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Supertramp regretfully announces that all dates for its “Supertramp Forever” European tour have been cancelled due to health issues affecting the band’s founder, Rick Davies.

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The 10 Best Supertramp Songs of All-Time

Supertramp were always the kind of band you could never quite put your finger on. Where they art-rock? Prog rock? Pop? Maybe even a little bit classical? The answer usually depended on the day of the week you happened to catch them. Supertramp never knowingly left

untapped, and it’s a credit to the band’s talents that they mastered, rather than simply attempted, almost all of them. During their late 1970s peak, they trotted out one hit after the other, scoring two diamond-certified (ten-times platinum) albums (“Crime of the Century” and “Breakfast in America”) in Canada and multiple gold and platinum-certified records elsewhere. After co-founder Roger Hodgson left in the early 1980s to pursue a solo career, Supertramp soldiered on in one guise or another for years. But their best years were when all core members of the band were still together, something that becomes obvious as we count down the 10 best Supertramp songs of all time.

 

As one of the rare times a B side has outsold (if not necessarily bettered) an A-side, “Bloody Well Right” (the reverse to “Dreamer”) gave the band their first Top 40 US hit. Like their earlier single “School,” the song has a distinct anti-establishment angle, raising some very pertinent questions about the state of the education system. It also has a swear word (at least, a swear word in Britain at the time) in the title. In 1974, that little tremor of naughtiness counted, at least among the legions of teens who rushed out to buy it

 

The titular track from the 1979 album of the same name was partly written by Roger Hodgson in his teens before being dragged from the archives and finished up alongside Rick Davis years later. Short but incredibly sweet, it tells the story of a young boy who dreams of one day visiting America. The song gave them a UK Top 10 hit, set the foundation for their biggest selling album of all time, and several decades later, gave Gym Class Heroes one of their biggest ever hits when they remixed it on “Cupid’s Chokehold.”

 

Taken from the 1975 album “Crisis? What Crisis?” “Sister Moonshine” stands out as a highlight on an otherwise mixed-bag of an album. Sharp, short, and incredibly tight, it gives us Supertramp on fine form, with the rhythms of Dougie Thomson and Bob Siebenberg sliding up perfectly to John Helliwell’s woodwinds.

 

“Crisis? What Crisis?” wasn’t an outright success, but it did give us a good clutch of gems, including “Sister Moonshine” and our next entry, “Dreamer.” Having abandoned the slightly derivative prog rock sounds of their earlier albums in favor of a distinct art pop sound of their own, “Dreamer” captures the band at a seminal moment in their history. Glossy, slick, and unabashedly sentimental, it’s a gorgeous piece of pop that ranks among their very best.

 

By all accounts, “Give a Little Bit” was one of Princess Diana’s favorite songs. You don’t have to be royal to appreciate this piece of pop magic though, as its use in countless movies, not to mention a series of Gap commercials in the early 2000s, attests. The

revisited the track in the mid-2000s and bagged a Top 40 hit for their efforts, but it’s the singalong quality of the original with its simple, clearly expressed message of love that shines the brightest.

 

as one of Supertramp’s best ever songs, “Fool’s Overture” is, quite simply, epic. Running 11 minutes long, this prog-rock extravaganza includes everything from a reading from Blake to an expert from Winston Churchill’s “Never Surrender” speech. There’s even a sample from their own song, “Dreamer,” in the mix. If prog rock leaves you cold, you won’t like it. If you’re happy to leave your prejudices at the door and give it a chance, you’ll soon see the merits.

 

Like many of Supertramp’s songs, “Take the Long Way Home” tackles themes of self-discovery and the loss of idealism that comes with growing older. Possibly. Or you could just take it as a literal description of a long drive home. Either way, it’s an awesome tune that marked the last Top 10 hit for the group.

 

as one of the best Supertramp songs of all time, Goodbye Stranger is the kind of track that merits more than one repeat listen. Hooky, driven by some insanely good keyboards, and with lyrics that sound more punk rock than any prog rock band has a right to, it delivers the goods and then some. The shared vocals between Davis and Hodgson are nothing short of sublime, and a testament to just how much would be lost when the band said their own goodbyes to Hodgson a couple of years later.

 

“School” is an underrated classic. Obscured by the flashier charms of “Dreamer” and “Bloody Well Right” on the 1974 album “Crime of the Century,” it went largely unnoticed at the time of its release. But hindsight is a beautiful thing: almost 50 years later, the creativity and musical virtuoso on display are obvious. If you want to hear the sound of a band performing at the peak of their abilities, give it a whirl.

 

When Roger Hodgson was asked to compile a list of the 10 best songs he’d written, composed,

, “The Logical Song” featured highly. And little wonder. Despite being deeply personal, the burning question at its center – ‘Who am I?” – has a universal appeal that resonates with anyone and everyone who listens to the song, no matter how many times they’ve heard it or how many times they’ve already asked themself the same question. Simply put, it’s beautiful.

No, not the composer. But still a music lover nonetheless. You'll catch me mostly writing articles about the artists and bands I love. Maybe some theory. Maybe some analysis. Whatever lands in the world of music is something I'm likely interested in.

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The 10 Best Supertramp Songs (Updated 2017) | Billboard – Billboard

Here's a list of the top 10 best Supertramp songs.

By

There was a minute during the early ’70s when it seemed that

would be over before it even really started.

Now wouldn’t THAT have been the crime of the century?

