the 1970s.
The album features a unique fusion of musical styles ranging from progressive rock to pop and jazz. The diversity and complexity of the compositions show Supertramp's ability to innovate and experiment with different sounds and musical structures. The album was produced with a high level of attention to detail, resulting in a rich and polished sound. Each instrument and arrangement are expertly combined to create an immersive and exciting listening experience.
Stephen Thomas Erlewine of AllMusic said that "with its unique blend of memorable melodies, evocative lyrics and impeccable musical execution, 'Crime of the Century' is a shining example of what progressive rock can achieve. Supertramp creates a sonic universe of its own that invites the listener to immerse themselves in its introspective and fascinating world." Also, John Harris of The Guardian wrote that with this work Supertramp "set a standard of excellence in progressive rock that few can match. From its captivating melodies to its thoughtful lyrics, the album is an unforgettable listening experience that leaves a lasting impression on the listener".
The subsequent history is known. Other albums would arrive and the resounding success of Breakfast in America (1979). However, the relationship between the band's two key members, Rick Davies and Roger Hodgson, deteriorated over time, eventually leading to the group's split. In the late '70s, when Supertramp moved to Los Angeles, Hodgson moved further away from the rest of the band, building a house and recording studio in the mountains of Northern California. Finally, in 1983, Hodgson announced that he was leaving Supertramp to focus on his family, his spirituality, and his solo career.
Supertramp continued performing until 1988, when they finally decided to go their separate ways. Since then, both Davies and Hodgson have remained active in music, primarily focused on their solo careers, but have never reunited as Supertramp. None of his other works came close to the quality of Crime of the Century.
The songs on the album:
School: This song fuses elements of progressive rock with piano and saxophone arrangements, creating a melodic and reflective atmosphere that complements the theme of the lyrics. The tempo changes and instrumental solos highlight the group's musical virtuosity.
Bloody Well Right: With its distinctive piano riff and infectious energy, this song exhibits a more rock-oriented style, with jazz and blues influences. The dynamic changes and catchy choruses contribute to its universal appeal.
Hide in your shell: This melodic ballad presents a more intimate and reflective approach, with piano and acoustic guitar arrangements that create an enveloping atmosphere. The emotive vocal performance and changes in intensity add emotional depth to the song.
Asylum: With its haunting rhythm and somber atmosphere, this song shows influences from psychedelic and progressive rock. Keyboard arrangements and intricate sound textures reinforce the lyrics' message of alienation and despair.
Dreamer: Considered one of the album's most iconic songs, "Dreamer" has a more optimistic and energetic style, with an infectious rhythm and piano and saxophone arrangements that evoke a feeling of freedom and hope.
Rudy: This song combines elements of rock and pop with piano and electric guitar arrangements, creating a catchy and upbeat melody. The harmonious choruses and tempo changes add dynamism and emotion to the song.
If Everyone Was Listening: With its introspective and melodic atmosphere, this ballad stands out for its piano and string arrangements that create a feeling of serenity and contemplation. The emotional vocal performance and soft backing vocals complement the reflective theme of the lyrics.
Crime of the Century: The title track of the album presents an epic and bombastic style, with orchestral arrangements and tempo changes that create a theatrical and cinematic atmosphere. The guitar and keyboard solos add intensity and drama to the song, highlighting its somber and provocative message.
Supertramp members in 1974:
Rick Davies (Keyboards, Vocals): Rick Davies, born July 22, 1944 in Swindon, England, emerged as a central creative force within Supertramp. Before joining the band, Davies had already accumulated experience in the music scene as a member of various bands. In Crime of the Century, his ability to compose unforgettable melodies and his distinctive voice are essential. Davies brings a unique musical sensibility, fusing elements of progressive rock with touches of jazz and pop.
Roger Hodgson (Guitar, Keyboards, Vocals): Born March 21, 1950 in Portsmouth, England, Roger Hodgson is recognized for his angelic voice and his songwriting prowess. On Crime of the Century, Hodgson makes his mark with his ability to create captivating melodies and introspective lyrics. His contributions, both vocal and instrumental, are essential to Supertramp's distinctive sound on this album.
John Helliwell (Saxophone, Clarinet, Keyboards, Vocals): John Helliwell, born February 15, 1945 in Todmorden, England, brings a unique dimension to Supertramp's sound with his virtuosity on saxophone and clarinet. In addition to his instrumental prowess, Helliwell contributes brilliant arrangements and harmonious choruses on Crime of the Century, further elevating the complexity and richness of the album.
Dougie Thomson (Bass): Douglas "Dougie" Thomson, born March 24, 1951 in Glasgow, Scotland, is the solid pillar on which Supertramp's groove is based. His impeccable technique and sense of rhythm provide a firm foundation for the group's compositions on Crime of the Century, anchoring the melodies and providing an unmistakable energy.
Bob Siebenberg (Drums): Born October 31, 1949 in Glendale, California, Bob Siebenberg brings his talents as a drummer to complete the Supertramp lineup on Crime of the Century. With his precise and multifaceted style, Siebenberg brings a vital dynamic to the album's songs, masterfully fusing elements of rock, jazz and pop.
