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Editorial Reviews
Supertramp soared to #16 with this 1977 LP, their biggest success to date (as was its hit single, the irresistible Give a Little Bit ). Downstream sounds like a hit, too, and the album closer is a Beatles-esque epic, Fool's Overture .
Customer Reviews
Most Helpful Customer Reviews
57 of 63 people found the following review helpful
By Samhot
Format:Audio CD
The header of this review may seem a bit trite, but I can't help but express my sheer love of Supertramp's music. Roger Hodgson's sensual, reflective upper-register vocals happen to be seductive in a spellbindingly indescribable way, not to mention that his talents as a songwriter were quite nifty as well. And, on the whole, each contribution from the other members blended harmoniously to create highly enjoyable, poignant and memorable music.
1977's _Even In The Quietest Moments..._ hasn't a single dud on the album - each track is memorable, well-executed, melodic and poignant, not to mention in simple terms, the music is just excellent ear-candy from start to finish. Main songwriters Roger Hodgson (vocals/guitar) and Rick Davies (keyboards/vocals) are in fine form, as to be expected, delivering convincing ear-candy for anyone willing to listen. In typical Supertramp fashion, each trade lead vocals on respective tracks.
"Give A Little Bit" opens up with those wispy strums from an acoustic guitar, with Roger giving the listener a charming introduction with a vocal improvisation, before letting his own wispy singing float atop the atmospheric acoustic strums. Such a charming beauty that's really hard not to fall in love with. An amazing track that has aged well, and will continue to do so for many years to come.
"Lover Boy" switches things up, as Roger takes a backseat on the lead vocals, and lets Rick Davies take on that responsibility. Roger himself offers a brief vocal appearance in the middle section of the track. Features elegant, quirky piano tapping, along with slight whimsical characteristics in the vocal delivery which lend most of this song an atmosphere of a theater musical selection. The track on the whole switches from Gilbert & Sullivanesque whimsy to rocker quite effortlessly, which gives the whole thing a sense of drama and utter excitement.
The title track is a wispy, subdued, atmospheric and ethereal number, exhibiting a predominance in acoustic instruments. It bears a heavy resemblance to Led Zeppelin, particularly such Zeppelin tracks as "Battle of Evermore" and "Going To California." Roger's vocal mannerisms recall to mind those of Robert Plant, and the rhythmic mannerisms of the acoustic strumming alongside the ethereal backdrops brought on by the combination of keyboards and certain wind instruments contribute to this Zeppelinesque atmosphere as well. A very beautiful, pleasant track.
"Downstream" features a lovely major 7th piano lick, while Rick Davies' unique vocals float atop the whole thing. Speaking of Davies' voice, it's not the best voice in the world, especially in comparison to Hodgson's voice, but it seems like an unique instrument within itself, which compliments the music very well. This track on the whole, seems like just a duet between Rick's voice and his piano.
"Babaji" features Roger Hogdson performing at his usual best, with those romantic, sensual vocals of his. He has always reminded me of a Jon Anderson (Yes) with a slight hint of Freddie Mercury (Queen) in his voice. I possibly adore the man's vocals so much because the two vocalists that he remind me of most are, in fact, two of my favorite vocalists - one of them being my absolute favorite. Not surprisingly, Supertramp's music seems to have quite a bit in common with the two said bands in which the aforementioned vocalists originate. As for the track, the rhythm is bouncy, the piano tapping is quirky and playful, and added touches of flavor are added from saxaphonist John Helliwel in spots necessary for the extra ornamentation.
"From Now On" has a bluesy, New Orleansesque tint in it's atmosphere. Rick Davies' vocals work especially well with this track: a mid-tempo, poignant number with John Helliwel adding larger touches of saxaphone to enhance the flavor of the track. The climactic point of the song, which ends in a gospel-like choral fashion is quite moving, and was an excellent addition to conclude the track.