Thanks to a judicious lineup change and the exemplary song cycle

 in 1974, Supertramp became a global hitmaker for the better part of eight years, blending pop, progressive rock, blues and jazz while founders Roger Hodgson and Rick Davies engaged in a kind of ongoing lyrical dialogue, each commenting, sometimes loosely, on what the other had to say via alternating songs. For a time, during the campaign for 1979’s 

, Supertramp could even lay some claim to being the biggest band in the world at that moment.

The heyday came to end when Hodgson left the group in 1983. Davies led Supertramp through four more albums and occasional tours, but the real magic is still to be found in that period between 1974-79, when the group, er, indelibly stamped its reputation as clever, original and refreshing songsmiths…

Here’s a list of the 10 best Supertramp songs.

 

|

|

|

The lead track from 1977’s 

… was a keeper even before Goo Goo Dolls’ hit 2004 remake. A chiming 12-string acoustic guitar and Hodgson’s keening vocals launched an anthem whose hippie ethos rings resonant in troubled times 10 years later. 

Supertramp never had the lothario reputation of, oh, the Rolling Stones or Steel Panther, but Davies’ lighthearted ode to road romance indicates there were a few shenanigans in this camp, too. It’s also one of the best executed trade-offs between Davies and Hodgson vocals and features one of the hottest guitar solos the latter ever brought into ‘Tramp town.

This Davies track from 

 is an aural adventure of ebb and flow in which the “Goodbye Stranger” guy declares “my life is full of romance” before John Helliwell’s beefy saxophone solo. This Supertramp song culminates in a multi-tracked call-and-response singalong that spotlights the group’s

ambitions. 

Supertramp secured itself a regular show-closing song with this Top 10 single from 

, a bouncy melody awash with keyboards and featuring a rich sax-and-harmonica exchange between Helliwell and Davies. 

Another of Hodgson’s “hippie” anthems — a sibling for

‘s “Sister Golden Hair,” if you like — with more ringing acoustics and tasteful electric soloing and a rollicking, fleshed out melody that got more enduring attention than the actual singles from 1975’s 

 album

Hodgson actually wrote the title track from Supertramp’s 1979 smash several years prior, before Supertramp even formed (though Davies added the “What’s she got? Not a lot” passage later). Fans of the track include

, who adapted it for “Cupid’s Chokehold,” and

, who sampled it for “Stunt Hard.” 

The best of Supertramp’s several mini-suites, a pastoral rumination that builds incrementally into a trancey drone before returning to the original theme. An intricately nuanced piece that easily knits together prog and folk-rock flavors.

Another finely composed and constructed pop gem, from delicate, piano-driven courses to demonic bridges and sweeping choruses, as well as another soaring outro made for

.

An angry indictment of British economic caste systems couched with hard rock, jazz and Music Hall references. It was initially the B-side of “Dreamer” until American radio stations flipped the disc and turned it into Supertramp’s first hit across the pond.

Everything we love about Supertramp wrapped up in three minutes and 33 seconds of cascading song arrangement and intertwined keyboard and vocal patterns. It’s a sonic thrill ride with more twists than the average roller coaster and ore hooks than a church cloak room.

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Formed in 1969 with funds donated by a Dutch millionaire, arena pop/rockers Supertramp enjoyed success for many decades following. This P/V/G collection assembles 14 of their biggest hits culled from six albums. Includes: Ain't Nobody but Me * Bloody Well Right * Breakfast in America * Cannonball * Crime of the Century * Dreamer * From Now On * Give a Little Bit * Goodbye Stran...

Formed in 1969 with funds donated by a Dutch millionaire, arena pop/rockers Supertramp enjoyed success for many decades following. This P/V/G collection assembles 14 of their biggest hits culled from six albums. Includes: Ain't Nobody but Me * Bloody Well Right * Breakfast in America * Cannonball * Crime of the Century * Dreamer * From Now On * Give a Little Bit * Goodbye Stranger * It's Raining Again * The Logical Song * My Kind of Lady * Rudy * Take the Long Way Home.

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Supertramp | Discography | Discogs

Supertramp | Rock Music Wiki | Fandom

 are an English rock band formed in 1969 under the name Daddy before renaming themselves in early 1970. Though their music was initially categorised as 

, they have since incorporated a combination of traditional 

 and 

 into their music. The band's work is marked by the songwriting of 

 and 

, the voice of Hodgson, and the use of 

 and saxophone in their songs.

While the band's early work was mainstream progressive rock, they would enjoy greater critical

 and commercial success when they incorporated more conventional and radio-friendly elements into their work in the mid-1970s, going on to sell more than 60 million albums.

 They reached their peak of commercial success with 1979's 

, which has sold more than 20 million copies.

Though their albums were generally far more successful than their singles,

 Supertramp did enjoy a number of major hits throughout the 1970s and 1980s, including "

", "

", "

", "

", "

", "

", "

", "

", and "

". The band attained significant popularity in the United States, Canada, Europe, South Africa and Australia. Since Hodgson's departure in 1983, founder Rick Davies has led the band by himself.

*

In 1969 Stanley 'Sam' August Miesegaes, a Dutch millionaire, became disappointed with, then dropped, The Joint, the band he was financially supporting. He offered

-born keyboardist 

, whose talent he felt had been "bogged down" by the group,

 an opportunity to form his own band, again with Miesegaes's financial backing.

 Davies assembled 

 (bass and vocals), 

 (guitars), and 

 (percussion) after placing an advertisement in the weekly music newspaper, 

.

