A perfectly well-crafted and eclectic album of art pop music - nowhere near as dull as most critics call it. The ingredients are simple, but thanks to a good sense of melody and arrangement the whole thing becomes really tasty after all.
After having finished a (now forgotten) film soundtrack and their musically independent and critically acclaimed debut album, the first line-up of Supertramp disbanded. The only further relic composed in those days was the mediocre song Gold Rush which ended up on the Slow Motion record. With a new drummer, an additional wind player, a new bass guitarist and Roger Hodgson switching from bass guitar to regular guitar the band conceived their second album in 1971. In 1972 this line-up also composed and debuted some of the classic songs of Crime of the Century and Crisis? What Crisis? for the BBC, such as School and If Everyone Was Listening.
Crime Of The Century was the first of the many peaks in Supertramp's illustrious career; an album that had everything to prove and tunes that effortlessly straddled the world of pure pop and progressive rock. With the unmistakable blend of the two songwriters – Davies and Hodgson’s – work, it married the sweetness of Hodgson’s ‘Dreamer’ – the band's first big hit single – with the grit of Davies’ similarly beloved ‘Bloody Well Right.’ This 40th anniversary celebration features the remastered original album, mastered and cut by Ray Staff at Air Studios. It showcases the band at the zenith of their powers, playing of all of Crime of The Century and introducing numbers from their forthcoming album, Crisis . . . What Crisis?
Paris is a live album by progressive rock band Supertramp, released in 1980. The album was recorded on Supertramp's Breakfast in America tour in November 1979 in Paris, France.
Essential: a masterpiece of progressive rock music
To Steve Hackett, I followed his career from his beginnings with “Genesis” and his subsequent career as a soloist.
Appearing the timeless “Please Come To Boston”
Kenny Loggins’ second cousin hit the big time for a couple of months in 1975 with “Please Come to Boston,” a serviceable and sentimental soft rock gem from his second album, Apprentice (In a Musical Workshop).
Paranoid was not only Black Sabbath’s most popular record (it was a number one smash in the U.K., and “Paranoid” and “Iron Man” both scraped the U.S. charts despite virtually nonexistent radio play), it also stands as one of the greatest and most influential heavy metal albums of all time. Paranoid refined Black Sabbath’s signature sound — crushingly loud, minor-key dirges loosely based on heavy blues-rock — and applied it to a newly consistent set of songs with utterly memorable riffs, most of which now rank as all-time metal classics. Where the extended, multi-sectioned songs on the debut sometimes felt like aimless jams, their counterparts on Paranoid have been given focus and direction, lending an epic drama to now-standards like “War Pigs” and “Iron Man” (which sports one of the most immediately identifiable riffs in metal history).
Rolling Stone’s definitive list of the 500 greatest albums of all time.
83. The Jimi Hendrix Experience, ‘Axis: Bold as Love’
Jimi Hendrix’s first album remade rock & roll with guitar magic that no one had ever dreamed of; his second album had even more sorcery.
A movie soundtrack that's about half instrumental, but it's not a tossoff: the vocal tracks are as carefully produced and enjoyable as Elton's "real" albums. Highlights include the gentle title track (a Top 40 single), the rocking "Honey Roll," and the anthemic "Can I Put You On." Taupin's lyrics are unusually direct meditations on love and friendship; if you like his more intellectual lyrics, you'll be disappointed, but if you find them annoying, this is an improvement. The low point is a syrupy Mantovani-like stringfest, "Seasons."