"Fool's Overture" is the grand 11-minute closer of the album. The elaborate arrangements and literary themes featured here harken back to the glory days of the progressive rock epic: in the vein of Yes or Emerson, Lake & Palmer, but not necessarily sounding derivative of either. Starts off quietly and smoothly before a brief voice sample appears, which eventually gives way to the bombastic, anthemic main keyboard sweep of the song. From there, Roger's sensual upper register issues out these dramatic vocal lines for a brief period, which are followed by windy sound effects. Then, the bombastic, anthemic main keyboard sweep reappears, and Roger comes in with these Jon Andersonesque vocal mannerisms, which swap with these sci-fi-meets-reggae vocal overdubs twice. After that, part of the main bombastic lick returns, and the track ends quite unexpectedly. It seemed as if the track had one more movement to go before it had ended - a recapitulation, so to speak, but, as mentioned above, it ended unexpectedly.
The 70s produced such wonderful, artistic, imaginative, and original music, which for the most part, is sorely lacking in most of today's artistic output. I probably lean toward a schmaltzy disposition in general, which is almost indefinitely reflected in my tastes. If there's any truth to that, I bear no shame about it. Supertramp were such a glorious band, and their music is recommended to fans of 70s music, particularly for fans of such artists as Queen, Roxy Music, Electric Light Orchestra, Yes, Todd Rundgren, Elton John and the like, or for music fans who are romantics in general.
1977's _Even In The Quietest Moments..._ hasn't a single dud on the album - each track is memorable, well-executed, melodic and poignant, not to mention in simple terms, the music is just excellent ear-candy from start to finish. Main songwriters Roger Hodgson (vocals/guitar) and Rick Davies (keyboards/vocals) are in fine form, as to be expected, delivering convincing ear-candy for anyone willing to listen. In typical Supertramp fashion, each trade lead vocals on respective tracks.
"Give A Little Bit" opens up with those wispy strums from an acoustic guitar, with Roger giving the listener a charming introduction with a vocal improvisation, before letting his own wispy singing float atop the atmospheric acoustic strums. Such a charming beauty that's really hard not to fall in love with. An amazing track that has aged well, and will continue to do so for many years to come.
"Lover Boy" switches things up, as Roger takes a backseat on the lead vocals, and lets Rick Davies take on that responsibility. Roger himself offers a brief vocal appearance in the middle section of the track. Features elegant, quirky piano tapping, along with slight whimsical characteristics in the vocal delivery which lend most of this song an atmosphere of a theater musical selection. The track on the whole switches from Gilbert & Sullivanesque whimsy to rocker quite effortlessly, which gives the whole thing a sense of drama and utter excitement.
The title track is a wispy, subdued, atmospheric and ethereal number, exhibiting a predominance in acoustic instruments. It bears a heavy resemblance to Led Zeppelin, particularly such Zeppelin tracks as "Battle of Evermore" and "Going To California." Roger's vocal mannerisms recall to mind those of Robert Plant, and the rhythmic mannerisms of the acoustic strumming alongside the ethereal backdrops brought on by the combination of keyboards and certain wind instruments contribute to this Zeppelinesque atmosphere as well. A very beautiful, pleasant track.
"Downstream" features a lovely major 7th piano lick, while Rick Davies' unique vocals float atop the whole thing. Speaking of Davies' voice, it's not the best voice in the world, especially in comparison to Hodgson's voice, but it seems like an unique instrument within itself, which compliments the music very well. This track on the whole, seems like just a duet between Rick's voice and his piano.
"Babaji" features Roger Hogdson performing at his usual best, with those romantic, sensual vocals of his. He has always reminded me of a Jon Anderson (Yes) with a slight hint of Freddie Mercury (Queen) in his voice. I possibly adore the man's vocals so much because the two vocalists that he remind me of most are, in fact, two of my favorite vocalists - one of them being my absolute favorite. Not surprisingly, Supertramp's music seems to have quite a bit in common with the two said bands in which the aforementioned vocalists originate. As for the track, the rhythm is bouncy, the piano tapping is quirky and playful, and added touches of flavor are added from saxaphonist John Helliwel in spots necessary for the extra ornamentation.
"From Now On" has a bluesy, New Orleansesque tint in it's atmosphere. Rick Davies' vocals work especially well with this track: a mid-tempo, poignant number with John Helliwel adding larger touches of saxaphone to enhance the flavor of the track. The climactic point of the song, which ends in a gospel-like choral fashion is quite moving, and was an excellent addition to conclude the track.