Davies and Hodgson had radically different backgrounds and musical inspirations: Davies was working class and fiercely devoted to 

 and 

, while Hodgson had gone straight from private school to the music business and was fond of 

 and 

. Despite this, they hit it off during the auditions

 and began writing virtually all of their songs together, with Palmer as a third writer in the mix. Since none of the other band members was willing, Palmer penned all their lyrics.

The group initially dubbed themselves Daddy. Baker was almost immediately replaced by former stage actor Robert Millar,

 and after several months of rehearsal at a country house in 

, Kent, the band flew to 

 for a series of concerts at the P. N. Club.

 One 10 minute performance there of "

" was filmed by 

 (

).

 The rehearsals had been less than productive, and their initial repertoire consisted of only four songs, two of which were covers.

 To avoid confusion with the similarly named 

,

 the band changed its name to "Supertramp", a moniker inspired by 

 by 

.

Supertramp Mark II. L-R: Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, and Dave Winthrop.

Supertramp were one of the first groups to be signed to the UK branch of 

 and their first album, 

, was released on 14 July 1970 in the UK and Canada (it would not be issued in the US until late 1977). Stylistically, the album was fairly typical of progressive rock of the era and Supertramp's sound bore obvious similarity to their British progressive rock predecessor 

.

 Despite receiving a good deal of critical praise, the album did not attract a large audience.

Dave Winthrop (

 and saxophone) joined the group after the release of the first record and soon after Supertramp performed at the 

. The membership continued to change in the six months following the album's release; Palmer left the band due to personality conflicts with Davies and Hodgson,

 followed by Millar, who had suffered a nervous breakdown following a disastrous tour of Norway.

For the next album, 

, released in June 1971 in both the UK and US, 

 (bass) and Kevin Currie (percussion) replaced Palmer and Millar, while Hodgson switched to guitar and Davies served as a second lead singer. With Palmer's departure, Hodgson and Davies wrote the lyrics for this and the band's subsequent albums. The record sold even less than their debut.

 In the aftermath, all members gradually quit except Hodgson and Davies,

 and Miesegaes withdrew his financial support in October 1972.

A search for new members brought aboard 

 (bass), who had done stand-in gigs with the band for almost a year before auditions resumed. In 1973, auditions restarted and introduced 

 (initially credited as Bob C. Benberg; drums & percussion) and 

 (saxophone, other 

, occasional keyboards, backing vocals), completing the line-up. Hodgson would also begin playing keyboards (particularly the 

) in the band in addition to guitar.

 This lineup of Supertramp would remain in place for the next ten years.

Meanwhile, the bond between Davies and Hodgson had begun weakening. In July 1972 Hodgson had tried 

 for the first time, and offered some to Davies, who declined. Writing to Miesegaes in November 1972, Hodgson described taking LSD as "the happiest day of my life" and expressed his anxiety that Davies would not take it.

 He would later describe this divergence in their experiences as the root of the rift between them.

 Over Supertramp's history, their relationship would be amicable but increasingly distant as their lifestyles and musical inclinations saw less and less overlap. Their songwriting partnership gradually dissolved; though all of Supertramp's songs would continue to be officially credited as "written by Rick Davies and Roger Hodgson", most of them were written by Davies or Hodgson individually.

Supertramp needed a hit record to continue working, and finally got one with 

. Released in September 1974, it began the group's run of critical and commercial successes, hitting number 4 in Britain,

 number 38 in the USA, and number 1 in Canada. The album underlined its ambitiousness: Many of its songs were heavily orchestrated, and some even featured Davies and Hodgson singing in dialogue, such as the 1975 UK Top 20 single "

". US listeners preferred its 

, "

", which hit the US Top 40 in May 1975 and would be their only hit in the country for more than two years.

 Most of the band have said they feel they hit their artistic peak on this album,

 though their greatest commercial success would come later.

With a hit album under their belt, pressures on the band increased, and the followup 

 had to be recorded in the few months between two scheduled concert tours. As a consequence, most of the material consisted of leftover songs from 

, and decades later the band would continue to regard the album as one of their worst moments.

 Despite Supertramp's own misgivings, the album was well received by critics, and when released in November 1975, it broke both the UK Top Twenty

 and the USA Top Fifty in spite of its singles all being commercial flops.

The following album, 

, released in April 1977, spawned a hit single with "

" (no. 15 US, no. 29 UK). As usual, the popularity of the album itself eclipsed that of its singles, and 

 hit no. 16 in the USA

 and no. 12 in the UK.

 During this period, the band eventually relocated to the United States.

The band's switch to a more pop-oriented approach peaked with their most popular album, 

, released in March 1979, which reached number 3 in the UK

 and number 1 in the United States and Canada and spawned four successful 

 (more than their first five albums combined): "

" (no. 6 U.S., no. 7 U.K.), "

" (no. 15 U.S., no. 57 U.K.), "

" (no. 10 U.S.), and "

" (no. 9 U.K.). In March 1979, the group embarked on a 10 month 120 date tour for 

 that required 52 tons of gear, 10 miles of cable, $5 million worth of equipment and a 40 man crew.

 The tour broke all previous concert attendance records in Europe and Canada. Upon this tour's conclusion, the exhausted band members decided to take a rest from touring and recording for a while, though the band remained ongoing.

This run of successes was capped with 1980's 

, a 2-LP live album recorded mostly at the 

.

 It broke the top ten in both the USA and UK.

 The live version of "Dreamer" was released as a single in the U.S., where it reached no. 15, even though the studio version had failed to even chart there.

At this point, Hodgson moved his family from the Los Angeles area to the mountains of northern California where he built a home and studio and focused on his family and spiritual life, while recording a solo album,

, which would never be released.

 This geographic separation widened the rift between him and the rest of the group; during the conceptualization and recording of their next album,

, Davies and Hodgson found far greater difficulty in reconciling their musical ideas than they had before, and it was apparent to the rest of the band that Hodgson wanted out.

 

 was released in 1982, and scored two more hits with "

" and "

". It peaked at no. 5 in the USA

 and no. 6 in the UK.

 A worldwide tour followed in 1983, during which Hodgson announced he would not be continuing with the band. Hodgson has stated that his departure was motivated by a desire to spend more time with his family and make solo recordings, and that there were never any real personal or professional problems between him and Davies, as some people thought.

The Davies-led Supertramp soldiered on to continued success, releasing 

 in 1985. The album was a deliberate step away from the pop approach of their last two studio albums,

 and reached no. 20 in the UK charts

 and no. 21 in the US charts.

 It included the Top 30 hit single "

", along with the title track, a 16-minute exposition on 

 themes highlighted by guitar solos from 

's 

.

 

 experimented in heavily synthesised music,

 such as "

", which reached number 1 on the 

.

 The stylistic change was generally not well-received, however, and the album itself reached only no. 93 in the UK and 101 in the USA, breaking a streak of seven consecutive top 100 efforts on the American charts.

In addition to their shift towards less commercially-oriented material, the band members decided to drop all of Hodgson's compositions from their setlist in order to further establish an identity separate from Hodgson.

 However, audiences were angered by the omissions of these songs, and though Supertramp toured again in 1985 using only Davies's compositions, in 1988 the pressure of their first Brazilian tour drove them to reintroduce a handful of Hodgson-penned hits to their set.

After 1988's tour, the group fragmented. Davies later explained, "We'd been out there for about 20 years just recording and touring and it seemed time to have a break with no ideas as to if or when we would come back. We decided not to actually say anything, just sort of 

."

In 1996 Davies re-formed Supertramp with Helliwell, Siebenberg and guitarist/vocalist 

, who was new to the official lineup but had prominently contributed to 

 and its supporting tour. Four new members were added as well, bringing the band up to an eight-man lineup.

 The result of this reunion was 

, an album that echoed the earlier Supertramp sound,

 released in March 1997. It reached no. 74 in the UK.

In the summer of 1997, Supertramp returned to the road, resulting in the live 

 (1999), followed by 

 in April 2002 and a 2002 worldwide tour, after which the band went inactive once again. Another attempt to bring Hodgson back into the band failed in 2005.

Supertramp continued to play several Hodgson-penned songs during live shows following their reunion. Hodgson subsequently claimed that the band's explanation for dropping his compositions from their setlist back in 1983 is a lie, and that the real reason was that he and Davies made a verbal agreement that they would not play those songs.

 Davies has never publicly alluded to such an agreement, and former member Dougie Thomson has commented "Nobody except Rick and Roger were privy to that conversation. Rick and Roger had several dialogues that no one else was privy to. Again, that's hearsay."

In 2008 it was announced that Supertramp's music would be featured in the film adaptation of 

's best-selling novel 

.

 In 2009 Hodgson said he could not see a Supertramp reunion ever happening: "We've looked at it and talked it over... I would never say never but Rick [Davies] has pretty much retired right now and I'm in the prime of my life. The reaction I am getting from fans is 'please don’t reunite'."

Supertramp 2010. L-R: Cliff Hugo, Rick Davies, Bob Siebenberg, John Helliwell, Gabe Dixon, and Carl Verheyen

On 21 April 2010 it was announced

 that Supertramp would give 35 concerts in late 2010. Dates were announced for concerts in Germany, Portugal, the Netherlands, Italy, France and other European countries. This tour called "70-10" was to commemorate the 40th anniversary of the group's first release.

Roger Hodgson embarked on a solo 2010 tour to Australia, New Zealand, South America, Europe, Canada, and the US,

 and thus was unable to rejoin the band for the 70-10 tour. However, in response to a fan campaign, Hodgson sent a letter to Rick Davies and had his manager send one to Davies' management, offering to join them for select dates during gaps in his tour schedule.

 Davies did not reply, but his agents notified Hodgson that his offer was declined.

In 2011 both Hodgson and Supertramp continued to tour separately.

 When asked whether Roger Hodgson might appear on some of the 2011 dates Davies replied, "I know there are some fans out there who would like that to happen. There was a time when I had hoped for that too. But the recent past makes that impossible. In order to play a great show for our fans, you need harmony, both musically and personally. Unfortunately that doesn’t exist between us any more and I would rather not destroy memories of more harmonious times between all of us."

For more details on this topic, see 

.;Current members

Main article: 

*

 (1970)

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Supertramp (formed in 1969) is an English progressive rock and pop band, founded by Rick Davies, hailing from London, England.

From the ashes of Rick Davies’ previous group The Joint, which had been funded by Dutch millionaire Stanley August Miesegaes, Davies, with the backing of Miesegaes, formed Supertramp. Alongside bassist and vocalist Roger Hodgson, guitarist Richard Palmer, and percussionist Keith Baker, who was soon replaced by Robert Millar, the group made their debut at the P. N. Club in Munich, Germany. With a repertoire of only four songs, including two covers, the band, previously dubbed Daddy, changed their name to Supertramp – inspired by William Henry Davies’ “The Autobiography of a Super-Tramp”.