"Fool's Overture" is the grand 11-minute closer of the album. The elaborate arrangements and literary themes featured here harken back to the glory days of the progressive rock epic: in the vein of Yes or Emerson, Lake & Palmer, but not necessarily sounding derivative of either. Starts off quietly and smoothly before a brief voice sample appears, which eventually gives way to the bombastic, anthemic main keyboard sweep of the song. From there, Roger's sensual upper register issues out these dramatic vocal lines for a brief period, which are followed by windy sound effects. Then, the bombastic, anthemic main keyboard sweep reappears, and Roger comes in with these Jon Andersonesque vocal mannerisms, which swap with these sci-fi-meets-reggae vocal overdubs twice. After that, part of the main bombastic lick returns, and the track ends quite unexpectedly. It seemed as if the track had one more movement to go before it had ended - a recapitulation, so to speak, but, as mentioned above, it ended unexpectedly.
The 70s produced such wonderful, artistic, imaginative, and original music, which for the most part, is sorely lacking in most of today's artistic output. I probably lean toward a schmaltzy disposition in general, which is almost indefinitely reflected in my tastes. If there's any truth to that, I bear no shame about it. Supertramp were such a glorious band, and their music is recommended to fans of 70s music, particularly for fans of such artists as Queen, Roxy Music, Electric Light Orchestra, Yes, Todd Rundgren, Elton John and the like, or for music fans who are romantics in general.
9 of 9 people found the following review helpful
Format:Audio CD
...they kicked out this very cool album featuring a strong crossover orchestral rock/accoustical piano flavored gem. This album spent most of freshman year on my turntable, and on that of the guy across the hall, and the guy down the hall....
It's terrific to hear it again, and even if the CD seems a bit more "juiced" than the old LP...well it isn't too scratchy either! Yep, Who, Floyd, Zep, Yes fans will appreciate Hodgson and Davies. And any album with Winston Churchill on it can't be all bad. "Never surrender!"
Love the piano on the mountaintop!
12 of 13 people found the following review helpful
By Aaron Blight
Format:Audio CD
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!
Most Recent Customer Reviews
4.0 out of 5 stars
Vinyl sounds best
My used copy cleaned up first wash! Orig. pressing. Sounds great! I have this on cd too. It's not even close!
Published 2 days ago by joegraves58
4.0 out of 5 stars
Great music
Brought me back in high school. I always love supertramp. Too bad they broke up. Would love to see them again together.
Published 1 month ago by Giovani
4.0 out of 5 stars
4 1/2 stars
If "Babaji" were not on this CD, I would give it 5 stars. The other songs are high quality. I owned this years ago on vinyl and cassette and this is my first experience... Read more
Published 2 months ago by R. Davis
5.0 out of 5 stars
Classic Supertramp
If you know and enjoy Supertramp then this is a must! You will not go wrong adding this album to your collection!
Published 3 months ago by Ivan Contreras
2.0 out of 5 stars
I want to like this band so...
I have tried so many of their albums to find a complete fun package and disappointed here again...guess more of a Alan Parsons Project of playing tunes and being British.
Published 4 months ago by JON WATSON
4.0 out of 5 stars
peak of hodgson& davies
honestly who could have thought supertramp career would turn short5year later this opus is close to perfection especially babaji& the whole last side
Published 4 months ago by Stephane Georgakarakos
5.0 out of 5 stars
One of a kind music quality
Rick Davies and Roger Hodgson are 2 of the most clever and talented musicians ever,and it is clearly shown here. Read more
Published 5 months ago by Joe Kuether
5.0 out of 5 stars
Classic Supertramp.
It's a different album to some of their more popular works (Crime of the Century is their best IMHO) but it's sill got that unmistakable Supertramp feel. Read more
Published 5 months ago by Rick
5.0 out of 5 stars
The Best
This album turned me on to Supertramp.Not a bad song on the album.Great add to my already large CD collection
Published 5 months ago by Michael A. Mcdowell
5.0 out of 5 stars
One of the absolute classic albums!
Great from start to finish - with the classic Supertramp formula. Sounds great decades after its release! Read more
Published 5 months ago by R. Karhunen