The band’s eponymously-titled debut album was released in 1970 after being one of the first bands to sign with A&M Records. With a sound reminiscent of British progressive rock band Cressida, the album earned positive reviews from critics however lacked a large audience. After the release both Palmer and Millar left the group due to conflicts and were replaced by Frank Farrell and Kevin Currie respectively. Supertramp’s sophomore album “Indelibly Stamped” was released in 1971 with songwriting responsibilities falling to Hodgson and Davies. The album proved even less popular than its predecessor and resulted in all members except Hodgson and Davies departing the group.

By this point Miesegaes had stopped funding the band and Supertramp were in the market for new musicians to join its ranks. The new line-up, as of 1973, included Bob Siebenberg on drums, John Helliwell on saxophone, Douggie Thompson on bass, alongside Davies and Hodgson. In 1974 Supertramp released their third studio album “Crime of the Century” which marked the band’s breakthrough into the mainstream. Spawning the singles “Dreamer” and “Bloody Well Right” the album charted at No. Four in the UK, No. 38 in the U.S., and No. One in Canada.

Feeling the pressure of their breakthrough album and rushed to complete its successor, Supertramp released “Crisis? What Crisis?” in November 1975. Featuring leftover songs from “Crime of the Century” the band regard the album as one of their worst despite its popular reviews from critics. Supertramp’s follow-up album “Even in the Quietest Moments…” released in 1977, aided by the single “Give a Little Bit”, was another popular gestalt album reaching No. 12 in the UK.

Following the album Supertramp relocated to California, U.S., and released their highest charting album to date “Breakfast in America”. Released in March 1979, the album reached No. Three in the UK, and No. One in the U.S and Canada. Aided by the popular singles “The Logical Song”, “Goodbye Stranger”, “Take the Long Way Home”, and “Breakfast in America”, the album was supported by a record breaking 120-date world tour. After “Breakfast in America” the band took a break from touring and recording, later releasing the two disc live LP “Paris” in 1980.

During the hiatus Hodgson moved to Northern California with his family to build a studio and focus on his spirituality. Around this time Hodgson and Davies found it harder to share a mutual musical middle ground and seemed to grow further apart with the geographical distance. Supertramp’s seventh studio album “Famous Last Words” was released in 1982 and spawned the singles “It’s Raining Again” and “My Kind of Lady”. Following the release Hodgson, the band’s lead vocalist, left the group to focus on solo material and his family. With Davies at the fore, Supertramp’s follow-up album “Brother Where You Bound” was issued in 1985 featuring guitar solos from Pink Floyd’s David Gilmore.

In a move towards the electronically-induced synthetic sounds, the band’s 1987 album “Free as a Bird” was dismissed by fans and critics alike, however the single “I’m Beggin’ You” reached No. One on the US dance chart. Following a supporting tour, where Hodgson-penned songs were played to a minimum, the band decided to take a break which would last until 1996. The reunion resulted in the studio album “Some Things Never Change” in 1997, and the live album “It Was the Best of Times” in 1999, followed by “Slow Motion” in April 2002.

As much as documentaries and books would like to make you think differently, practically no-one in the seventies listened to any of the cool music that came out in the seventies. The Ramones? Kraftwerk? Joy Division? They were nobodies, obscurities that most people wrote off as hipster nonsense, if they were aware of them at all. After writing those classic artists off, the ones with taste would go back to listening to Supertramp. Sometimes quality does lead to popularity and their brand of prog infused soft rock may have made them one of the most popular bands in the world at the time, but when they were that good, both live and on record, they deserved it as much as anyone else did. What’s apparent today is that while founding member and main songwriter Roger Hodgson is no longer in the foil the rest of the band gel better than ever. Needless to say the instrumental chops are impeccable, which would come from nearly half a century of experience but it is inspiring to watch. Rick Davies more than makes up for Hodgson’s absence by providing lead vocals for the band and saxophonist John Helliwell is our host for the night, introducing the songs and interacting with the crowd with an easy charm. Supertramp then, at this point there’s never going to be any surprises, but when a band has hits like Breakfast in America, Bloody Well Right, The Logical Song and Goodbye Stranger, and can still put on a show that’s fun of the highest order, who needs surprises?

The current lineup of Supertramp is just not the same without Roger Hodgson. Roger's voice is very distinct and the songs he wrote are the signature sound of Supertramp (The Logical Song, Dreamer, Take the Long Way Home, Breakfast in America, Give a Little Bit, School , Fool's Overture, It's Raining Again to name just a few). I saw the most recent lineup of Supertramp for their 2011 tour, and was disappointed into thinking Roger would be performing with them especially because of all the promotions going around using Roger's voice, but when I got to the venue it was Mark Hart singing Roger's songs at which point I had left the venue, went right home and read more about Roger (thankfully discovered he is still actively touring) and that I still had the opportunity to experience the songs in concert from the original songwriter with the genuine "Supertramp sound".

Roger co-founded Supertramp in 1969 and though many of his songs are recognized as Supertramp songs, they were solely composed by Roger. I've left all thoughts about seeing this version of Supertramp behind, and am glad to have discovered Roger Hodgson and his more personal, connected concert experience, thankfully with many shows to look forward to this year.

Supertramp, the iconic London rock group who achieved great success in the 70's and 80's are still touring to their legions of devoted fans globally. Packed into the spanning O2 Arena, the audience is a combination of those original fans who are well into their 70s along with those who simply enjoy the band's legacy and style.

As the bombastic guitar riffs begin and the flared lighting illuminates the entire arena the crowd roar in excitement. The veteran rockers launch themselves onto the stage like a band half their age, the singalongs to 'Breakfast in America' and 'Gone Hollywood' are deafening as Roger Hodgson evokes even louder cheers from the baying crowds.

The band were such an important influence on progressive rock and so many of their albums have affected modern music. Therefore the choice in setlist is questionable, yet all the hits are there and the audience cheer for 'Goodbye Stranger' and 'It's Raining Again'. The band leaves their fans with sore throats, tired legs and happy hearts.

I've known and followed Supertramp from the first album, clearly everything changed after songwriter Roger Hodgson left the band in 1983. The dynamics of the band completely changed; Supertramp in their prime had 5 members... now 10 members this year. Not the Supertramp I saw in the 70s, there just isn't the same chemistry and it is difficult and uncomfortable sitting through other musicians performing Roger's songs just to hear a handful of Rick's songs. Then seeing Roger at the Royal Albert Hall in 2013 re-ignited the feelings and immersive aural experience I once had seeing Tramp in '75 & '79. Roger was a tour de force, nailed the harmonies and a set filled with both classic faves and deep track highlights, it had more depth and authenticity of the Supertramp I once knew. Didn't hesitate to book when I discovered Roger's returning to Albert Hall, I know from the start it will be a more fulfilling show and wouldn't chance another disappointment seeing "Supertramp".

I saw both Supertramp and the band's co-founder, Roger Hodgson, on their respective tours in 2010. I can honestly say there is no comparison and I have made it a point to see Roger live several times since. While Rick has some great songs of his own, there is nothing better than seeing Roger singing the songs he wrote - Give a Little Bit, Breakfast in America, The Logical Song, Take the Long Way Home, Dreamer, Fool's Overture, It's Raining Again, School, and so many more. His voice is so unique that absolutely no one else can do his songs justice. It is Roger Hodgson who truly gives me the essence and spirit of Supertramp. I can't wait to see him again this year on his Breakfast in America World Tour.

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Supertramp | Music Hub | Fandom

 are a British rock band formed in 1969 under the name Daddy before renaming themselves in early 1970. Though their music was initially categorised as 

, they have since incorporated a combination of traditional 

 and 

 into their music. The band's work is marked by the inventive songwriting of 

 and 

, the distinctive voice of Hodgson, and the prominent use of 

 and saxophone in their songs.

While the band's early work was mainstream progressive rock, they would enjoy greater critical and commercial success when they incorporated more conventional and radio-friendly elements into their work in the mid-1970s, going on to sell more than 60 million albums. They reached their peak of commercial success with 1979's 

, which has sold more than 20 million copies.

Though their albums were generally far more successful than their singles, Supertramp did enjoy a number of major hits throughout the 1970s and 1980s, including "

", "

", "

", "

", "

", "

", "

", "

", and "

". The band attained significant popularity in the United States, Canada, Europe, South Africa and Australia. Since Hodgson's departure in 1983, founder Rick Davies has led the band by himself.

In 1969 Stanley 'Sam' August Miesegaes, a Dutch millionaire, became disappointed with, then dropped, The Joint, the band he was financially supporting. He offered 

-born keyboardist Rick Davies, whose talent he felt had been "bogged down" by the group, an opportunity to form his own band, again with Miesegaes's financial backing. Davies assembled 

 (bass and vocals), 

 (guitars), and 

 (percussion) after placing an advertisement in the weekly music newspaper, 

.

Davies and Hodgson had radically different backgrounds and musical inspirations: Davies was working class and fiercely devoted to 

 and 

, while Hodgson had gone straight from private school to the music business and was fond of 

 and 

. Despite this, they hit it off during the auditions and began writing virtually all of their songs together, with Palmer as a third writer in the mix. Since none of the other band members was willing, Palmer penned all their lyrics.

The group initially dubbed themselves Daddy. Baker was almost immediately replaced by former stage actor Robert Millar, and after several months of rehearsal at a country house in

, Kent, the band flew to 

 for a series of concerts at the P. N. Club. The rehearsals had been less than productive, and their initial repertoire consisted of only four songs, two of which were covers. To avoid confusion with the similarly named 

, the band changed its name to "Supertramp", a moniker inspired by 

 by 

.

Supertramp Mark II. L-R: Roger Hodgson, Frank Farrell, Rick Davies, Kevin Currie, and Dave Winthrop.

Supertramp were one of the first groups to be signed to the UK branch of 

 and their first album, 

, was released on 14 July 1970 in the UK and Canada (it would not be issued in the US until late 1977). Stylistically, the album was fairly typical of progressive rock of the era and Supertramp's sound bore obvious similarity to their British prog rock predecessor 

.

 Despite receiving a good deal of critical praise, the album did not attract a large audience.

For the next album, 

, released in June 1971 in both the UK and US, 

 (bass) and Kevin Currie (percussion) replaced Palmer and Millar, while Hodgson switched to guitar and Davies served as a second lead singer. With Palmer's departure, Hodgson and Davies wrote the lyrics for this and the band's subsequent albums. The record sold even less than their debut. In the aftermath, all members gradually quit except Hodgson and Davies, and Miesegaes withdrew his financial support in October 1972.

A search for new members brought aboard 

 (bass), who had done stand-in gigs with the band for almost a year before auditions resumed. In 1973, auditions restarted and introduced 

 (initially credited as Bob C. Benberg; drums & percussion) and 

 (saxophone, other 

, occasional keyboards, backing vocals), completing the line-up. Hodgson would also begin playing keyboards (particularly the 

) in the band in addition to guitar. This lineup of Supertramp would remain in place for the next ten years.

Meanwhile, the bond between Davies and Hodgson had begun weakening. In July 1972 Hodgson had tried 

 for the first time, and offered some to Davies, who declined. Writing to Miesegaes in November 1972, Hodgson described taking LSD as "the happiest day of my life" and expressed his anxiety that Davies would not take it. He would later describe this divergence in their experiences as the root of the rift between them. Over Supertramp's history, their relationship would be amicable but increasingly distant as their lifestyles and musical inclinations saw less and less overlap. Their songwriting partnership gradually dissolved; though all of Supertramp's songs would continue to be officially credited as "written by Rick Davies and Roger Hodgson", most of them were written by Davies or Hodgson individually.

Supertramp needed a hit record to continue working, and finally got one with 

. Released in September 1974, it began the group's run of critical and commercial successes, hitting number 4 in Britain, number 38 in the USA, and number 1 in Canada. The album underlined its ambitiousness: Many of its songs were heavily orchestrated, and some even featured Davies and Hodgson singing in dialogue, such as the 1975 UK Top 20 single "

". US listeners preferred its 

, "

", which hit the US Top 40 in May 1975 and would be their only hit in the country for more than two years. Most of the band have said they feel they hit their artistic peak on this album, though their greatest commercial success would come later.

With a hit album under their belt, pressures on the band increased, and the followup 

 had to be recorded in the few months between two scheduled concert tours. As a consequence, most of the material consisted of leftover songs from 

, and decades later the band would continue to regard the album as one of their worst moments. Despite Supertramp's own misgivings, the album was well received by critics, and when released in November 1975, it broke both the UK Top Twenty and the USA Top Fifty in spite of its singles all being commercial flops.

The following album, 

, released in April 1977, spawned a hit single with "

" (no. 15 US, no. 29 UK). As usual, the popularity of the album itself eclipsed that of its singles, and 

 hit no. 16 in the USA and no. 12 in the UK. During this period, the band eventually relocated to the United States.

The band's switch to a more pop-oriented approach peaked with their most popular album, 

, released in March 1979, which reached number 3 in the UK and number 1 in the United States and Canada and spawned four successful 

 (more than their first five albums combined): "

" (no. 6 U.S., no. 7 U.K.), "

" (no. 15 U.S., no. 57 U.K.), "

" (no. 10 U.S.), and "

" (no. 9 U.K.). In March 1979, the group embarked on a 10 month 120 date tour for 

 that required 52 tons of gear, 10 miles of cable, $5 million worth of equipment and a 40 man crew. The tour broke all previous concert attendance records in Europe and Canada. Upon this tour's conclusion, the exhausted band members decided to take a rest from touring and recording for awhile, though the band remained ongoing.

This run of successes was capped with 1980's 

, a 2-LP live album recorded mostly at the 

.

 It broke the top ten in both the USA and UK. The live version of "Dreamer" was released as a single in the U.S., where it reached no. 15, even though the studio version had failed to even chart there.

At this point, Hodgson moved his family from the Los Angeles area to the mountains of northern California where he built a home and studio and focused on his family and spiritual life, while recording a solo album, 

, which would never be released. This geographic separation widened the rift between him and the rest of the group; during the conceptualization and recording of their next album, 

, Davies and Hodgson found far greater difficulty in reconciling their musical ideas than they had before, and it was apparent to the rest of the band that Hodgson wanted out. 

 was released in 1982, and scored two more hits with "

" and "

". It peaked at no. 5 in the USA and no. 6 in the UK. A worldwide tour followed in 1983, during which Hodgson announced he would not be continuing with the band. Hodgson has stated that his departure was motivated by a desire to spend more time with his family and make solo recordings, and that there were never any real personal or professional problems between him and Davies, as some people thought.

The Davies-led Supertramp soldiered on to continued success, releasing 

 in 1985. The album was a deliberate step away from the pop approach of their last two studio albums, and reached no. 20 in the UK charts and no. 21 in the US charts. It included the Top 30 hit single "

", along with the title track, a 16-minute exposition on 

 themes highlighted by guitar solos from 

's 

.

 

 experimented in heavily synthesised music, such as "

", which reached number 1 on the 

. The stylistic change was generally not well-received, however, and the album itself reached only no. 93 in the UK and 101 in the USA, breaking a streak of seven consecutive top 100 efforts on the American charts.

In addition to their shift towards less commercially-oriented material, the band members decided to drop all of Hodgson's compositions from their setlist in order to further establish an identity separate from Hodgson. However, audiences were angered by the omissions of these songs, and though Supertramp toured again in 1985 using only Davies's compositions, in 1988 the pressure of their first Brazilian tour drove them to reintroduce a handful of Hodgson-penned hits to their set.

After 1988's tour, the group fragmented. Davies later explained, "We'd been out there for about 20 years just recording and touring and it seemed time to have a break with no ideas as to if or when we would come back. We decided not to actually say anything, just sort of 

."

In 1996 Davies re-formed Supertramp with Helliwell, Siebenberg and guitarist/vocalist 

, who was new to the official lineup but had prominently contributed to 

 and its supporting tour. Four new members were added as well, bringing the band up to an eight-man lineup. The result of this reunion was 

, an album that echoed the earlier Supertramp sound, released in March 1997. It reached no. 74 in the UK.

In the summer of 1997, Supertramp returned to the road, resulting in the live 

 (1999), followed by 

 in April 2002 and a 2002 worldwide tour, after which the band went inactive once again. Another attempt to bring Hodgson back into the band failed in 2005.

Supertramp continued to play several Hodgson-penned songs during live shows following their reunion. Hodgson subsequently claimed that the band's explanation for dropping his compositions from their setlist back in 1983 is a lie, and that the real reason was that he and Davies made a verbal agreement that they would not play those songs.

 Davies has never publicly alluded to such an agreement, and former member Dougie Thompson has commented "Nobody except Rick and Roger were privy to that conversation. Rick and Roger had several dialogues that no one else was privy to. Again, that's hearsay."

In 2008 it was announced that Supertramp's music would be featured in the film adaptation of 

's best-selling novel 

. In 2009 Hodgson said he could not see a Supertramp reunion ever happening: "We've looked at it and talked it over... I would never say never but Rick [Davies] has pretty much retired right now and I'm in the prime of my life. The reaction I am getting from fans is 'please don’t reunite'."

Supertramp 2010. L-R: Cliff Hugo, Rick Davies, Bob Siebenberg, John Helliwell, Gabe Dixon, and Carl Verheyen

On 21 April 2010 it was announced that Supertramp would give 35 concerts in late 2010. Dates were announced for concerts in Germany, Portugal, the Netherlands, Italy, France and other European countries. This tour called "70-10" was to commemorate the 40th anniversary of the group's first release.

Roger Hodgson embarked on a solo 2010 tour to Australia, New Zealand, South America, Europe, Canada, and the US, and thus was unable to rejoin the band for the 70-10 tour. However, in response to a fan campaign, Hodgson sent a letter to Rick Davies and had his manager send one to Davies' management, offering to join them for select dates during gaps in his tour schedule.Davies did not reply, but his agents notified Hodgson that his offer was declined.

In 2011 both Hodgson and Supertramp continued to tour separately. When asked whether Roger Hodgson might appear on some of the 2011 dates Davies replied, "I know there are some fans out there who would like that to happen. There was a time when I had hoped for that too. But the recent past makes that impossible. In order to play a great show for our fans, you need harmony, both musically and personally. Unfortunately that doesn’t exist between us any more and I would rather not destroy memories of more harmonious times between all of us."

Main article: 

*

 (1970)

Supertramp : Best songs, Albums and Concerts - Mozaart

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SuperTrapp was born in the 1960s and quickly became a pioneer in performance exhaust technology. Its revolutionary tunable disc design allows performance enthusiasts...

SuperTrapp was born in the 1960s and quickly became a pioneer in performance exhaust technology. Its revolutionary tunable disc design allows performance enthusiasts to tune for sound and backpressure by simply adding or removing SuperTrapp’s patented diffuser discs. Whether you pilot a car, truck, motorcycle, or ATV, you can tune a SuperTrapp exhaust or muffler to deliver the sound and performance you demand. Shop our selection of SuperTrapp mufflers, diffuser packs, end caps, exhaust tips, hardware, and more! Unleash the beast within your ride today!

SuperTrapp was born in the 1960s and quickly became a pioneer in performance exhaust technology. Its revolutionary tunable disc design allows performance enthusiasts to tune for sound and backpressure by simply adding or removing SuperTrapp’s patented diffuser discs. Whether you pilot a car, truck, motorcycle, or ATV, you can tune a SuperTrapp exhaust or muffler to deliver the sound and performance you demand. Shop our selection of SuperTrapp mufflers, diffuser packs, end caps, exhaust tips, hardware, and more! Unleash the beast within your ride today!

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Muffler, S/C Series, 3 in. Inlet/5 in. Outlet, Steel, Black, Each

Not Yet Reviewed

Disc-Only Muffler, Stainless Steel, 1 3/4 in. Inlet, 3 in. Disc Diameter, Each

Muffler, S/C Series, 2 1/2 in. Inlet/4 in. Outlet, Stainless Steel, Brushed, Each

Muffler, S/C Series, 2 in. Inlet/4 in. Outlet, Stainless Steel, Brushed, Each

Exhaust Clamp, T-Bolt, Stainless Steel, 3.000 in. Diameter, Each

Disc-Only Muffler, Stainless Steel, 2 1/2 in. Inlet, 5 in. Disc Diameter, Each

Not Yet Reviewed

Muffler, Disc-Only, 2 in. Inlet/4 in. Outlet, Steel, Black, Each

Muffler, S/C Series, 2 in. Inlet/4 in. Outlet, 10 in. Overall Length, Stainless Steel, Polished, Each

Muffler, S/C Series, 3 in. Inlet/5 in. Outlet, Stainless Steel, Brushed, Each

Diffuser Discs, Stainless Steel, 4.0 in. Diameter, Set of 12

Muffler, S/C Series, 2 1/2 in. Inlet/4 in. Outlet, Stainless Steel, Polished, Each

Disc-Only Muffler, Stainless Steel, 2 in. Inlet, 3 in. Disc Diameter, Each

Muffler, Disc-Only, 3 in. Inlet/3 in. Outlet, Steel, Black, Each

Not Yet Reviewed

Muffler End Cap, Closed, Aluminum, Natural, 4 in. Diameter, Each

Muffler, S/C Series, 2 1/2 in. Inlet/4 in. Outlet, Steel, Black, Each

Muffler, S/C Series, 2 in. Inlet/4 in. Outlet, Stainless Steel, Brushed, Each

Exhaust Clamp, T-Bolt, Stainless Steel, 2.500 in. Diameter, Each

Muffler End Cap, Open, Stainless Steel, Natural, 4 in. Diameter, Each

Exhaust Clamp, T-Bolt, Stainless Steel, 1.750 in. Diameter, Each

Muffler End Cap, Slotted, Aluminum, Polished, 4 in. Diameter, Each

Not Yet Reviewed

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